Marking Our Memories
The Experiential Phenomenology of Memory Amanda Lauren Kraczkowsky Submitted in Partial Fulfillment of the Requirements For the Degree of Master of Architecture in Architecture at The Savannah College of Art and Design Š May 2013 Amanda Lauren Kraczkowsky The author hereby grants SCAD permission to reproduce and to distribute publicly paper and electronic thesis copies of document in whole or in part in any medium now known or hereafter created. Signature of Author and Date ____________________________________________/___/___ _____________________________________________________________________/___/___ Scott Singeisen Signature Date Committee Chair _____________________________________________________________________/___/___ Tim Woods Signature Date Architectural Faculty Committee Member _____________________________________________________________________/___/___ Mary Lou Davis Signature Date Professor of Psychology, Faculty Committee Member
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Marking Our Memories
The Experiential Phenomenology of Site, Space and Place
A Thesis Submitted to the Faculty of the Architecture Department in Partial Fulfillment of the Requirements for the Degree of Master of Architecture in Architecture Savannah College of Art and Design By Amanda Lauren Kraczkowsky Savannah, Georgia May 2013
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dedication We remember the things that make us feel the most; good
Although the scene may change - the beaches may
times, bad times, times of excitement, disappointment
erode with the changing tides and harsh winter storms,
and fear, yet they never seem to fade far from our
the jetties may toss away in the tide, the loved ones we
memories.
find smiling in fading photographs under the bed and tucked away in bookshelves may pass on and their
This photo was taken in 1995 and I can still remember the
voices may fade from our ears - we never allow ourselves
smell of the ocean in my nose, the splash of the sea air and
to forget the feeling of our presence and the presence
hazy summer sunshine on my face. The memories we want
of others within a space. We never forget what we want
to remember, the happy times, the carefree moments of our
to remember most; we never forget the memories that
youth, cling onto us like children to the legs of their parents.
make us who we are.
for my dad; may your presence forever live within my memories. v
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1 introduction 2 phenomenology list of figures | tables | illustrations
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project defintion
bibliography | endnotes | images
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memory, space and our senses bibliography | endnotes | images
3 experience
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the human relationship to architecture bibliography | endnotes | images
4 undeniability 5 generation
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the resounding potential of a site bibliography | endnotes | images
132
the formulation of a physical entity bibliography | endnotes | images
6 cultivation
204
the fabrication of a journey
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bibliography | endnotes | images
250
final deliverables bibliography | endnotes | images
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7 19 37 79 143 213 255 vii
1 | introduction 1.1 1.2 1.3 1.4 1.5 1.6 1.7
“Smoke #4” “The Generation of Memory” “Regeneration” “Betrayal” “Romanticism” “Idealism” “Fragmentation”
7 12 14 14 14 14 14
2 | phenomenology 2.1 2.2 2.3 2.4 2.5
“Smoke 10” “Circulatory Progression” “Inevitable Shelter” “Infant Awareness” “Haptic Orientation”
19 20 27 28 29
3 | experience 3.1 “Smoke #5” 3.2 “The Encroachment of Memory” 3.3 “Anthropomorphic Measurements” 3.4 “Textural Integrities” 3.5 “Anthropomorphic Scales” 3.6 “Light Eclipsing Brick” 3.7 “Knots and Bends” 3.8 “Veins in Marble” 3.9 “Iridescent Tile” 3.10 “Prismatic Pyramid” 3.11 “Structural Integrity” 3.12 “The Solid and the Void” 3.13 “The Parthenon as a Vector” 3.14 “Antiquity with Entourage”
37 38 40 42 43 46 46 47 47
3.15 3.16 3.17 3.18 3.19 3.20 3.21 3.22 3.23 3.24 3.25 3.26 3.27 3.28 3.29 3.30 3.31 3.32 3.33 3.34 3.35 3.36 3.37 3.38 3.39 3.40 3.41 3.42
“The Parthenon” “Villa Rotunda Longitudinal Section” “Villa Rotunda Transverse Section” “Villa Embarkment” “Villa Plan” “Villa Volumetrics” “Interior Ornament” “Atop the Hill” “Into the Light” “The Gathering” “Material Friendship” “The Tenacity of Light” “Planar Layering” “Translucent Yet Opaque” “Expression of Vernacular” “Interior Environment” “Art Within Materiality” “Reflecting the Planar Canvas” “Beacon of Arrival” “The Circulation of Community” “Grand Central Panorama” “From the Belly of the Beast” “Divine Intervention” “The Scar in Solitude” “Liberty is Light” “Memory in Materiality” “Black is White” “The Path From Freedom”
55 57 57 58 58 58 59 59 59 59 61 61 62 62 63 63 63 63 65 65 66 66 67 69 69 70 70 71
4 | undeniability
48 48 49 54 54
4.1 4.2 4.3 4.4
“Marconi Beach” “United States” “Massachusetts” “Cape Cod”
79 80 80 80
4.5 “Cape Cod Towns & Driving Distances” 81 4.6 “Provincetown & Herring Cove” 81 4.7 “Cape Cod Bay Landscape” 82, 83 4.8 “Provincetown Harbour” 84 4.9 “Buoys Hang on a Wharf Shack” 84 4.10 “Portuguese Festival” 84 4.11 “The Lobster Pot” 84 4.12 “Provincetown Trolley” 85 4.13 “Commercial Street” 85 4.14 “Ferry Dock” 85 4.15 “Dune Shack with Buoys” 86 4.16 “Dune Shack in Winter” 86 4.17 “Dune Shack Profile” 86 4.18 “Dune Shack Weathering” 86 4.19 “Dune Shack Restoration” 86 4.20 “Dune Shack at Sunset” 87 4.21 “Dune Shack in Spring” 87 4.22 “Race Point Bike Trails” 88 4.23 “Marconi Beach Facilities” 88 4.24 “Highland Light” 88 4.25 “Marconi Beach Dunes” 88 4.26 “Wood End Light” 89 4.27 “Nauset Light” 89 4.28 “Cape Cod National Seashore” 89 4.29 “JFK Signs the Bill” 90 4.30 “Beach Cruiser” 90 4.31 “Old Harwich” 90 4.32 “Sunbathers” 90 4.33 “First Parish” 90 4.34 “The Three Sisters” 90 4.35 “Harwich Post & Market” 91 4.36 “Provincetown 1800” 91 4.37 “Race Point Light” 91 4.38 “Marconi Wireless Outlook” 92 4.39 “Old Harbour Lifesaving Station” 92
4.40 “Salt Pond Visitor Center” 4.41 “Race Point Visitor Center” 4.42 “Erosion at Herring Cove” 4.43 “Herring Cove Bath House” 4.44 “Highland Light Erosion” 4.45 “Land Use” 4.46 “National Seashore Boundaries” 4.47 “Topography” 4.48 “Building Density” 4.49 “Area Circulation” 4.50 “Herring Cove Sunset Panorama” 4.51 “Sunset at Herring Cove” 4.52 “Roof Cavity” 4.53 “Lifeguard Towers: 4.54 “North Shading Canopy” 4.55 “Light Filtration” 4.56 “Interior Changing Area” 4.57 “Entry and Overhang” 4.58 “Natural Infiltration” 4.59 “Parking Approach” 4.60 “Structural Decay” 4.61 “Herring Cove Existing Site” 4.62 “Northeast Panorama” 4.63 “Southwest Panorama” 4.64 “South Panorama” 4.65 “Site Key” 4.66 “Approach” 4.67 “Closer” 4.68 “Closest” 4.69 “Service” 4.70 “Beach Rules” 4.71 “Back Canopy” 4.72 “North Panorama” 4.73 “Bike Path” 4.74 “Farther”
92 92 93 93 93 94, 95 96 97 98 99 100 100 100 100 100 100 100 101 101 101 101 102 103 103 104 104 104 104 104 104 104 104 105 105 105
4.75 “Farthest” 4.76 “Exit” 4.77 “Shading” 4.78 “Parking Stretch” 4.79 “Beach Fence” 4.80 “Shade” 4.81 “This Way” 4.82 “Demolition 1” 4.83 “Demolition 2” 4.84 “Demolition 3” 4.85 “Demolition 4” 4.86 “Node Key” 4.87 “Node 1” 4.88 “Node 2” 4.89 “Node 3” 4.90 “Node 4” 4.91 “Node 5” 4.92 “Paths 1” 4.93 “Paths 2” 4.94 “Paths 3” 4.95 “Paths 4” 4.96 “Paths 5” 4.97 “Paths 6” 4.98 “Activity Level 1” 4.99 “Activity Level 2” 4.100 “Activity Level 3” 4.101 “Activity Level 4” 4.102 “Activity Level 5” 4.103 “Circulation Nodes” 4.104 “Prospective Interventions” 4.105 “Land-Based Leisure Activities” 4.106 “Water-Based Leisure Activities”
105 105 105 105 105 105 105 106 106 107 107 108 108 108 109 109 109 110 110
4.107 4.108 4.109 4.110 4.111 4.112 4.113 4.114 4.115 4.116 4.117 4.118 4.119 4.120 4.121 4.122 4.123 4.124 4.125
“Circulation Hubs” “Indoor Leisure & Park Services” “Amenities & Maintenance” “Gender” “Race” “Ancestry” “Education” “Marital Status” “Industry (Men)” “Occupation (Men)” “Industry (Women)” “Occupation (Women)” “Transportation” “Religious Affiliation” “Favorable Wind Conditions” “Unfavorable¬ Wind Conditions” “Climatic Data Tables” “Wind Directionality” “Sun Path Diagram”
120 122 124 126 126 126 126 126 126 127 127 127 127 127 128 129 130 131 131
110 111 111 111 112 112 112 113 113 114 115 116 118
5 | generation 5.1 “Smoke 6” 5.2 “Model 1.1” 5.3 “Model 1.2” 5.4 “Model 1.3” 5.5 “Model 1.4” 5.6 “Model 2.1” 5.7 “Model 2.2” 5.8 “Model 2.3” 5.9 “Model 2.4” 5.10 “Model 3.1”
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tables | figures | illustrations 1
5.11 5.12 5.13 5.14 5.15 5.16 5.17 5.18 5.19 5.20 5.21 5.22 5.23 5.24 5.25 5.26 5.27 5.28 5.29 5.30 5.31 5.32 5.33 5.34 5.35 5.36 5.37 5.38 5.39 5.40 5.41 5.42 5.43 5.44 5.45
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“Model 3.2” “Model 3.3” “Model 3.4” “Model 4.1” “Model 4.2” “Model 4.3” “Model 4.4” “Model 5.1” “Model 5.2” “Model 5.3” “Model 5.4” “Model 6.1” “Model 6.2” “Model 6.3” “Model 6.4” “Model 7.1” “Model 7.2” “Model 7.3” “Model 7.4” “Model 8.1” “Model 8.2” “Model 8.3” “Model 8.4” “Model 9.1” “Model 9.2” “Model 9.3” “Model 9.4” “Model 10.1” “Model 10.2” “Model 10.3” “Model 10.4” “Model 11.1” “Model 11.2” “Model 11.3” “Model 11.4”
148 148 148 149 149 149 149 150 150 150 150 151 151 151 151 152 152 152 152 153 153 153 153 154 154 154 154 155 155 155 155 156 156 156 156
5.46 5.47 5.48 5.49 5.50 5.51 5.52 5.53 5.54 5.55 5.56 5.57 5.58 5.59 5.60 5.61 5.62 5.63 5.64 5.65 5.66 5.67 5.68 5.69 5.70 5.71 5.72 5.73 5.74 5.75 5.76 5.77 5.78 5.79 5.80
“Model 11.5” “Model 12.1” “Model 12.2” “Model 12.3” “Model 12.4” “Model 1A” “Model 2A” “Model 3A” “Model 4A” “Model 5A” “Model 6A” “Model 7A” “Model 8A” “Model 9A” “Model 10A” “Model 11A” “Model 12A” “Repetition in Memory” “Model 5R” “Model 7R” “Model 8R” “Model 9R” “Model 11R” “Model 12R” “Model 5 Element” “Model 7 Element” “Model 8 Element” “Model 9 Element” “Model 11 Element” “Model 12 Element” “Dune Shack 1 Elements” “Dune Shack 1” “Dune Shack 2” “Dune Shack 2 Elements” “Dune Shack 3 Elements”
156 157 157 157 157 158 158 158 158 158 158 159 159 159 159 159 159 162, 163 164 164 164 165 165 165 166 167 168 169 170 171 173 173 174 174 175
5.81 “Dune Shack 3” 5.82 “Dune Shack 4” 5.83 “Dune Shack 4 Elements” 5.84 “Dune Shack 5 Elements” 5.85 “Dune Shack 5” 5.86 “Repetitive Elements in the Dune Shack” 5.87 “Cedar Shingles 1” 5.88 “Cedar Shingles 2” 5.89 “Cedar Shingles 3” 5.90 “Cedar Shingles 4”¬ 5.91 “Cedar Shingles 5” 5.92 “Dune Shack 6” 5.93 “Dune Shack 7” 5.94 “Dune Shack 8” 5.95 “Shingle Dimensions” 5.96 “Cottage 1” 5.97 “Cottage 2” 5.98 “Cottage 3” 5.99 “Cottage 4” 5.100 “Cottage 5” 5.101 “Cottage 6” 5.102 “Cottage 7” 5.103 “Single Shingle Coursing” 5.104 “Staggered Shingle Coursing” 5.105 “Interior Wall Shingle Construction” 5.106 “Shingle Construction” 5.107 “Beach Day” 5.108 “Entering Cape Cod” 5.109 “Anchored” 5.110 “Shingle Base” 5.111 “Shingle 1” 5.112 “Shingle 2” 5.113 “Shingle 3” 5.114 “Shingle 4” 5.115 “Shingle 5”
175 176 176 177 177 180 182 182 182 182 182 183 183 183 184 184 185 185 185 185 185 185 186 186 187 187 189 189 189 190 190 190 190 190 191
5.116 5.117 5.118 5.119 5.120 5.121 5.122 5.123 5.124 5.125 5.126 5.127 5.128 5.129 5.130 5.131 5.132 5.133 5.134 5.135 5.136
“Shingle 6” “Shingle 7” “Shingle 8” “Shingle 9” “Shingle 10” “Shingle 11” “Shingle 12” “Shingle 13” “Shingle 14” “Corten Bridge” “Modular Corten” “Corten Aging” “Corten Oxidation” “Corten Screening” “Corten in Nature” “Sculptural Corten”¬ “Experiential Rendering 1” “Experiential Rendering 2” “Experiential Rendering 3” “Experiential Rendering 4” “The Physical Aging of Memory”
191 191 191 191 191 191 191 191 191 192 192 192 192 193 193 193 194 196 198 200 202
6 | cultivation 6.1 “Smoke #8” 6.2 “Circulation Grid and Key” 6.3 “Plan 1A” 6.4 “Plan 2A” 6.5 “Plan 3A” 6.6 “Plan 4A” 6.7 “Plan 5A” 6.8 “Plan 6A” 6.9 “Plan 7A” 6.10 “Plan 8A”
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6.11 “Plan 9A” 6.12 “Plan 10A” 6.13 “Plan 11A” 6.14 “Plan 12A” 6.15 “Plan Model 3.1” 6.16 “Plan Model 3.2” 6.17 “Plan Model 3.3” 6.18 “Plan Model 4.1” 6.19 “Plan Model 4.2” 6.20 “Plan Model 4.3” 6.21 “Plan Model 5.1” 6.22 “Plan Model 5.2” 6.23 “Plan Model 5.3” 6.24 “Plan Model 6.1” 6.25 “Plan Model 6.2” 6.26 “Plan Model 6.3” 6.27 “Plan Model 10.1” 6.28 “Plan Model 10.2” 6.29 “Plan Model 10.3” 6.30 “Plan Model 11.1” 6.31 “Plan Model 11.2” 6.32 “Plan Model 11.3” 6.33 “Modified Base Grid” 6.34” “Plan 1B” 6.35 “Plan 2B” 6.36 “Plan 3B” 6.37 “Plan 4B” 6.38 “Plan 5B” 6.39 “Plan 6B” 6.40 “Plan 7B”
219 219 219 219 220 220 220 221 221 221 222 222 222 223 223 223 224 224 224 225 225 225 226 227 227 227 227 228
6.41 6.42 6.43 6.44 6.45 6.46 6.47 6.48 6.49 6.50 6.51 6.52 6.53 6.54 6.55 6.56 6.57 6.58 6.59 6.60 6.61 6.62 6.63 6.64 6.65 6.66 6.67 6.68
“Plan 8B” “Plan 9B” “Plan 10B” “Plan 11B” “Plan 12B” “Merged Grid with Final Plan” “Ship Structure 1” “Ship Structure 2” “Interior Ship Structure” “Ship Structure Assembly” “Futtocks Assembly” “Local Site Plan” “Axonometric Plan” “Master Site Plan” “Vehicular Entry 1” “North/South Section” “Central Axis” “Vehicular Entry 2” “Centralized Interior View 1 “Bicycle Parking Lot Entry” “Central Axis View” “Centralized Interior View 2” “Vehicular Entry; Review III” “Axonometric Plan; Review III” “North to South Site Section; Review III” “Central Axis View; Review III” “Parking Area Entry; Review III” “Interior Circulation; Review III”
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228 228
218 218 218 218
tables | figures | illustrations 3
7 | final deliverables 7.1 “Smoke #11” 7.2 “Final Board” 7.3 “Aerial From Beach | 7:00 am” 7.4 “Axonometric Plan | 9:00 am” 7.5 “Main Entry | 9:00 am” 7.6 “Entry Corridor | 10:00 am” 7.7 “Bike and Parking Entry | 11:00am” 7.8 “Interior Perspective 1 | 5:00 pm” 7.9 “Interior Perspective 2 | 6:00 pm” 7.10 “Interior Perspective 3 | 7:00 pm” 7.11 “Shingle Identification | 10:00 pm” 7.12 “Site Plan | 8:00 am” 7.13 “North to South Site Section” 7.14 “Shingle Infill Progression” 7.15 “Steel Structural Section” 7.16 “General Steel Connection” 7.17 “Cantilevered Steel End Connection” 7.18 “Final Model 1” 7.19 “Final Model 2” 7.20 “Final Model 3” 7.21 “Gallery Display”
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tables | figures | illustrations 5
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abstract context chapter endnotes
1.1 “Smoke 4”
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Marking Our Memories
The Experiential Phenomenology of Site, Space and Place Amanda Lauren Kraczkowsky May 2013 A Thesis Submitted to the Faculty of the Architecture Department in Partial Fulfillment of the Requirements for the Degree of Master of Architecture in Architecture Savannah College of Art and Design The thesis subjects the reader to an exploration of their own nostalgic library. The power and emotional hold a memory can have on an individual’s psyche can perpetuate a strong attachment and adoration of a place, creating a romanticized space in the viewer’s mind. The aim of the thesis is to explore the relationships the human mind impose upon space, how they measure quality of space by sensory perception and how individuals relate to the physical, psychological and emotional projections of their memories.
abstract 9
Our emotional attachment to a physical place and the
us feeling as though our memories are now obsolete.
consequential memories formed during time spent within
The nostalgic grandeur and romanticism we meld into
a space yield a psychological yearning for nostalgia
a previously existing time often leave us scrambling
and a desire to revisit an environment as it once was.
for answers as to why something that remains so
Experiences constituting memories live in a balance of
vividly beautiful in our minds has become foreign
how we remember them the moment they happen and
and ugly.
how they change over time, yet memories can seem
and emotional attachment introduces a conundrum
foreign or disheartening when we return to a particular
of a question; what power does a physical place
place and find it changed.
This physical change can
have in dictating our attraction to its boundaries and,
come from natural disasters, man-made destruction or
furthermore, what cognitive reactions do the changing
involuntary alterations, yet the impact we feel from the
of remembered places have on our subconscious?
changing of a space is often devastating and leaves
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The phenomenology of memory, nostalgia
context My thesis will aim to provide structured connectivity
adhered with a space and negate the often hostile feelings
between the design of a physical place and the
toward the changing of a beloved place. The research
psychological phenomenon of memories. I will analyze
I will conduct will reinforce the need for the creation and
the instinctual reactions of spatial impact and the mental
maintenance of, not simply ‘spaces,’ but rather places
processes by which this initial excitement is stimulated
that evoke powerful emotional attachment and the need
and will provide a design prototype to encourage
to return to an architecture language that ensures a
psychological gratification in a setting that can be readily
powerful sense of ‘place’ within our world of so many
modified over time.
By investigating what aspects of
altered, changed and vacant ‘spaces.’ A space can be
nostalgia are so joyous and why reactions to change
anywhere; a place is somewhere where the psychological
are frequently adverse, a prototype of architecture can
vigilance of memory and nostalgic power live and flourish.
be born in order to provoke the benevolent memories
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generation
fading
1.2 “The Generation of Memory”
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The generation of a memory is a relatable concept in every
Within our design strategies, we have the power to create
culture. Moments of time remain snapshots in our minds
places people remember, recollect and appreciate without
until they gradually fade away without our knowledge,
fading into the destructive consequence of forgotten
permission or recollection. Only when we seek to source
memory.
certain data do we realize the pain and discomfort
gatherings and experiences in our lives contribute to what
associated with the loss of a memory. A natural process of
we remember unconditionally because of the experiences
human nature, the idea of losing a memory seems foreign
obtained within their walls. We recognize the place and our
and unrecognizable to us. A scene as it exists before us
nostalgic aptitude recalls the memories buried within our
seems to remain unchanged to our psyche; the sum of the
memories. If we design with quality, character and respect
parts we remember seem to intertwine to create an strong,
to the generation of memories in mind, we create places
concrete and immovable whole.
that people remember and never forget.
Our childhood houses, first vacations, family
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generation
fading
regeneration
1.3 “Regeneration”
generation
fading
betrayal
1.4 “Betrayal
generation
fading
romanticism
1.5 “Romanticism”
generation
fading
idealism
1.6 “Idealism”
generation 1.7 “Fragmentation”
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fading
fragmentation
The ability to remember also introduces the concept of
If time goes on and the recollection of a memory was
diverged memory, or altered perceptions of an actual
lighthearted, a certain
scene. The five versions of altered memory to the left
nostalgia of the place; it will always be as beautiful as
show the mind’s ability to change and dissect a scene
it once was in the viewer’s mind. Furthermore, as this
when both an individual returns to the scene of a memory
romanticism festers, a sense of entitlement, superiority
and when they do not as years go on. First, the idea of
and
regeneration,
making them feel overwhelmingly particular to the scene
or the concept of returning to a site
romanticism
attaches to the
idealism can envelop the mind of the reminiscer,
in the same condition as the corresponding memory ,
they once enjoyed.
can yield pleasure, delight and an immense recollection
However, as time passes all memories have the ability to
of joyful nostalgia. The scene remains the same as the
fall prey to
original memory and the a level of gratitude is fulfilled.
pieces may be remembered, yet the threads that tie each
However, if a memory is countered by a change of the
together begin to dissolve and fall apart; this absence of
scene or the subsequent destruction of the memory’s
detail generates the terrible feeling of forgetfulness we all
physical source, a sense of betrayal envelops the mind
feel when a memory slips from our grasp. We can combat
creating a foreign, distant nostalgia of a place that once
this process in design; we must design for the regeneration,
was. The memory is a sham of the physical reality.
longevity and pleasure of the nostalgic memory.
fragmentation;
the individual parts and
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images
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1.1
Bonazzi, Stefano. “Smoke #4.” Stefano Bonazzi Personal Portfolio. http://www.stefanobonazzi.it/smoke-4. 2013.
1.2
[Image By Author] “The Generation of Memory.”
1.3
[Image By Author] “Regeneration”.
1.4
[Image By Author] “Betrayal.”
1.5
[Image By Author] “Romanticism.”
1.6
[Image By Author] “Idealism.”
1.7
[Image By Author] “Fragmentation.”
chapter bibliogrpahy & endnotes tables | figures | illustrations
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18
introduction the sensual element perception of space psychological impact conclusion chapter endnotes
2.1 “Smoke #10�
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responses to a place.
The psychological attachment
and emotional implications we impose on a place often create a nostalgic sense of admiration; a romantic vision of how we believe this place will physically conform to our memories for years to come. On the other hand, in some cases we perceive places with a negative denotement; their sights provoke memories and emotions we would prefer to sequester within the deepest reaches of our minds, where our senses still tingle with antipathy and negative repose.
In either condition, the predominant feeling a space imprints on our memory can control the subsequent experiences we emotionally internalize. When a psychological interaction between our perception of place and memory provokes an emotional devotion or distain, this ‘place’ doesn’t simply become an architectural mass with four walls or a secluded sandy beach, rather,
In
2.2 “Circulatory Progression”
the entirety of the human population, we are
aware of how exposure to an environment provokes, generates and enables emotional and psychological
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it becomes the foundation for a powerful mental phenomenon; the phenomenology of the spatial ensnarement of the senses.
introduction The internalization of these sensual recordings leaves
the power of anthropomorphic based design and the
an imprint on our memories, but even more so on the
consequential empowerment of its resulting space.
development of our imagination and the increasingly
Additionally, I will provide insight into the correlation
vague boundaries between what is real and what is
between powerful memorial experiences originating
romanticized by our psyche. In this section, the physical
from our interaction with space and those spaces
and psychological responses to a personally influential
conceived and designed for the human scale and
environment will be studied in order to exhibit why we
comfort.
feel such overwhelming attachment or fear regarding a
in design, our sensual development, memory affiliation
place and why our minds foster these internal emotions.
and bodily responses to a place can become enticing at
By means of analyzing studies of formidable space and
every turn of a path, but only if we design to enhance the
investigating the emotion we feel when encapsulated
connection of a place with the human scale.
With the correct proportional considerations
within a powerfully aesthetic mass, I will give proof of
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The physical response to a space can traditionally
technological disconnect asserted by the availability
be encompassed within the five standard senses –
of computers today, “The only sense fast enough to
sight, smell, sound, taste and touch. However, these
keep pace with the astounding increase of speed in the
response have become generalized and in most cases,
technological world is sight. But the world of the eye is
architecturally speaking, reduced to only sight and
causing us to live increasingly in a perpetual present,
sound in the experience of a place.
In particular, the
flattened by speed and simultaneity,” 2 further distressing
sense of sight has become the predominant form of the
the effect the sense of place has on the psyche by
sensual expression of the place, leaving us to negate
imposing so much pressure on the visual sense.
our other primal senses.
In The Eyes of the Skin: Architecture and the Senses, Pallasma expresses that “in particular, the contemporary city is increasingly the city of the eye, detached from the body by rapid motorized movement,”
1
undermining
the natural balance and authority of the connection the senses impose on a space. Furthermore, with the
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We simply don’t remember many places today because they don’t have a strong connective tissue to link us there – they lack connections to our empowered being and the stimulation of our imagination.
the sensual element In order to once again assimilate our senses within a
spatial quality reigned supreme until the intellectual
place or space, perhaps we must change our perception
Galilean era of the Renaissance sought to forego human
of the five ‘kindergarten’ senses we are taught in school.
emotional and feeling-centered design in pursuit of a
Within a powerful form of architecture we have the ability
more rational, geometrically based design. After a few
to experience these base senses, yet they can certainly
hundred years of further inducing this rational, diluted
be explored further in order to harness our interest in of
sensual premise, philosophers investigating space in
space. First, we must discredit the idea that spaces can
the 19th century, such as Georg Hegel, further sought
only be experienced in terms of sight and also it’s tag-
to limit “those senses which were organs of aesthetic
along counterpart, sound. Originating in one of the most
pleasure to sight and hearing, excluding touch, taste
powerful and philosophical civilizations, the academe in
and smell.” 4
ancient Greece recognized the importance of the body and its full multitude of sensory qualities expressed
Fortunately,
however,
other
philosophic
academics
through the concept of aesthetics,3 namely, including the
investigated the missing memorial link between these
inclusion of perception of space while considering spatial
spatial, rational designers and looked to restore the
design. This general premise of using the human form as
senses within a space by way of an adjusted grouping
a tool for measurement and ensuring anthropomorphic
of phenomenological sensual traits.
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J. J. Gibson’s work fundamentally exploited the need of the
denote a more body conscious form of receiving space,
phenomenological physical sense in a body of architecture.
often yielding the most memory-facilitating moments of
Furthermore, Gibson emphasized the needs of the human
spatial capacity.
body to touch the space, for “every touching experience of
24
architecture is multi-sensory; qualities of space, matter and
Investigating this reclassification of senses basically shuffles
scale are measured equally by the eye, ear, nose, skin, tongue,
our five existing senses into three existing categories and
skeleton and muscle,” 5 yielding an explanatory, sensory
two new, body-conscious hypersensitive categories based
phenomenology in the experience of a place.
Gibson
on touch. Vision and auditory reactions remain unedited
also felt the need to take senses out of their Renaissance-
(we are obviously aware of their presence regarding spatial
accepted, primal classifications and categorize them into
ensnarement) and taste and smell are combined because of
adaptations based on his observations of connectivity.
their connectivity for eating and appetite. Now, the basic-
These sensual categorizations can be broken down into
orienting and haptic systems allow the kinesthetic body
five sensory systems: the visual, auditory, taste-smell, basic-
sense to gain equal weight with their visual and auditory
orienting and haptic. 6 This reclassification of senses helps
counterparts. “Basic-orientation refers to our postural sense
of up and down which, because of its dependence on
without the same psychological regard. This kinesthetic
gravity, establishes our knowledge of the ground plane,”7
attitude towards movement and the remembering of
stimulating our sense of balance within our occupied
movement could likely be held to the same regards as
plane and simultaneously harnessing the power of all
vision and sound in developing both clear and powerful
other senses to consummate a sense of being within
memories; developmental muscular responses such as
a space.
In Body, Memory and Architecture, Bloomer
touching a smooth surface or the exertion of effort when
and Moore explain, “The haptic sense is the sense of
empowering the climb of a sandy dune or swim in the
touch reconsidered to include the entire body rather
breakwater could harness the same emotional response
than merely the instruments of touch, such as the
as seeing a place after fifty years.
hands. To sense haptically is to experience objects in the environment by actually touching them…Treated as a perceptual system the haptic incorporates… pressure, warmth, cold, pain and kinesthetics,”
8
all of
which were previously included in the sense of touch but
memory is about the internalization of the sensual moment on the viewer’s imagination.
25
Drawing further on the haptic sense of not only visual but also physical realization of a memory, we can recognize haptic touch’s rarity among the afore mentioned senses – the developmental responses we collect throughout our infancy and childhood create a unique, personal body image for ourselves that we use to measure and experience the world around us.
Bloomer and Moore
visual experiences serve to communicate those meanings back to the body…The discover of the self as an articulate delineated, and functioning entity occurs in early childhood, but the spatial forms of that discovery are carried into adulthood and serve, often unconsciously, as reminders of [a]…rich human identity.” 9
state: “The body image…is formed fundamentally from haptic and orienting experiences early in life. Our visual images are developed later on, and depend for their meaning on primal experiences that were acquired haptically… Thus haptic experiences which include the entire body give fundamental meanings to visual experiences, while
26
In short, we develop mentally throughout the entirety of our lives, yet not entirely through visual recognition and information processing as anyone naïve to the kinesthetic sense might infer. Bloomer and Moore defend that we orient ourselves with the world haptically in our young state to better engage the foreign nature of the immeasurable space around us. The haptic experience of immersing
perception of space 2.3 “Inevitable Shelter”
oneself in an environment, such as instances that wholly
force of the human condition – the all-inclusive power and
correspond to strong memories and imaginative responses,
creative entity of the human imagination. Bachelard finds
has the power to form our connotations of space from young
the connection, inferring that “indeed, the imagination
ages to adulthood. The idea that the visual response to an
sharpens all of our senses. The imagining attention prepares
environment or a single image can summarize the entirety
our attention for instantaneousness.”10
of our feelings towards a place is simply untrue – in order to provoke powerful memory retention and provide strong
The powerful grasping power of the imagination
connection between a past time and place, the power of
doesn’t simply take a picture of our instantaneous
haptic sensuality must be involved.
moment of memory, rather
power of the human psyche and the author of The Poetics
it harnesses the smells, the sounds, the entirety of the kinesthetic energy we direct towards harnessing a moment,
of Space, Gaston Bachelard, connects the power of sensory
increasing its powerful reminiscent attributes for our
memory and its perception with another fundamental
future years to come.
Further connecting the matter in regards to a more psychological perspective, the father of phenomenological
27
2.4 “Infant Awareness”
Additionally, now we are beginning to endeavor more
association, even the faintest memories can be drawn
into the psychological response of a space, where
out and brought forth from our imaginations.
Bachelard engages not only the physical kinesthetic
28
or visual senses, but also a combination of attributes
Now, shifting the study from a purely physical sensory
involving thresholds where “a whiff of perfume, or even
experience to a shared relationship with the psychological,
the slightest odor can create an entire environment in
Bachelard and Pallasmaa bring to light the connection
the world of the imagination… the psychologist carefully
between the adjustment of the five traditional senses and
determines the different thresholds at which the various
towards creating a new sensual experience rooted in the
sense organs go into actions.
kinesthetic connection to an environment.
These thresholds may
Pallasmaa’s
differ with different persons, but there is no contesting
conclusion of depth lies primarily in the basic-orientation
their reality.” 11 The idea that the engagement of not only
sector of touch, where “the only sense which can give a
one, but multiple senses can bring a memory back into
sensation of spatial depth is touch, because touch senses
the imagination serves to confirm the same thoughts as
the weight, resistance and three-dimentional shape of
Pallasmaa and Bloomer and Moore; with the right amount
material bodies, and thus makes us aware that things
of associative sensory stimulation and psychological
extend away from us in all directions.”12 And it is true - the
2.5 “Haptic Orientation”
confines of a space cannot be confirmed by simply
basicorientation allows us to draw the cooperation of all senses together to engage our physical selves and our imaginations in space. using one sense as a source, but this
one approaches a center of being.”13 This idea of ‘being’ is essentially an encapsulation of visual, auditory, tastesmell, basic-orientation, and haptic processing occurring simultaneously in cooperation with a psychological awareness of place.
A memorial space or place will
not manifest itself only in a visual or auditory sense, but rather it will ensnare the entirety of the memory when
Bachelard
further
confirms
this
bodily/imagination-
relating to the psychic interpretation of the place. The
based scale orientation in his own way, putting in
space’s feeling, its gravitational grasp and force on the
perspective the power of being as opposed to one-
being or person it affects, will originate in this physical,
stimulated sense, in this case vision, to rule the rest.
sensual response to the place of the memory’s origin.
He concludes “sight says too many things at one time.
In connection with this physical, sensual response, the
Being does not see itself. Perhaps it listens to itself. It
resulting psychological entrapment the place has on the
does not stand out, it is not bordered by nothingness:
mind of the being/person will become just as powerful,
one is never sure of finding it, or of finding it solid, when
individual and pragmatic as its bodily-based counterpart.
29
30
Transitioning now to sensory perception’s psychological
our bill do we notice the tacky checkerboard tablecloths,
impact on the psyche, we see a similar interpretation
the paint cracking from the walls, the dirty fork on our
of how spaces leave their mark on the viewer/visitor
napkin. The blissful atmosphere of this place has made
but almost in a broader, more ethereal way than their
it a space that foregoes the details in order to ensnare
purely physical counterparts.
our sensory perceptions.
Perhaps the simplest
Pallasmaa relates us back to
quote from Pallasmaa begs us to realize, “atmospheric
these modified senses and continues to articulate “the
characteristics of spaces, places and settings are
very essence of the lived experience is moulded by
grasped before any conscious observation of details
unconscious haptic imagery and unfocused peripheral
is made.”
vision.
14
This observation is as true as saying only
Focused vision confronts us with the world
one sense can accurately describe a place – because it
whereas peripheral vision envelops us in the flesh of
can’t. Let’s take a simple restaurant. We notice smell
the world.”
immediately - the enticing aroma of what we’re about
the restaurant through a conscious perspective, with its
to order, the succulent taste of the meal we enjoy, the
dirty forks and tacky décor and crumbling paint – you’d
joyous movement of dancers, the frequent laughter of
walk out before even allowing yourself the chance to
friends out to dinner, families chattering away, children
experience its unconscious joviality, rich cuisine and
singing in the corner – and only when we stop to pay
physical energy.
15
So back to our analogy – if you had seen
psychological impact In terms of recalling the physical space of an emotional
Pallasmaa’s treatment of the interaction between our
memory, our highly acute five (adjusted) senses allow us
conscious
to harness the psychological power of our imaginations
(perception/memory and imagination) showcases the
to relive our joyous memories. In order to recall these
connection between the seemingly individual mental
mental images from the storage system of our psyche,
processing tools we use to spawn spatial recognition.
we must acknowledge that following:
We might often link perception and memory as a couple,
and
unconscious
internal
counterparts
for with both we create moments to revisit throughout
Perception, imagination interaction;
memory and are in constant
time while we daydream.
But daydreaming, an
activity highly advertised by Bachelard, poses another
the domain of presence fuses into
interesting gravitational force on our psyche – because
images of memory and fantasy…In memory experiences
our memories can only house marginally concrete
of architecture, space, matter and time fuse into one
relationships of spatial connections17 and are never
singular dimension, the basic substance of being, that
exactly true to how we remember them, what happens
penetrates our conscious.
to our perception of our memories when we can no
We identify ourselves with
this space, this place, this moment and these dimensions
longer remember the details?
become ingredients of our very existence.16
31
We may remember a boardwalk, a fence post or a campsite
making the personal connectivity to a place more special,
but the only true, concrete recollections we will have of a
more affirming and more dedicated to the psychological
memory are the sensual perceptions we unconsciously
and unconscious high that is felt when we experience a
gather while at that space. Therefore, we use the remaining,
blissful visual, auditory, taste-smell, basic-orientation and
most powerful tool in our mental arsenal to fill the cracks
haptic sensory experience.
and voids of our spatial memories. We don’t use our
32
perception of what we still can manage to remember, but
In the previous pages we have examined the wrongful
rather it is our imagination that fills in the ambiguity of these
naïvety our culture places on a dominance of vision as the
voids. This contemplation of memory and the fusion of the
prime sense of spatial interactions. Yes, vision is surely a part
imagination’s power in our once-perceived environment
of the entire picture of the experiential quality of a space and
leads to realize a major conclusion of our psyche; we fill our
has been pointed out in the philosophers of the Western
forgotten or damaged memories with a mortar containing
world for a few thousand years18, but its connection only to
bits of what we want to remember and romanticized
the ocular response is lacking and ineffective at portraying
notions of what we perceptually feel within a space. This
the enveloping qualities of space. A much more effective
romanticism of memories is the imagination’s way of
response to this ocular centric mentality would follow
conclusion similar paths of our argument – how does the movement
they leave on our memory. In order to recall them, we
of the human body about and throughout a space aid
draw upon the help of our imagination to once again
in anthropomorphic understanding of a space, place
fill us with the same joy and nostalgia we felt the last
and architecture and, furthermore, how do our mental
time our physical senses were able to interact with the
stimulations and physical senses portray an accurate
environment. Places where we feel sheltered, at home
description of the phenomenology of a place.
and happy often receive more infill of cheerful attributes, while places that feel ambiguous or leave us feeling
For humans, “the world is reflected in the body, and the
unattached provoke a nonchalant impression on our
body is projected onto the world.
memory.
We remember our
What is certain about the phenomenology
bodies as much as through our nervous system and
of human remembrance is this – “the sense of self…
brain,”
permits us to engage fully in the mental dimensions of
19
yielding a both a physical and psychological
attachment and impact on our perception, memory and our imaginations.
the dream, imagination and desire,”20
From these observations, the
romanticism of our memories and space comes from the five altered senses and the unconscious statement
33
34
1.
Pallasmaa, Juhani. The Eyes of the Skin: Architecture
and the Senses. 1st ed. John Wiley & Sons, 1996, 32.
2.
Pallasmaa, 24.
3.
Bloomer, Kent C., and Charles W. Moore. Body, Memory
and Architecture. 1st ed. Yale University Press, 1997, 23.
4.
Bloomer, 26.
5.
Pallasma, 45.
6.
Pallasma, 45. Bloomer, 33.
7.
Bloomer, 34.
8.
Bloomer, 34.
9.
Bloomer, 44.
10.
Bachelard, Gaston. The Poetics of Space. First ed.
15.
Pallasma, 14.
Beacon Press, 1994, 87.
16.
Pallasmaa, 72, 76.
11.
Bachelard, 174.
17.
Bachelard, 9.
12.
Pallasmaa, 46.
18.
Pallasmaa, 19.
13.
Bachelard, 215.
19.
Pallasmaa, 49.
14.
Pallasma, 15.
20.
Pallasmaa, 13.
chapter bibliogrpahy & endnotes tables | figures | illustrations
images 2.1
Bonazzi, Stefano. “Smoke #10.” Stefano Bonazzi Personal Portfolio. http://www.stefanobonazzi.it/smoke-10. 2013.
2.2
Moore, Charles W. “Upright Celebrants Move Under a Gabled Roof .“ [Retitled by Author] Body, Memory and Architecture. 1st ed. Yale
University Press, 1997, 12.
2.3
Moore, Charles W. “The Cave was the Womb of Mother Earth “ [Retitled by Author] , 12.
2.4
Bloomer, Kent C. “The Infant Experiences A Fusion of Body and the Environment.” [Retitled by Author] Body, Memory and Architecture.
1st ed. Yale University Press, 1997, 38.
2.5
Bloomer, Kent C. “We Unconsciously Locate Our Bodies Inside a Three-Dimensional Boundary.” [Retitled by Author] , 37.
35
36
introduction humanity as architecture materiality, space and time; the human connection a place to remember; spaces within the dimension of time
anthropomorphics as architecture; intimacy as architecture; materiality as architecture; community as architecture; memory as architecture;
The
The Parthenon The Villa Rotunda The Barcelona Pavilion Grand Central Terminal Vietnam Veterans Memorial
conclusion chapter endnotes
3.1 “Smoke #5�
37
response to the particular space we recognize.
In the study of architecture, we have come to recognize how our success in making a ‘place’ within our built environment depends on the engagement of haptic imagery and physical connection - our visual, auditory and the various other senses - but what exactly does it take for the soul of the architecture to capture our attention and enthrall us within its being?
Furthermore, why
does architecture provoke positive or negative feelings
It
38
3.2 “The Encroachment of Memory”
depending upon its construction, materiality, orientation, hierarchy of space and attention to ornament and detail?
is undeniable how places evoke physical,
With each truly great architectural space we enter we
psychological and emotional feelings within our bodies and
sense a presence of ourselves within the environment,
psyche, from the direct epicenter of physical activity to the
but what exactly is it about a particular space that holds
distant boundaries that escape the grasp of our memories
our attention? Is it the lighting, the intimacy between
and wander deep within the creative reaches of our
scale and proportion; is it The architecture that most
imagination. This quality of remembrance can be related to
often captures our attention, adheres simultaneously
a memory of any place - from a home to the deepest reaches
with the engagement of our senses and bewitches our
of the wilderness, from a high rise to a barren desert – the
perceptions of place is the architecture that showcases
ability to remember a place based on emotional perception
an unequivocal element - living the human experience
and personal memories can trigger a powerful, enveloping
as architecture.
introduction
the forced nature of a structure’s circulation or the ability to roam freely about a place? There is a fundamentally wholesome, resounding atmospheric phenomenon that engages our souls with a well-contrived space.
Places that gain notoriety and fame are hardly ignored – their presence becomes means for study, dissection and interpretation of spatial quality.
In this section, I will explore the enigmatic design
Consequently, many of the buildings we will address in
strategies that engage our mind and analyze various
the coming pages articulate a sense of place by means
outstanding architectural works of built form that house
of physical, psychological and emotional stimulation.
auras of emotion and feeling within the confines of
However, the most powerful built works have a
their walls – places that encapsulate the thrill of our
common resounding element, an element by which we
imaginations far within the deepest reaches of our minds.
subliminally judge a structure based on its quality of spatial interjection.
39
I have already paid detailed attention to the ways in which we perceive space. In order to promote a better architecture, we must adhere to the sensual properties of the five adjusted senses of perception, namely, visual, auditory, taste-smell, basic-orientation and haptic relation. In order to engage the sensory experiences of our directional senses – verticality, horizontality, materiality, gravity and weight1we must engage the user by means of measurement and perception with their own bodies. The reason so many famous architects gain notoriety for their work and don’t become lost in the obsessive rhelm of personal identity or commercial glorification is because of this attention to detail at the human and personal scale. Pallassmaa gratifies the work of progressive humanist in architecture, articulating the quality of work in “the kinaesthetic and textural architecture of Frank Lloyd Wright, the muscular and tactile buildings of Alvar Aalto, and Louis Khan’s architecture and gravitas,”2 citing the importance of the human relationship to the built environment. Without this physical relationship, the user cannot engage with a space in the psychological 3.3 “Anthropomorphic Measurements”
40
and emotional ways the original design was intended.
humanity as architecture
The magnitude of importance architectural elements
As Goldberger identifies,
impose on a space, whether they be proportions, materiality or hierarchy, directly relate to the resounding
“Architecture depends for its effectiveness on the extent
impact the architecture has on the user. In generating a
to which the proportions of a structure relate to one
fresh perspective on how to build effectively and to best
another and to the whole, and also how they relate to
impact the phenomenology of the user’s experience, we
the human form. Every building connects to the way the
must consider the beneficial and negative impacts certain
eye perceives both space and composition.
qualities of pre-existing architecture have on their users.
else may contribute to the way we experience it – the
The buildings of the past have taught us a fundamental
way it relates to memory, the extent to which it functions
lesson -
smoothly or not, the degree of physical comfort it offers
when we design for the human body, we relate to the space indefinitely.
Whatever
– our relationship to a building almost always begins with the way it looks.”3
41
3.4 “Textural Integrities”
42
When we impose ourselves as a direct means of proportion
to the building as an object, or, even more fundamentally, a
into the façade or composition of the building, it best
built extension of the human self. The level of intimacy, the
makes sense when it reflects our biological composition.
proximity and distance and scale architects obsess about,
Verticality, namely the stance of the mobile, erect human,
is far more than scales and dimensions of the architecture.
indicates a sense of liveliness and movement as opposed
The extension by which we view a building or structure is
to low, non-descript facades made entirely of horizontal
an extension of our personal bodily scales projected on the
or low-lying lines of sight4. When the physical reality of a
mass itself – we take notice of its shape, size in contrast to
building, in its relationship to the anthropomorphic form
ours, and perhaps even more rudimentary elements such
and reflected by its outward shape, can enthrall us with
as doorknobs, casework handles or fixtures – allowing us to
its views at every turn - its top, bottom, numerous sides,
feel an intimate relationship with the building’s bones and
facades and objective qualities5, we view its composition
beauty.6 Furthermore, there’s a particular feeling about the
as a physical object just like us – an object to relate to and
coherence of a building, namely, the way we understand its
engage with, as with another human being. The physical
parts and the summation of its whole being. This natural
architecture is the human experience.
observation leads us to impose ourselves within the form as
In further regards to anthropomorphic attachment, we relate
“we apply ourselves to all…other things. To sound, noises,
3.5 “Anthropomorphic Scales”
materials, construction, anatomy, etc.
The body of
However, many of the buildings that exist today are
architecture, in the primary stages, is construction,
devoid of any interaction to the human psyche and the
anatomy: putting things together in a logical fashion.
imposition of the human form on a space. As is the case
These are things we apply ourselves to, while at the
in so many cold, alienated modern buildings,
same time keeping our eye on place, and on use.”7
“the loss of tactility, measures and details crafted for the human body – and particularly for the hand – architectural
When we can associate a building’s anatomy to that of
structures have become repulsively flat, sharp-edged,
our own, we find comfort in its confines and appreciate
immaterial and unreal. The detachment of construction from
the connection to our own biased anthropomorphic
the realities of matter and craft further turns architecture
preferences and proportions.
into stage sets for the eye, into a scenography devoid of the authenticity of matter and construction.”8
We don’t only want to experience the architecture; rather we desire to see extensions of ourselves in its likeness.
The available technology we incorporate in the building strategies of the modern era (not modern as in modern architecture, but by the standards of the present) are so
43
heavily relied upon by computerized design it can virtually
quote in his Atmospheres lecture) “perhaps it has
(pun intended) disintegrate the knowledge thousands of
something to do with love.
years architectural design has imposed on the world.
surrounding buildings, and I suppose I love it when
The virtual worlds of computer-aided design programs
other people love them too. I have to admit it: it would
render it possible to view an imagined space by means
make me very happy to have made things which other
of cameras and viewports, yet the feeling of human
people love.”10 It’s almost enough to bring a tear to your
scale is unfortunately denied in order to explore the
eye. A computer can’t love; no matter how much you
mock environment inside a screen. I am not saying that
chat with Siri on your iPhone, she can’t love you back.
technology is an evil, for its benefits often far outweigh
There is a certain love within creating a building for the
its overbearing grasp on modern design. Yet we should
masses to enjoy, similar to the love a mother exerts for
reserve its use in order to build more efficient buildings,
her children’s future or a humanitarian exerts for their
such as exploring vernacular materiality, green systems
cause – when compassion, consideration for the user
and more sustainable prototypes for future generations9
and the space and attention to beneficial societal impact
while embracing these cherished methodologies of
are drivers for architecture – the resulting building can
correct proportion and technique from the past.
be the most embracing of all.
I love architecture; I love
Zumthor indicates this missing connective element, impossible to harness with technology alone, in his perfect explanation of forming the most empowering human environment. He explains, (through my favorite
44
We build for the human experience and live through our architecture.
materiality, space & time; the human connection Quite often in architectural design, the materiality is the
application of materiality, albeit through the structure alone
driving force of the architectural composition; whether
or applied surfaces, produces a psychologically moving and
the material is the inspiration for a hierarchy, spatial
unique space, complaisant with human interaction and
configuration or other means of artistic expression, the
enjoyment.
rawness of the visual appearance of a surface can provoke haptic delight or utter distaste within a space.
This
Materiality is often exemplified as the driver for a specific
concentration on materiality exhibits how the aesthetics of
work – the tactile concrete in Kahn’s Salk Institute in La Jolla,
a structure and its form maintain a symbiotic relationship of
the glass and steel intertwinement of Foster’s 30 St. Mary
unity and dependence; “form and scale and proportion and
Axe in London, the marble entasis of the columns in the
texture say far more about the success or failure of buildings
Parthenon – yet today we focus so little on the materiality
than the stylistic associations we apply them. Mass, scale,
of a place, it might as well be one of our lesser priorities
proportion, texture, not to mention a building’s relation
for design. In my next point, I issue a disclaimer – I am
to its surrounding context, the materials with which it was
not defiling the lessons and styles of modernism, yet it is
built, and the way it is used, all mean more than style.”11 The
evident that in most cases its materiality is devoid of human
45
46
3.6 “Light Eclipsing Brick”
3.7 “Knots and Bends”
interaction; the structure serves as a medium to expose a
undermining the very value and life of the materiality.
concept, idea or lesson, foregoing the human relationship
We have already discussed that when we look to
with natural materiality and embracing an industrial
architecture, we see an outward project of the human
perspective.
form, yet when a material does not age, the association
This being said, modernism gave us glass and steel
of human life to the structure is inevitably lost. How do
– items used sparingly during the past thousands of
you tell when a piece of glass is old? Glass from a New
years of architectural construction– but they are now as
England whaling village window will surely be seen as
commonplace, or even moreso prevalent, as the brick
old to a visitor, but in the age of soaring skyscrapers and
townhouse or a wooden barn.
Pallasmaa reinforces
glass without limits, architecture of this era has become
“the machine-made materials of today – scaleless
stagnant for plausible development in the future.
sheets of glass, enameled metals and synthetic plastics
However, secularly, older materials - materials that age
– tend to present their unyielding surfaces to the eye
as we do - soften appear timeless and universal even in
without conveying their material essence or age,”`12
their older age.
3.8 “Veins in Marble”
3.9 “Iridescent TIle”
We value masonry for its calcification, wood for its darkening
We stimulate memory and human interaction in a space by
in color, stone for its chipped pieces.
communication through the materials used. In comparison to these cold, man-made materials, “Natural materials –
life in materiality instills life within the architecture.
stone, brick and wood – allow our vision to penetrate their surfaces and enable us to become convinced of the veracity of matter. Natural materials express their age, as well as the
In relation to memory and nostalgic remembrance, perhaps
story of their origins and their history of human use.”13 The
the identity of a structure’s history lies alongside the
natural materials we associate with more warm, welcoming
materiality of a place. The hermetically sealed white walls
buildings help fuel our recollections of memory and space
of a hospital, the unfeeling glazing of a skyscraper and the
– natural materials grant justification for our place in time
coldness of steel do little to empower our memories in a
and history unlike the ‘timeless’ modern materiality which
benevolent manner. In fact, all three of these materials seem
showcases little character.
cold to us, both in their haptic sense and physical demeanor.
47
3.10 “Prismatic Pyramid”
3.11 “Structural Integrity”
Drawing from our understanding of reality in materiality,
that is still fundamentally a two-dimensional experience.
we can now begin to consider how the human psyche
Space adds a third dimension, and movement through
perceives the entirety of a space rather than simply in
space brings yet another dimension to the experience, the
a visual snapshot of what the structure or coverings
fourth dimension of time.”14
consist of.
Materials are mere ‘things,’ but space itself
involves the accumulation of numerous dimensional
The dramatics of spatial circulation - ranging in changes of
traits, traits that enrich our experience inside its walls.
hierarchy, height and importance of programmatic use, to
Evolving from the fundamental aspects of materiality,
the drama of experiential movement - can all be appreciated
Goldberger fluently illustrates how
through this relationship of composition, space and time. We don’t just look at buildings; our natural inclination is to
48
“Architecture reveals itself in stages as we move toward
inhabit them. This inclination to inhabit the space left by
it, and then space unfolds in stages as we move within it.
the voids in the structure - whether it be a large frame that
We may talk about proportion and materials and scale and
excites its inhabitants or frightens them with the sublime
composition when we stand still and look at a building, but
sense of scale, or a small frame that provokes spatial
3.12 “The Solid and the Void”
intimacy, or in others clausterphobia
- is a major
architecture truly is an art in its fundamental principles.
reason why we enjoy the enigmatic qualities of spatial
Stemming from the title of master builder in ancient
immersion and structured organization.
The same
times, to master mason, to architect, the knowledge and
space may harbor completely different emotions for
artistic ability involved in contriving an engaging space
different individuals based on their personal preferences
is unfathomable for those outside the profession.
15
for security or openness within the space, but we all can appreciate the structure that houses these enveloping, differentiating thoughts.
In all its complexities – the organization of space, the materials applied, the massing achieved, the hierarchical
An architect must, in essence, make a beautiful ‘thing,’ make the ‘thing’ stand up (and stay standing), help construct the ‘thing’ and instruct its users on how to use it.
relationships, the intimacy of a structure – architecture presents itself to be a drastically different practice than
This final point, the instruction of use by the architect, lies
other means of art. I say art for a specific reason, for
in the appreciation of the spatial character in architecture.
49
Zumthor indicates his view of the architect’s ‘job’
the world of architecture abounds in successful and
- to engage the user with a space by way of a sultry
inspiring examples of that extension.”17 I say again, not
composure and seduction. He argues, “It has to do with
to discriminate against modern architecture but rather
the way architecture involves movement.
Architecture
to revert to the instinctual human qualities of buildings
is a spatial art, as people always say. But architecture
and, consequently, remembrance, we must engage the
is also a temporal art…that means thinking about the
human physical and psychological element within our
way people move in a building.”16 If you can inspire
creations as to engage the user’s interest. The zeitgeist
the circulation with the architecture, you can inspire the
of modern architecture, building in order to promote a
user’s ability to remember, impact how they perceive
specific idea or to make a specific point to humanity,
spaces as beautiful, and treasure their capacity of
must give way to the necessary connection of the human
immersion.
form to the built form. In order to regain this connectivity to our architecture, we must identify the missing links to
Fortunately,
we
have
an
architectural
history,
the human identity. “This missing links, we submit, are
anthropomorphic in nature, which is ever-present across
the vertical ones, which connect connect our bodies with
our cultural landscape. “The landmarks and order of our
earth and sky and allow us to feel ‘centered’ and in place
bodies create a basis, comprehensible by everyone, for
and therefore able to relate effectively to other people.”18
the extension of human identity into our environment…
50
Among our previously mentioned humanist elements –
materiality, space, time, hierarchy, etc. - when we connect the missing links of verticality, we connect with the place, our people and our environment.
place – comes from these additional dimensions of architectural appreciation – space as the third dimension of expression¬ and the fourth as the expression of the space through time.
Time can be relative in
terms of our experience in the here-and-now but the nostalgic memory we grasp from a place through the architect’s implementation of circulation, materiality or
The most powerful works of architecture express
anthropomorphic connectivity can have a lasting hold on
their artistic language to the world by means of all
the pages of history forever. One thing is certain – when
the elements we previously encountered.
Massing,
a space is designed to account for artistic enjoyment,
spatial configuration, materiality, proportion, scale and
physical and psychological connectivity, it undoubtedly
composition play an integral part in two dimensional
becomes a place to remember.
expression, but these qualities are generally only
The coming analyses are considered from all times and
appreciated
experienced
places – regardless of their connection to the ancients or
scholars who understand the magical encapsulation
their endeavors explored by modern architects – and are
that comes from a façade elevation or brilliant plan.
included to discuss how the correct organization of parts
The needs of the user – the way we all experience a
can impact a building’s whole experience.
by
other
architects
and
51
anthropomorhpics as architecture; The Parthenon Beginning with a place explored time and time again for its
Before diving immediately into the building and beginning
roaring dialogue of western classicism, ancient structural
with its surrounding context, the site of the Parthenon is
appreciation and connectivity to the body and experience
brilliant within the landscape. Bounded by a multitude of
of arrival, one is often keen to explore the architectural
different landforms - mountains, sea and at the top of a
brilliance of the Parthenon. The Parthenon is especially
hill - the stage is set for a fantastic celebration of arrival
powerful, of course for its construction in brilliant stone, but
for any patron lucky enough to cross its entry pathways.
more so to “memories within Western culture…this is where
In its connection to the human scale, it is even more
Pericles delivered his funeral oration, where art overcame
brilliant. “The Acropolis, is a perfect citadel: its flat top
politics and destroyed an empire, and where the decisions
is big enough for human interaction, set apart from the
which launched and collapsed the golden beginnings of
city below and yet in command of it, strongly defensible
Western civilization were made.”19
against hostile outsiders, and just enough of access to make the uphill path seem a very special event, a quest
52
If there were every a prototype for designing for the
in fact.”20 Before the building is even considered a part
memory, the Parthenon would be the gold-star-standard.
of the experiential equation, the site must envelop the
a place to remember; spaces within the dimension of time physical context of the built environment. The precarious
the “columns, cut from marble, [which] bulge out just
perchedness of the Acropolis sets the tone of a monumental
slightly, possibly suggesting to the human observer the
experience, a setting quite different than stumbling across
feeling in his own muscles that he knows from holding
the twisting narrow roads of the nearby Athenian city.
aloft a burden...the columns‌lean slightly inward, as
To engage the user, the circulation must prove exciting.
people would, to enhance the sense of stability of the whole building.�21
By channeling the way the human
form supports an overhead load (as seen also in the The other encapsulating aspect of the Parthenon lies
Erectheion by way of Caryatid columns), the architects
in its materiality, a concept we have spoken about
gave visitors and worshipers a means to relate their own
at length.
The marble used is exquisite, yet the
bodies to the colossal structures in front of them. The
techniques employed to create a sense of human place
columns would appear (and still do today) as massive,
within the structure exhibit an even more emphatic
soaring bodies above the heads of patrons, yet their
relationship to the user and the structure. In this case,
overall demeanor depicts the relationship between the
the anthropomorphics are most obviously sensed in
human body and the architecture.
53
3.13 “The Parthenon as a Vector”
3.14 “Antiquity with Entourage”
This extra-sensory perception the Parthenon grasps
of anthropomorphic tendencies in the structure of the
over its users can even be considered as some sort of
building itself. The Parthenon surely classifies as a work
built divine power, for “after all these centuries it is still
of built excellence and more so as a work of memory –
the closest mankind had come to a building which unites
for although many consider its presence as a memorial to
the human body and the divine.”22
those who built its columns and the patron saint Athena of its neighboring city, Athens- the Parthenon also exhibits
In all of its extra geometric perfections, the organization of the surrounding buildings and the perfect placement atop its processional site, the Parthenon enhances the architectural experience by a near perfect interpretation
54
the precarious power of forcing us to remember its presence within the psychological confines of our memories.
3.15 “The Parthenon”
55
intimacy as architecture; The Villa Rotunda
Is there any way to address the concept of a modern interpretation of the ancients without addressing the Villa (Capra) Rotunda by Andrea Palladio? It’s a structure nearly
anthropomorphic conscious spatial configuration and its appreciation for the human mass within the space;
impossible to ignore. Its complex yet highly rationally organized plan and careful attention to vistas and geometry
we are connected to the size, mass and gravity of the
lead us to appreciate its composition, the relationship
structure22 because of the way it reflects scale-conscious
of its hierarchies and the connection with the user to the
proportions back to us, its users. In comparison to the
environment. However, different from the colossal scale of
Parthenon, a structure almost entirely grounded in its
the Parthenon, the Villa Rotunda pays homage to a smaller
exterior massive, overarching architectural experience,
scale of human connection, namely, the level of intimacy.
“Palladio’s Villa Rotonda…is huge, monumental, but when [we] get inside it [we] don’t feel intimidated at all – [we]
Zumthor
56
attributes
the
Rotunda’s
success
in
its
feel quite sublime…Instead of intimidating [us], these are
3.16 “Villa Rotunda Longitudinal Section”
3.17 “Villa Rotunda Transverse Section”
surroundings that somehow make [us] feel larger, allow
Because of this attention to detail at the human level,
[us] to breathe more freely…[In the Villa Rotonda we]
transitions of space and organization intended for
find both extremes. So you can’t say big is bad; it lacks
the pleasure of the user, the Villa does not become a
a human scale.”23
daunting, four-pointed behemoth of a building, rather it becomes a place where the penetration of light, the
Within the Villa, we experience so much in terms
light, cardinal orientation and directionality, materiality and overall spatial envelopment. of
echoing of the sounds of nature and the smooth, sensual touch of the marble become emotional connections that ground us to its confines. “The view is that a human scale has to be more or less the same size as us. But
The mere size of the building and its architectural
this is not so easy.”24 These elements of connectivity to
attributes could appear to be far too large if the interior
the human scale and emotional liveliness establish the
spaces were not considered correctly.
Villa as a place to remember because of its connections,
57
3.18 “Villa Embarkment”
3.19 “Villa Plan”
in, but the connections to the physical scale and haptic sense of touch.
The building may appear large in scale to us, both at a distance and up close, but we are grounded by its intimate considerations in materiality and scale. 3.20 “Villa Volumetrics”
58
3.21 “Interior Ornament”
3.22 “Atop the Hill”
3.23 “Into the Light”
3.24 “The Gathering”
59
materiality as architecture - The Barcelona Pavilion Though
modernism
bad
regardless of its size, scale, mass, shape or orientation
visual reputation in the form of public or community
– no matter where we are in the world. Mies’ take on
architecture,
van
the structure illustrated a far more extremist concept of
der Rohe solidly confirms the presence of modern
building, simply, not how to define a space but how to
architecture in this conversation of specific architecture
make use of an abstract punctuation of walls, views,
we remember. Constructed for the Germany during the
orientation and circulation with unbelievably complex
1929 International Exhibition in Barcelona, the pavilion
and rich choices in materiality.
gained interest and notoriety previously unseen in
For all of our talk on the integration of materiality and
response to a work of modern architecture with such
human connections, this work by far exemplifies the
the
is
often
Barcelona
given
Pavilion
such
by
a
Mies
an unbelievably abstract composition – an architectural prototype more reminiscent of Japan than the majority of structures in western architectural history. We that know space exists everywhere, we are always in a space -
60
power of material mixing, contrast and harmony that creates such an emphatic work of architecture and brillaint work of art.
3.25 “Material Friendship”
3.26 “The Tenacity of Light”
For all of our talk on the integration of materiality and
anywhere to convey a sense of richness and luxury amid
human connections, this work by far exemplifies the power
great restraint.”25
of material mixing, contrast and harmony that creates such
By way of mixing the use of natural materials with
an emphatic work of architecture and, by extension, work of
man-made modern materials, Mies created an entirely
art. Goldberg describes Mies’ Barcelona Pavilion as
unexplored
form
of
architecture,
showcasing
rich,
lush, enigmatic marbles and smooth, static concrete in “a sublime composition of glass, marble, steel and concrete,
comparison with the sleek coolness of glass and steel in
arranged to appear almost as if the elements were flat
order to envision a new compositional, materialistic art
planes floating in space. The white, flat roof and the walls of
of building.
green marble with stainless steel columns in front of them combine to have an immense sensual power, a tiny exhibit
In addition with his severely open plan of seemingly limitless
pavilion in which you feel an entire world of continuous,
open space, articulated by the insertion of walls and
floating space, and one of the first modern buildings
columns to define structure and frame specifically desired
61
3.27 “Planar Layering”
views, the hybrid set of materials yields an unprecedented
3.28 “Translucent Yet Opaque”
materiality is the medium for an idea
communication between materials of the past and present. Marble and concrete, materials used to make the great monuments of history such as the Parthenon and the Pantheon, come together with glass and steel, the illusive and sleek materials of the new limitless skyscrapers seen in cities regardless of their vernacular language, to engage in a communicative relationship that somehow yields a work of art. Mies’ understanding of materiality and its connection to the framing of space helped produce both a work of art and architecture – the
62
the materiality’s richness for the haptic senses allows us to relate its artfulness to the level of a painting, an act of human expression we
3.29 “Expression of Vernacular”
3.30 “Interior Environment”
3.31 “Art Within Materiality”
3.32 “Reflecting the Planar Canvas”
63
community as architecture; Grand Central Terminal If you ask an engineer why they like Grand Central, they’re
evoking heavenly bodies and producing an ethereal
going to tell you ‘because it works like it’s supposed to.’
feeling as one emerges from the underground to midtown
The circulation is enigmatic, organized and works for
Manhattan. But there’s an overarching theme to these
getting trains and people in and out of Manhattan as
observations as well as something Grand Central offers
efficiently as possible without major congestion or delay.
as a retribution to Manhattan for taking up over 48 acres
If you ask a tourist or a New Yorker why they like Grand
of valuable real estate – the sense of pride, community
Central, they’re most likely going to tell you ‘the ceiling
and connectivity Grand Central provides New York to
is amazing’ or ‘the outside is unbelievable when they’re
itself and the rest of the world.
not restoring it.’
64
The interior appearance – especially
the ceiling - is surely something to be reckoned with –
“The main concourse of Grand Central Terminal is a
the minty green sky with gold leafed stars, the enigmatic
kind of public square for New York, a railroad’s gift to the
movement of the architecture as your eye is drawn up
city…which [uses] the traditional elements of classical
and around, similar to that of a well-designed church,
and Renaissance architecture to create [a] beautiful and
3.33 “Beacon of Arrival”
3.34 “The Circulation of Community”
great space is used both to allow vast numbers of people
experience once the destination is reached.
In New
to move easily and also to enhance the ritual of arriving
York, the immersion from the belly of the city, upward
and leaving the city by housing it with the appropriate
through staircases of varying materiality, from steel
ceremony. Grand Central is the city’s symbolic front
to concrete to marble, one eventually ascends to the
door....”26
ground floor of the terminal, basking (if by day) in the light that penetrates the glorious rising clerestory and
By means of organization, circulation, materiality and
massive windows along the barrel vaulted structure.
connectivity within the interior of the structure and the exterior of the city, Grand Central Terminal invites the user to use the architecture as a mechanism for their own processional arrival. The feeling is similar to that of the processional to the Acropolis in Athens – the delayed time of arrival enhances the richness of the
It’s almost magical the way the light shines on those gold-leafed stars on the ceiling.
65
3.35 “Grand Central Panorama”
By means of engagement with the bustling interior and, by correlation, the even more bustling and enigmatic quality once a user reaches the exterior, the user is truly engaged with the spirit and lively energy that is found in Manhattan. As opposed to arriving at an unnamed, dingy bus station in some desolate part of Brooklyn, the passenger arrives at the station with an anticipatory sense of drama while underground, relying on the architecture’s imposed path to guide them from the cold, dark subterranean tunnels to the light, airy lobby of the main level. This path thereby enriches them with the grandeur of New York in their ascendance upward – they become part of the New York City experience.
66
3.26 “From the Belly of the Beast”
By extension – the architecture of Grand Central Station creates a branch from the user of the station to the community of New York through dynamic circulation and general use of the building.
3.27 “Divine Intervention”
67
memory as architecture; The Vietnam Veterans Memorial Memorial architecture is a tricky commodity –
The memorial’s descent into the cut earth - with black granite walls rising slowly on either side, inscribed with the
it’s hard to imagine anything other than a Greek, Neoclassical, marble temple or a rising glass and steel form as a form of memorial architecture.
names of 57,692 American men who gave their lives in the search for freedom and democracy from 1963-197327 - and its continuing ascension back up to ground level is by far the most emotional experience one can anticipate when visiting a national monument in Washington. The original
68
This barrier was broken, however, with Maya Lin’s design for
sketches were received as cold, unwelcoming and did
the Vietnam Veterans Memorial in 1981, as it sought not to
little to employ gratitude and thanks to the soldiers who
disrupt Washington’s adoration for Neoclassical forms, but
served in the war. The lack of statues, traditional icons of
provide an emotional experience through the power of
remembrance and appreciation, as seen in the neighboring
memory and circulation in order to remember those who
Lincoln Memorial, World War II Veterans Memorial and cross-
gave their lives in the Vietnam War.
mall Washington Monument worried those who thought
3.38 “The Scar in Solitude”
3.39 “Liberty is Light”
the monument was out of place in the classical
techniques of architecture to what can only be called the
atmosphere of the city’s greatest buildings, yet the
highest and most civic noble purpose…it stands, quite
experience of the space has proved to be one of the
simply, as the most important evidence the late twentieth
most powerful, unifying creations for the public in
century produced that design can still serve as a unifying
America today.
social force…monumentality creates a true public realm, public not only in the sense of ownership but also in that of
From an architectural standpoint, and in contrast with
intellectual and emotional connection.”28
most of the ‘built’ works discussed in this investigation,
The architecture here undoubtedly imposes an impact
the memorial is even more interesting because
on our emotional psyche. The emotional confrontation can be felt by anyone, from a five-year-old to an elderly
“by traditional measures the Vietnam Memorial is not
man visiting a memorial to his brothers lost in the war.
architecture at all – it has no roof, no doors, no interior. It
The sloping of the ground and the rising of the wall starts
does not pretend to be a building. But it employs the
in a slow, smooth motion, generating a single name in its
69
3.40 “Memory in Materiality”
3.41 “Black in White”
descending triangle. The walls rise exponentially, with three,
pictures – the general inclination at the Vietnam Memorial
five, ten and increasing numbers of names inscribed on the
is to be silent and pay respects.
wall each time, creating a rising, looming presence by the user’s side, and, eventually, when the monument begins to dwarf the user under a towering presence of black granite, the sense of despair and anguish unleashes its subdued
In the interest of our exploration, the Vietnam Memorial
presence. The neighboring World War II Veterans memorial
is most interesting because of its lack of architecture,
is beautiful – in its elliptical shape with rushing fountains,
yet
the states proudly carved into the stone that surrounds a beautiful reflecting pool at the foot of the Lincoln Memorial’s reflecting pool – yet it’s emotional gratification is nowhere near the same level of resounding impact as the Vietnam Memorial. The general inclination at the WWII is to take
70
it harbours an undeniable presence of emotional connectivity and solidifies our ability to remember its solemn memory.
3.42 “The Path From Freedom”
71
72
1. Pallasmaa, Juhani. The Eyes of the Skin: Architecture
12. Pallasmaa, 34.
and the Senses. 1st ed. John Wiley & Sons, 1996, 40.
13. Pallasmaa, 34. 14. Goldberger, 127.
2. Pallasmaa, 40.
15. Goldberger, 119.
3. Goldberger, Paul. Why Architecture Matters.
16. Zumthor, 40.
Yale University Press, 2011, 66.
17.
4. Kunstler, James Howard. Home from
Moore. Body, Memory, and Architecture.
Nowhere: Remaking Our Everyday
1st ed. Yale University Press, 1977, 131.
World for the 21st Century. 1ST ed.
18. Bloomer, 131.
Touchstone Press, 1998, 98-99.
19. Bloomer, 107.
5. Goldberger, 67.
20. Bloomer, 108.
6. Zumthor, Peter. Atmospheres. 5th Printing.
21. Bloomer, 108-109.
Birkh채user Architecture, 2006, 49-50.
22. Zumthor, 50-51.
7. Zumthor, 69-70.
23. Zumthor, 53.
8. Pallasmaa, 34.
24. Zumthor, 54.
9. Goldberger, 194.
25. Goldberger, 10.
10. Zumthor, 65, 66.
26. Goldberger, 117.
28. Goldberger, 19.
11. Goldberger, 154.
27. Goldberger, 18.
29. Pallasmaa, 64-65.
Bloomer, Kent C., and Charles W.
chapter bibliography & endnotes tables | figures | illustrations images 3.1
Bonazzi, Stefano. “Smoke #5.” Stefano Bonazzi Personal Portfolio. http://www.stefanobonazzi.it/smoke-5. 2013.
3.2
Halcomb, Linda. “Study in Grey, Black and White.” [Retitled by Author} Linda Halcomb Find Arts.
http://lindahalcombfineart.wordpress.com/2010/10. 2013.
3.3
Neufert, Ernst. “Bauentwurfslehre” [Retitled by Author] The Funambulist. http://thefunambulist.net/2012/04/29. 2013.
3.4
[Image By Author] “Textural Integrities.”
3.5
Le Corbusier. “Le Modulor.” [Retitled by Author] The Funambulist. http://thefunambulist.net/2012/04/29. 2013.
3.6
Ospishchev, Andrey. “Black and Whiet Brick Wall.” [Retitled by Author] Deposit Photos. http://depositphotos.com/2410578. 2013
3.7
Digifuture. “Knotted Wood” [Retitled by Author] Deposit Photos. http://depositphotos.com/3209843. 2013
3.8
“Black Marble with White Vein.” [Retitled by Author] CBDS. http://www.cnbmstone.com/Htmls/Marble. 2013.
3.9
“Mirroed Tiles by Nemo Tile.” [Retitled by Author] Chictip. http://www.chictip.com/materials/mirrored-tiles-by-nemo-tile. 2013.
73
3.10
JdJ Photography. “Pyramid Close-Up.” [Retitled by Author] Flickr. http://www.flickr.com/photos/flyingaardewerk. 2013.
3.11
Maes, D.B. “Sydney Harbor Bridge in B&W.” [Retitled by Author] D.B. Maes World Images.
http://www.dbmaesworldimages.com/Landscapes/Black-and-White/17812235. 2013.
3.12
[Image by Author] “The Solid and the Void.”
3.13
Korres, M. “Diagram of the Location of the Parthenon Sculptures.” [Retitled by Author] ParthenonFrieze.
http://repository.parthenonfrieze.gr/frieze/aboutParthenon.jsp 2013.
3.14
“Parthenon.” [Retitled by Author] Parthenon. http://www.mlahanas.de/Greeks/Arts/Parthenon.htm. 2013.
3.15
*truth2lies. “The Parthenon.” [Retitled by Author] DeviantArt. http://truth2lies.deviantart.com/art/the-parthenon. 2013.
3.16
“Elevation Drawing.” [Retitled by Author] Great Buildings. http://www.greatbuildings.com/buildings/Villa_Capra.html. 2013.
3.17
“Section Drawing.” [Retitled by Author] Great Buildings. http://www.greatbuildings.com/buildings/Villa_Capra.html. 2013.
3.18
“Villa Rotonda Frente.” [Retitled by Author] Wiki Arquitectura. http://en.wikiarquitectura.com/index.php/File:Villa_Rotonda
frente.jpg. 2013.
3.19
“Villa Rotonda Planta Scamozzi 1778.” [Retitled by Author] Wiki Arquitectura. http://en.wikipedia.org/wiki/File:Palladio_Roto
da_planta_Scamozzi_1778.jpg. 2013.
3.20
“Palladio Rotonda Plan.” [Retitled by Author] Wiki Arquitectura. http://en.wikipedia.org/wiki/File:PalladioRotondaPlan.jpg. 2013.
3.21
“Inside the Domed Center 1.” [Retiteld by Author] Blogspot. http://architectdesign.blogspot.com/2008/06/villa-rotunda.html.
2013.
74
chapter bibliography & endnotes tables | figures | illustrations 3.22
“Villa Rotonda.” [Retiteld by Author] Blogspot. http://architectdesign.blogspot.com/2008/06/villa-rotunda.html. 2013.
3.23
“Interior Design of the Villa.” [Retitled by Author] La Rotonda di Vicenza. http://villaalmericocapra.appspot.com. 2013.
3.24
“Villa Rotunda.” [Retitled by Author] A&A Art and Architecture. http://www.artandarchitecture.org.uk/images/conway. 2013.
3.25
“Walls in Mies Van Der Rohe’s Barcelona Pavilion.” [Retitled by Author] Saturated Space. http://www.saturatedspace.org. 2013.
3.26
Kristo, Greg. ArchDaily. http://www.archdaily.com/109135/ad-classics-barcelona-pavilion-mies-van-der-rohe. 2013.
3.27
Segura, Pepo. [Title by Author] Fundacio Mies Van Der Rohe. http://www.peposegura.com/arquitectura-2, 2013.
3.28
Segura, Pepo. [Title by Author] Fundacio Mies Van Der Rohe. http://www.peposegura.com/arquitectura-2, 2013.
3.29
Gurak, Wotjek. [Title by Author] ArchDaily. http://www.archdaily.com/109135/ad-classics-barcelona-pavilion-mies-van-der-rohe. 2013.
3.30
Gurak, Wotjek. [Title by Author] ArchDaily. http://www.archdaily.com/109135/ad-classics-barcelona-pavilion-mies-van-der-rohe. 2013.
3.31
Gurak, Wotjek. [Title by Author] ArchDaily. http://www.archdaily.com/109135/ad-classics-barcelona-pavilion-mies-van-der-rohe. 2013.
3.32
Flickr; gondolas. [Title by Author] ArchDaily. http://www.archdaily.com/109135/ad-classics-barcelona-pavilion-mies-van-der-rohe. 2013.
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76
3.33
“Grand Central Station, NY, NY.” [Retitled by Author] Ask Andy About Clothes. http://www.askandyaboutclothes.com/forum
showthread.php?90995-Tradly-Buildings. 2013.
3.34
Chan, Fallon. “Grand Central Terminal Exterior.” [Retitled by Author] 500. http://500px.com/photo/3362048. 2013.
3.35
“Grand Central Station Part 1.” [Retitled by Author] New York Panorama. http://newyorkpanorama.com/2007/01/15/grand-ce
tral-station-part-1. 2013.
3.36
“Grand Central Station Part 3” [Retitled by Author] New York Panorama. http://newyorkpanorama.com/2007/01/15/grand-ce
tral-station-part-1. 2013.
3.37
“Grand Central Station in 1930.” [Retitled by Author] BBC. http://www.bbc.co.uk/news/magazine-21353825. 2013.
3.38
“Vietnam Veterans Memorial.” [Retitled by Author]. Art 21. http://www.art21.org/texts/the-culture-wars-redux. 2013.
3.39
“We Have Learned Nothing.” [Retitled by Author] Democratic Underground. http://www.democraticunderground.com/discuss
duboard.php?az=view_all&address=104x984956. 2013.
3.40
Platt, Spencer. “Vietnam Veterans Memorial Opens.” [Retitled by Author] LA Times. http://www.latimes.com/news/nationworld
nation/1982-vietnam-memorial,0,7684205.photo. 2013.
3.41
Wilson, Mark. “Monument Memorial.” [Retitled by Author] About.com http://architecture.about.com/od/usa/ig/Washington-DC
The-Vietnam-Veterans-Memorial.-9YM.htm. 2013.
3.42
Flickr; hookbrother. “Veteran’s Day.” [Retitled by Author] The Examiner. http://www.examiner.com/article/why-aren-t-vete
ans-more-important. 2013
chapter bibliography & endnotes tables | figures | illustrations
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78
location neighborhood context cape cod bay provincetown dune shacks; a vernacular identity cape cod national seashore the national seashore ccns history; the national seashore ccns; an architectural language geographic analysis land use ccns boundaries & topography area building density provincetown circulation site herring cove site panoramas
model analysis connectivity; interaction of nodes circulation; connectivity of paths usage levels; passive and active activities circulation nodes prospective built interventions program analysis land-based leisure & activities water-based leisure activities circulation hubs indoor leisure & park services amenities & maintenance demographics & climatic data provincetown demographics favorable & unfavorable wind conditions temperature & precipitation documentation wind documentation sun path overlay
demolition chapter endnotes
4.1 “Marconi Beach�
79
lowell
2 hrs, 50 min.
boston
2 hrs, 20 min.
worcester
2 hrs, 50 min.
springfield 3 hrs, 30 min.
provincetown
barnstable county driving time
plymouth
1 hr, 40 min.
4.4
Cape Cod
martha’s vine2 hrs, 52 min.
nantucket
2 hrs, 20 min.
usa 80
4.2
United States
massachusetts
4.3
Massachusetts
“the cape”
provincetown
herring cove
truro
14 min.
wellfleet
provincetown
21 min.
9 min.
herring cove eastham 30 min.
4.6 “Provincetown & Herring Cove�
orleans 42 min.
bourne
dennis
1 hour, 24 min.
53 min.
1 hour, 6 min.
sandwich
1 hour, 14 min.
brewster
barnstable
1 hour, 12 min.
yarmouth 55 min.
harwich 56 min.
chatham 55 min.
mashpee
1 hour, 18 min.
falmouth
1 hour, 46 min.
4.5
Cape Cod Towns and Driving Distances
towns of the cape driving time 81
82
cape cod bay; provincetown & herring cove 4.7 “Cape Cod Bay Landscape”
83
provincetown harbour & town hall
4.8 “Provincetown Harbour”
portuguese festival parade
4.10 “Portuguese Festival”
84
buoys hang on a wharf shack 4.9 “Buoys Hang on a Wharf Shack”
provincetown’s iconic restaurant
4.11 “The Lobster Pot”
provincetown transit trolley 4.12 “Provincetown Trolley”
commercial street
4.13 “Commercial Street”
Provincetown, Massachusetts lies on the uppermost section of Cape Cod and is bordered by Cape Cod Bay to the south, Truro to the east and the Atlantic to the north and west. A whaling village settled in 1700, the rich history and culture still survive and flourish tdoay.
ferry dock & small cottage shops
The year-round population of provincetown may only be slightly above 3,000 people, yet the influx of visitors in the summer can peak at approximately 60,000 guests on the tip of the cape. Vacationers live for the nostalgic experience of provincetown; with its historic inns and shops, daily off-the-boat seafood and quirky, artistic population. The cape appeals to visitors of all kinds including families, young adults, retired seniors and most notedly members of the LGBT community. ‘p-town’, as it’s called remains one of the most liberal and exciting summertime places in the United States today.
4.14 “Ferry Dock”
85
4.15 “Dune Shack With Buoys”
4.17 “Dune Shack Profile”
86
4.18 “Dune Shack Weathering”
4.16 “Dune Shack in Winter”
4.19 “Dune Shack Restoration”
4.20 “Dune Shack at Sunset”
The fishing shack of the cape is an unmistakable icon of the northeast’s shoreline. The national seashore has sought to save as many shacks as possible, leaving their care to over 250 patrons, non-profit organizations and families who tend to and love to rustic, earthy original structures. 19 of the dune shacks remain in the three square miles of the national seashore in provincetown. The majority of the weathered, rusty, storm-sacked dune shacks often became safe havens for sailors who shipwrecked off the rocky, mischevious coast of the cape. If they survived the initial wreck during a cold winter’s storm they could find safety and shelter in the dunes in one of the old shacks. The practice of using these structures for life safety was pioneered by the Massachusetts Humane Society. For generations the dune shacks have served as inspiration for painters, artists, writers and poets on the cape.
4.21 “Dune Shack in Spring”
87
bike trails in the dunes at race point
bathing facilities at marconi beach
highland light in north truro
the dunes and surf at marconi beach
4.22 “Race Point Bike Trails”
4.24 “Highland Light”
88
4.23 “Marconi Beach Facilities”
4.25 “Marconi Beach Dunes”
wood end lighthouse, provincetown
4.26 “Wood End Light”
nauset light, eastham
4.27 “Nauset Light”
The seashore protects just over 68 square miles of ponds, forests, beaches, wetlands and bike trails for visitors to explore and enjoy. 40 square miles of the ccns protects beaches and dunes directly impacted by the atlantic ocean on the eastern coast. The goal of the national seashore is to protect and preserve the current state of cape cod for generations of visitors to come. The stylistic identity of the ccns is marked at most major beaches by the unforgiving presence of an elegant lighthouse. Major efforts have been employed to protect their historic integrity on the shore and keep their adjoining complexes in historically accurate shape. The signature design of the national seashore bath houses and auxilary complexes also involves internationally renouned architect Walter Gropius’ ideas for a new type of park architecture.
national seashore park sign, eastham
4.28 “Cape Cod National Seashore”
89
sunbathers
JFK signing final legislature for the bill
first parish church 4.29 “JFK Signs the Bill”
nostalgia 4.30 “Beach Cruiser”
90
town of harwich
4.32 “Sunbathers”
4.33 4.33 “First Parish”
three sisters lighthouses 4.31 “Old Harwich”
4.34 “The Three Sisters”
harwich post & market
4.35 “Harwich Post & Market”
provincetown
race point light, provincetown 4.36 “Provincetown 1800”
4.37 “Race Point Light”
On august 7th, 1961 during his first year in office, John Fitzgerald Kennedy signed legislation establishing 26,666 acres of Cape Cod to be designated for protection as the Cape Cod National Seashore. He said in office, “this act makes it possible for the people of the united states through their government to acquire and preserve the natural and historic values of a portion of Cape Cod for the inspiration and enjoyment of people all over the united states.” The Cape Cod National Seashore became the first national park in the United States. With the availability of cars and multimodal transportation, JFK succeeded in creating a national reserve for citizens to enjoy for generations.
91
marconi wireless station site
old harbor life saving station 4.38 “Marconi Wireless Outlook”
salt pond visitor center
race point visitor center 4.40 “Salt Pond Visitor Center”
92
4.39 “Old Harbour Lifesaving Station”
4.41 “Race Point Visitor Center”
erosion of herring cove bike trail 4.42 “Erosion at Herring Cove”
herring cove bath house 4.43 “Herring Cove Bath House”
After jfk signed the national seashore bill, the nation stood at a crossroads for imagining the design of the first national public park building prototpe. A dozen american architects were personally selected to conceptualize the appearance of these buildings including bauhaus great, Walter Gropius. The design committee encouraged the architects to fuse modern and traditional styles for a univerally unique architecture. From 1965-1969 the salt pond visitor center and race point visitor center were constructed and put into operation. They were nicknamed ‘the Chinese pagodas.’ The Salt Pond Visitor Center, partly designed by Gropius, was constructed to showcase the natural beauty of the wetlands around the property. By chosing a hexagonal plan, the user has the ability to view multiple areas of the property at once, maximizing the interior/exterior pleasure of the structure. Unfortunately, these historic structures and older buildigns such as the Old Harbor Life Saving Station, Highland Light and the Herring Cove bath house have fallen victim to disrepair and erosion of their property lines. The CCNS is responsible for helping keep these places thriving, healthy and beautiful.
cliff erosion 4.44 “Highland Light Erosion”
93
® r
_ ^ F G ! .! ? " ! ./ k j # 0
k j
k j
_ ^
_ ^
land use 4.45 “Land Use”
land use
94
pasture
transportation
town hall
forest
waste disposal
library
non-forested wetland
water
police station
brush land
salt water sandy beach
fire station
open land
urban/public/institutional
lighthouse
recreational park facility
cemetary
airport
high density residential
forested wetland
medical facility
medium density residential
low density forest
school
low density residential area
industrial
salt water wetland
sand dunes/low density vegetation
commercial
herring
water-based recreation
The town of Provincetown is made up of primarily historic, medium to high density residences and seasonal resort facilities while its surrounding areas include an abundance of protected beaches and forest land. The area immediately surrounding Herring Cove beach is bordered by sand dunes, open land, forest and and salt water sandy beach and is part of the Cape Cod National Seashore.
95
The cape cod national seashore accounts for 7580% of the land area of Provincetown. Herring Cove is included inside its borders and abides by the guidelines, codes and zoning set forth by the National Seashore.
national seashore area 1:30,000 4.46 “National Seashore Boundaries�
national seashore 1:6,000
96
The topography of Provincetown is primarily formed by the movement of sand across large dunes. at Herring Cove heights range from sea level to 9 ft and 19 ft at peak dune points in the nearby immediate area.
topography 1:30,000 4.47 “Topography�
topography 1:6,000
97
The National Seashore’s initiative to preserve the cape enables only about 15% of the land in provincetown to be developed. Herring Cove, part of the CCNS, is allowed to be developed for uses pertaining to municipal, recreational, federal and conservation activities.
area building density 1:30,000 4.48 “Building Density�
area building density
998
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\
Provincetown’s location and its vast, \protected \ \ \ \ \ natural areas allow a multitude of transportation \ \ \ \ options. A Boston/Provincetown ferry, CCNS bike \ \ \ trails, Route 6 (a major\ highway), a town-wide \ \ shuttle and many small, urban roads allow for \ \
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\
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\
\
\
\
\
\
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\
\
\
\ \
\
\
\
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circulation paths 1:6,000
\
4.49 “Area Ciculation”
\
circulation paths 1:30,000
\
99
\
\
sunset at herring cove
openness
exterior shading canopy
light & shadow
4.51 “Sunset at Herring Cove”
4.54 “North Shading Canopy”
100
4.52 “Roof Cavity”
4.55 “Light Filtration” 4.55
lifeguard towers as art
4.53 “Lifeguard Towers”
interior changing area
4.56 “Interior Changing4.56 Area”
4.50 “Herring Cove Sunet Panorama”
Herring Cove is located on the western end of Provincetown immediately facing the Atlantic Ocean. The cove’s location on the cape allows for mild waves to lap the shore with a rather small tide differential. The beach is the most popular in Provincetown, with the largest parking lot in the CCNS area and attracts families and members of the LGBT community staying in the Provincetown area.
overhang entry
4.57 “Entry and Overhang”
view from parking lot 4.59 “Parking Approach”
The Herring Cove bath house was built in 1953 and its bunker-like appearance has dominated the shoreline for nearly half a century. The bath 4.58 “Natural Infiltration” house was recently demolished in november 2012, making way for a $5 million dollar beach house project to take its place. Originally built to outlast a hurricane, the bath house and surrounding area took major hits from recent winter storms, destorying part of the parking lot, surrounding bike trails and condemning the second floor of the structure. Zoning in Herring Cove also includes over 200 parking spaces, a shuttle stop from Provincetown Wharf and sections of the Race Point Bike Trails.
overgrowth
decay
4.60 “Structural Decay”
101
herring cove 42.0478° N, 70.2203° W
102
4.61 “Herring Cove Existing Site”
view to northeast 4.62 “Northeast Panorama”
view to southwest 4.63 “Southwest Panorama”
area of proposed regeneration and growth 103
view to south 4.64 “South Panorama”
4.65 “Site Key”
104
4.66 “Approach”
4.67 “Closer”
4.68 “Closest”
4.69 “Service”
4.70 “Beach Rules”
4.71 “Back Canopy”
view to north 4.72 “North Panorama”
4.73 “Bike Path”
4.74 “Farther”
4.75 “Farthest”
4.76 “Exit”
4.77 “Shading”
4.78 “Parking Stretch”
4.79 “Beach Fence”
4.80 “Shade”
4.81 “This Way”
105
4.82 “Demolition 1”
106
4.83 “Demolition 2”
4.84 “Demolition 3”
4.85 “Demolition 4”
107
bike trail intersection point main park entry & exit bath house & lifeguard nautical & leisure areas 4.87 “Node 1”
4.86 “Node Key”
108
4.88 “Node 2”
4.89 “Node 3”
4.90 “Node 4”
4.91 “Node 5”
109
4.93 “Paths 2”
4.92 “Paths 1”
pedestrian
110
bicycle
4.94 “Paths 3”
shuttle bus
4.96 “Paths 5”
4.95 “Paths 4”
4.97 “Paths 6”
111
112
heavy
moderate low
heavy
4.100 “Activity Level 3”
active activity
4.98 “Activity Level 1”
passive activity
low
moderate
4.99 “Activity Level 2”
4.101 “Activity Level 4”
4.102 “Activity Level 5”
113
end of race point bike trails bike trail meets on-beach parking herring cove national seashore park entrance bike trail circulation hub herring cove beach/bath house & vending majority of parking & province lands shuttle stop herring cove entry from route 6 shuttle & permit vehicle exit end of bike trail/trail intersects parking lot national seashore boundaries
114
4.103 “Circulation Nodes�
structure to adjoin herring cove & race point parks structure to maximize car & bike beach circulation celebratory arrival structure for park entry revision bathing faciliyy & gathering space for visitors celebratory arrival structure for ccns entry structure to merge parking area and existing bike 4.104 “Prospective Interventions�
115
picnic areas status : non-existent encourage familiies & beachgoers to utilize for leisurely purposes, could also be combined with charcoal grills for bbqs and local events, tables, grills, covered areas for eating
scenic overlooks
campfire areas status : non-existent create gathering points for visitors, tourists and locals after dark, utilize as part of park services; draw visitors for campouts, beach stargazing, night nature walks & parked campers
camping areas
status : non-existent status : non-existent locate and showcase areas of greatest scenic beauty, utilize some of current strip parking for temporary structures - utilize provide access for tourists, utilize for residents as gathering space, for camping and overnight purposes, create attractive lodging ceremonial space, nature workshops and history lessons options for tourists and weekenders
self-guided trails status : partially-existent link existing trails from race point with herring cove area; use signs to bring attention to nature, erosion, new development in the area, local flora/fauna and scenic overlooks
116
pet-friendly zones status : partially-existent designate given areas of beach for pet-friendly walking and jogging; encourage animal cleanliness while providing positive interaction and conversation between pet owners
4.105 “Land-Based Leisure Activities”
117
swimming areas status : existent swimming in the waters of herring cove is highly popular in the summer because of the calm, mild nature of the water swimming is popular for users of all ages and should be encouraged
boating areas status : existent boaters generally drive by the cove from farther proximities and tend to not have any real interaction with the beach,a marina or supporting dock would make herring cove an appropriate stopover for sailors to visit the beach and its amenities
fishing areas status : partially-existent fishers currently stand along the beach in less-crowded areas with hit-or-miss chances of catching anything (usually bluefish), fishers could benefit from an area designated solely for fishing use
118
boarding areas status : existent surfers tend to gather outside the crowd to maximize chances for catching waves, boogie boarders can be found throughout the beach the calm water provides a better atmosphere to float than board
tubing areas status : existent herring cove’s mild waves provide an excellent environment for lounging in floating devices, users can be found scattered all around the beach in the summer and can travel with the changing riptides
kayaking areas status : partially-existent kayaking is primarily done on the bay side of the cape (the waters adjacent to provincetown) but given the calm nature of the water at herring cove it is possible to have a kayak launch area
4.106 “Water-Based Leisure Activities”
119
parking status : existent herring cove has one of the largest parking lots in the national seashore with over 205 parking spots, the lot rarely is full and can be used as a surface for future building extensions
accessible parking status : existent accessible parking is vital for universal access for beachgoers; the parking should remain intact to be used for users of all major activities along the cove
shuttle stop status : partially-existent a shuttle runs from the provincetown wharf to herring cove cyclically throughout the day; the unofficial stop, in front of the pre-existing bath house, needs an established identity
120
bike trails status : partially-existent the race point bike trails as well as trails from route 6A flow ceremoniously into the herring cove area; because of erosion some major parts of the trail are impassible and need to be rerouted for
marina slips status : non-existent because of the calm nature of the water in the immediate area, the cove would do well maintainting a small visiting marina and area for boat docking; visitors could approach by land or by sea
boardwalks status : non-existent most of the other national seashore beaches utilize recycled material for boardwalks which add character and charm; the lack of boardwalks and present of asphalt yields unsightly conditions at the cove
4.107 “Circulation Hubs”
121
dining status : non-existent there are virtually no dining services present in the national seashore, making it obligatory for patrons and visitors to bring their own food; a small cafe or restaurant could bring in a supplemental internal revenue for the park service and could serve seasonal seafood catches
snack bar status : partially-existent the current snack bar is rarely open and serves a minimal amount of fried food; by adding more interesting menu items and serving family visitors the snack bar could serve an another source of revenue
assembly status : non-existent the beautiful site has no built assembly space to utilize the area; the beach is the only form of gathering on the site, by adding an interior space for gathering a multitude of auxilary functions could operate
122
ranger services status : partially-existent the ccns park rangers only use their small booth at the entry to collect fees and answer questions; with a larger more broad presence on the beach the park service could offer classes, tours and guided hikes
lifesaving status : partially-existent the state of lifesaving services in the bath house was horribly inadequate; the building was condemned and services such as lifesaving storage and first aid were lacking, a new service area is
first aid status : partially-existent the lifesaving crew would frequently keep first aid items in a storage room in the bath house however minor first aid would be performed outside; the crew could benefit from a new, open first aid area
4.108 “Indoor Leisure & Park Services”
123
restrooms status : existent the restrooms were the only part of the herring cove bath house that were not condemned; their old appearance, features and style made them a prime target for renovation
showers & bathing status : existent like the restrooms, the shower areas were old and outdated; a series of more private showers, bathing and changing areas would benefit the visitor usage of the bath house
lockers & storage status : partially-existent lockers in the building could use a facelift, however they could better serve the lifeguards and park officials as many beachgoers prefer to keep their personal belongings on their person
124
universal accessibility status : partially-existent all beach areas should be designated as accessible for people with any kind of disability or ailment; the pleasure of being at the seashore, regardless of a person’s identity should be enjoyed by all
custodial storage status : partially-existent like first aid, the bath house was used to house custodial materials as well as medical materials; more organized and programmed storage would benefit the cleanliness of the park
maintenance storage status : partially-existent like custodial storage, maintenance storage is lacking for lifesaving crews for surfboards and floatation devices as well as for park services including patrol vehicles and landscaping machinery
4.109 “Amenities & Maintenance�
125
gender
education 1 2 3 4
< H.S.
5
race 1white
Bach.
7
< 1*C
Masters
1+*C
Prof.
Asso.
Doc.
9
2
female
H.S.
8
1male
4.110 “Gender”
6
4.113 “Education”
*C - college experience
marital status
2hispanic
1
3
2
4
3
6asian
5 separated
black
4 married
5multiple
7
widowed
amer. indian other
4.111 “Race”
ancestry 1
industry (m) 1 accomodation
portuguese
2
3
irish
4 construction
4
english
5 sciences
italian
6
6
3
7
german
126
divorced
4.114 “Marital Status”
2
5
4.112 “Ancestry”
unwed
french
4.115 “Industry (Men)”
retail
real estate financial other
occupation 1
management
2
sales
3 4 5 6 7
1 2
maintenace
walking
carpentry
4
work at home
food service
5 6
art & design
industry (f )
other
4.119 “Transporation”
religious affil.
service
2
accomodation
1
4
real estate
2
5
healthcare
3
6
information
7
4
retail construc-
4.117 “Industry (Women)”
carpooling biking
1
3
car
3
cooks
4.116 “Occupation (Men)”
transportation
catholic episcopalian church of christ
4.120 “Religious Affiliation”
other
occupation (f ) 1
information
2
sales
3 4
retail
5
food service
6
management
7
The local demographic makeup of Provincetown shows the dedication of the local population to service and hospitality. With the extreme population growth in the summer, the majority of yearly income is made from mid-may to september with service, sales, food serrvice and maintenance thriving. The ancestry and heritage of the area also promotes a distinct cultural persona.
maintenance 4.118 “Occupation (Women)”
accounting
127
The favorable winds of the spring and summer months will prove to be desirable for natural ventilation, passive and active cooling in a proposed structure. The climate of The Cape is mild enough in the warmer months that air conditioning is never truly needed, making the spring and summer winds from onshore desirable for warming at night and from offshore desirable for cooling during the day.
spring summer natural dune wind barriers minimal wind and natural barriers cooling off-shore wind warm inland winds 4.121 â&#x20AC;&#x153;Favorable Wind Conditionsâ&#x20AC;?
128
The favorable unfavorable winds of late fall and the winter make the need for heat and low-impact warming extremely pertinant. The cold waters of the Atlantic consequently push cold winds on-shore, creating a need for a thermal solution to create warmth within a structure. In order to make a structure usable for the entire year, a solution to blocking cold ocean winds is necessary.
fall
natural dune wind barriers with strong winds
winter
strong wind and minimal barriers cold off-shore winds warmer inland winds 4.122 â&#x20AC;&#x153;Unfavorable Wind Conditionsâ&#x20AC;?
129
temperature HIGH AVERAGE LOW
JAN 37 30 23
FEB 40 32 25
MAR 48 40 32
APR 56 50 43
MAY 66 60 53
JUN 75 68 60
JUL 77 71 63
AUG 75 66 60
SEP 65 58 50
OCT 55 50 42
JAN 3.4” 13.5"
FEB 3.5” 11.5"
MAR 4.0” 6.0"
APR 3.2” 0.5"
MAY 3.1” 0"
JUN 2.9” 0"
JUL 2.8” 0"
AUG 3.5” 0"
SEP 3.6” 0"
OCT 4.0” 0.5"
JAN 71% 58%
FEB 72% 56%
MAR 70% 54%
APR 72% 54%
MAY 74% 58%
JUN 76% 57%
JUL 78% 57%
AUG 80% 59%
SEP 79% 57%
OCT 77% 57%
FEB 14.8
MAR 14.5
APR 13.5
MAY 12.4
JUN 11.8
JUL 11.3
AUG 11.5
SEP 12.3
OCT 13.2
47 40 33
precipitation RAINFALL SNOWFALL
humidity MORNING AFTERNOON
74%
wind speed MPH
JAN 14.7
14 4.123 “Climatic Data Tables”
130
N 330
10
30
20 30 300
40
8:19
5:07
50
60
60 70 80
spring
W
summer
E summer equinox 7:05
240 4:14
120
winter 210
150
S
fall
0
winter
25
4.124 “Wind Directionality”
sun path 4.125 “Sun Path Diagram”
wind directionality 131
references Barbo, Theresa M. Cape Cod Bay: a History of Salt & Sea. History Press, 2008. Bragg, Mary Ann. “Missing Jetties Blamed for Herring Cove Erosion.” The Cape Cod Times. Hyannis, MA, February 23, 2012, sec. Business News. Cannell, Michael, and Chana Stiefel. “BEACHES GOING, GOING, GONE?” Science World, 1999. Isaacs, Lindsay. “Shoring Up the Nation’s Coastline.” American City & Country 115, no. 13 (September 2000): p 56. Lombardo, Daniel. Cape Cod National Seashore: The First 50 Years (Images of America) (Images of America. Arcadia Publishing, 2010. “Provincetown, Massachusetts.” Onbaord Informatics. http://www.city-data.com/city/Provincetown-Massachusetts.html. 2013. Schwarzman, Beth. The Nature of Cape Cod. 1st ed. UPNE, 2002 Watling, Les, Jill Fegley, John Moring, and Susan K. White. Life Between the Tides: Marine Plants and Animals of the Northeast. Edited by Susan K. White. 1st ed. Tilbury House Pub, 2003.
132
chapter bibliogrpahy & endnotes tables | figures | illustrations images 4.1
“Cape Cod Wellfleet - Marconi Beach” [Retitled by Author] Rud Bubble. http://www.redbubble.com/people/capecodart/works. 2013.
4.2
[Image by Author] “United States”
4.3
[Image by Author] “Massachusetts”
4.4
[Image By Author] ”Cape Cod”
4.5
[Image by Author] “Cape Cod Towns and Driving Distances”
4.6
[Image by Author] “Provincetown & Herring Cove”
4.7
[Image by Author] “ Cape Cod Bay Landscape”
4.8
Urszenyi, Steve. “Provincetown, Cape Cod.” [Retitled by Author] Prompt Guides. http://promptguides.com/boston/attractions/provinc
town_cape_cod.htm. 2003.
4.9
Dapixara Art. “Cape Cod Buoys.” [Retitled by Author] Fine Art America. http://fineartamerica.com/featured/cape-cod-buoys.html. 2013.
133
4.10
“Portuguese Festival.” Gars Content. http://garscontent.com/2010/Quart%203/07%20Juillet/17/FDJ.htm. 2013.
4.11
H., Josh. “The Lobster Pot, A Provincetown Institution.” [Retitled by Author] TypePad. http://joshandjosh.typepad.com/josh_josh_are
rich_andfa/2007/07/josh-josh-wee-1.html. 2013.
4.12
“Provincetown 08 22 09.” [Retitled by Author] Wikimedia. http://commons.wikimedia.org/wiki/File:Provincetown.jpg. 2013
4.13
Eytan, Ted. “Provincetown.” [Retitled by Author] Just-Ted. http://www.just-ted.com/2012/08/provincetown-14595. 2013.
4.14
“Things to See and Do in Provincetown.” [Retitled by Author] Plymouth to Provincetown. http://p-townferry.com/things-to-see-do-in
provincetown.html. 2013. 4.15
Dapixara Art. “Dune Shack Tasha.” [Retitled by Author] Dapixara. http://www.dapixara.com/Newengland/new_england.html. 2013.
4.16
Muise, Matthew. “Dune Shack, Provincetown, Mass.” [Retitled by Author] Matthew Muise Photography. http://muisephoto.wordpress
com/2011/02/16/dune-shack-provincetown-mass. 2013. 4.17
Seufert, Christopher. “Provincetown, Cape Cod Dune Shack (Tasha).” [Retitled by Author] Imagekind. http://www.imagekind.com/Pro
incetown-Cape-Cod-Dune-Shack-Tasha-art?IMID=df7dfa66-26b7-4e56-82dc-d116d74acd50. 2013. 4.18
Sargent, Brandon. “Each Day.” [Retitled by Author] A Gentleman Knows. http://agentlemanknows.com/archives/825. 2013.
4.19
Diedricksen, Derek. [Title by Author] Relax Shacks. http://relaxshax.wordpress.com/2010/12/26/the-cape-cod. 2013.
4.20
Lewis, Susanne. [TItle by Author] Smithsonian Magazine. http://www.smithsonianmag.com/arts-culture/What-Do-Jackson-Pollock-Ten
nessee-Williams-and-Norman-Mailer-Have-in-Common.html. 2013. 4.21
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“Dune Shack Near Snail Trail.” [Retitled by Author] Provincetown Dune Shack. http://www.asergeev.com/pictures/k/Provincetown. 2013.
chapter bibliogrpahy & endnotes tables | figures | illustrations 4.22
Fulmer, Eric. “Cycling Amongst the Dunes.” [Retitled by Author] The Voyage of Cutter Loose. http://cutterloose.com/?p=667. 2013
4.23
Flickr; Matches2. “Marconi Beach.” [Retitled by Author] Flickr. http://www.flickr.com/photos/matches2/4976979651. 2013.
4.24
“Lighthouses of the Cape Cod National Seashore.” [Retitled by Author] Cape Cod Bed and Breakfast - Brewster by the Sea. http://blog
brewsterbythesea.com/2009_05_01_archive.html. 2013.
4.25
Falacci, Nicolas. “Marconi Beach.” [Retitled by Author] Moby Picture. http://www.mobypicture.com/user/NickFalacci. 2013
4.26
“Lighthouses of the Cape Cod National Seashore.” [Retitled by Author] Cape Cod Bed and Breakfast - Brewster by the Sea. http://blog
brewsterbythesea.com/2009_05_01_archive.html. 2013.
4.27
Flickr; ConstantineD. “Nauset Light, Cape Cod.” [Retitled by Author] Flickr. http://www.flickr.com/photos/lupos/3636793465. 2013.
4.28
“Cape Cod National Seashore.” The Examiner. http://www.examiner.com/article/massachusetts-national-parks. 2013.
4.29
“50th Anniversary of Cape Cod National Seashore.” [Retitled by Author] JFK Library. http://www.jfklibrary.org/Events-and-Award. 2013.
4.30
Marotta, Paul. “Cape Cod 2011 Abandoned Old Bike.” [Retitled by Author] Flickr. http://www.flickr.com/photos/paulmarotta. 2013.
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4.31
“Main Street, Harwich.” [Retitled by Author] Visit Cape Cod. http://www.visitcapecod.com/Cape-Cod-Old-Photos.aspx. 2013
4.32
Regis, Necee. “Back to Old Cape Cod.” Boston.com. http://www.boston.com/travel/explorene/massachusetts/regions/capecod/art
cles/2011/07/03/back_to_old_cape_cod_where_the_melody_lingers_on. 2013. 4.33
“The First Parish Church.” [Retitled by Author] Visit Cape Cod. http://www.visitcapecod.com/Cape-Cod-Old-Photos.aspx. 2013
4.34
“ Second Set of Lights in Eastham.” [Retitled by Author] Visit Cape Cod. http://www.visitcapecod.com/Cape-Cod-Old-Photos.aspx. 2013
4.35
“Main Street and Post Office.” [Retitled by Author] Visit Cape Cod. http://www.visitcapecod.com/Cape-Cod-Old-Photos.aspx. 2013
4.36
“Provincetown.” [Retitled by Author] Visit Cape Cod. http://www.visitcapecod.com/Cape-Cod-Old-Photos.aspx. 2013
4.37
Dapixara. “Race Point Lighthouse.” Fine Art America. http://fineartamerica.com/products/race-point-lighthouse-black-and-white-ph
to-print-dapixara-art-poster.html. 2013. 4.38
Marcbela. “Marconi Wireless Station Site. [Retitled by Author] Triposo. http://www.triposo.com/poi/N__367777535. 2013.
4.39
Seufert, Christopher. “Old Harbor Life Saving Station.” Cape Cod Today. http://www.capecodtoday.com/article/2011/02/17/1923-chri
topher-seufert-photography-exhibit-cape-cod-national-seashore-march. 2013.
4.40
“Salt Pond Visitor Center. “ Eastham Chamber. http://easthamchamber.com/visitors/things-to-do. 2013.
4.41
“The Province Lands Seashore Visitor Center.” [Retitled by Author] Ptown Chamber. http://ptownchamber.com/what-to-do. 2013.
4.42
Heaslip, Steve. “Missing Jetties Blamed for Ptown Erosion.” Cape Cod TImes. http://www.capecodonline.com/apps/pbcs.dll/arti]
cle?AID=/20120223/NEWS/202230336. 2013. 4.43
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Woods, Macaulay. “Herring Cove Bath House.” Macaulay Woods Photography. http://www.macaulaywoods.com/artist.asp. 2013.
chapter bibliogrpahy & endnotes tables | figures | illustrations 4.44
Heaslip, Steve. “Highland Light House.” Climatide. http://climatide.wgbh.org/tag/cape-cod-national-seashore. 2013.
4.45
[Image by Author] “Land Use”
4.46
[Image by Author] “National Seashore Boundaries”
4.47
[Image by Author] “Topography”
4.48
[Image by Author] “Building Density”
4.49
[Image by Author] “Area Circulation”
4.50
“Herring Cove Bathhouse.” [Retitled by Author] http://fopnews.wordpress.com/2012/07/30/architecture-for-retreating-edges. 2013
4.51
Wood, Bob. “Sunset Over Herring Cove.” [Retitled by Author] Panoramio. http://www.panoramio.com/photo/60717680. 2013.
4.52
[Title by Author] http://fopnews.wordpress.com/2012/07/30/architecture-for-retreating-edges. 2013
4.53
“Beach View.” [Retitled by Author] Corsair Crossrip. www.corsaircrossrip.com/guest_news.shtml. 2013.
4.54
[Image by Author] “North Shading Canopy”
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[Title by Author] http://fopnews.wordpress.com/2012/07/30/architecture-for-retreating-edges. 2013
4.56
[Title by Author] http://fopnews.wordpress.com/2012/07/30/architecture-for-retreating-edges. 2013
4.57
[Title by Author] http://fopnews.wordpress.com/2012/07/30/architecture-for-retreating-edges. 2013
4.58
[Title by Author] http://fopnews.wordpress.com/2012/07/30/architecture-for-retreating-edges. 2013
4.59
[Title by Author] http://fopnews.wordpress.com/2012/07/30/architecture-for-retreating-edges. 2013
4.60
[Title by Author] http://fopnews.wordpress.com/2012/07/30/architecture-for-retreating-edges. 2013
4.61
[Image by Author] “Herring Cove Existing Site”
4.72
[Image by Author] “North Panorama”
4.62
[Image by Author] “Northeast Panorama”
4.73
[Image by Author] “Bike Path”
4.63
[Image by Author] “Southwest Panorama”
4.74
[Image by Author] “Farther”
4.64
[Image by Author] “South Panorama”
4.75
[Image by Author] “Farthest”
4.65
[Image by Author] “Site Key”
4.76
[Image by Author] “Exit”
4.66
[Image by Author] “Approach”
4.77
[Image by Author] “Shading”
4.67
[Image by Author] “Closer”
4.78
[Image by Author] “Parking Stretch”
4.68
[Image by Author] “Closest”
4.79
[Image by Author] “Beach Fence”
4.69
[Image by Author] “Service”
4.80
[Image by Author] “Shade”
4.70
[Image by Author] “Beach Rules”
4.81
[Image by Author] “This Way”
4.71
[Image by Author] “Back Canopy”
chapter bibliogrpahy & endnotes tables | figures | illustrations 4.82
“Herring Cove Bath House Demolition.” [Retitled by Author] Wicked Local. http://www.wickedlocal.com/provincetown/multimedia/vi
eo/x1831588025/VIDEO-Herring-Cove-Bathhouse-demolition. 2013.
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“Herring Cove Bath House Demolition.” [Retitled by Author] Wicked Local. http://www.wickedlocal.com/provincetown/multimedia/vi
eo/x1831588025/VIDEO-Herring-Cove-Bathhouse-demolition. 2013.
4.84
“Herring Cove Bath House Demolition.” [Retitled by Author] Wicked Local. http://www.wickedlocal.com/provincetown/multimedia/vi
eo/x1831588025/VIDEO-Herring-Cove-Bathhouse-demolition. 2013.
4.85
“Herring Cove Bath House Demolition.” [Retitled by Author] Wicked Local. http://www.wickedlocal.com/provincetown/multimedia/vi
eo/x1831588025/VIDEO-Herring-Cove-Bathhouse-demolition. 2013.
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[Image by Author] “Node Key”
4.87
[Image by Author] “Node 1”
4.88
[Image by Author] “Node 2”
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4.89
[Image by Author] “Node 3”
4.106 [Image by Author] “Water-Based Leisure Activities”
4.90
[Image by Author] “Node 4”
4.107 [Image by Author] “Circulation Hubs”
4.91
[Image by Author] “Node 5”
4.108 [Image by Author] “Indoor Leisure & Park Services”
4.92
[Image by Author] “Paths 1”
4.109 [Image by Author] “Amenities & Maintenance”
4.93
[Image by Author] “Paths 2”
4.110 [Image by Author] “Gender”
4.94
[Image by Author] “Paths 3”
4.111 [Image by Author] “Race”
4.95
[Image by Author] “Paths 4”
4.112 [Image by Author] “Ancestry”
4.96
[Image by Author] “Paths 5”
4.113 [Image by Author] “Education”
4.97
[Image by Author] “Paths 6”
4.114 [Image by Author] “Marital Status”
4.98
[Image by Author] “Activity Level 1”
4.115 [Image by Author] “Industry (Men)”
4.99
[Image by Author] “Activity Level 2”
4.116 [Image by Author] “Occupation (Men)”
4.100 [Image by Author] “Activity Level 3”
4.117 [Image by Author] “Industry (Women)”
4.101 [Image by Author] “Activity Level 4”
4.118 [Image by Author] “Occupation (Women)”
4.102 [Image by Author] “Activity Level 5”
4.119 [Image by Author] “Transportation”
4.103 [Image by Author] “Circulation Nodes”
4.120 [Image by Author] “Religious Affiliation”
4.104 [Image by Author] “Prospective Interventions”
4.121 [Image by Author] “Favorable Wind Conditions”
4.105
4.122
[Image by Author] “Land-Based Leisure Activities”
[Image by Author] “Unfavorable Wind Conditions”
chapter bibliogrpahy & endnotes tables | figures | illustrations
4.123 [Image by Author] “Climatic Data Tables” 4.124 [Image by Author] “Wind DIrectionality” 4.125
[Image by Author] “Sun Path Diagram”
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model analysis concept models repetition as a signifier of memory model analysis of repetitive elements repetition as a signifier in the vernacular structure repetition as a signifier in the vernacular materiality the identity of the wooden shingle the collective identity of the user housing the collective identity of the user experiential renderings of materiality chapter endnotes 5.1 â&#x20AC;&#x153;Smoke 6â&#x20AC;?
143
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The following chapter showcases the development of spatial configurations and attributes through the second half of winter quarter. Because of unique nature of the concept - the mindâ&#x20AC;&#x2122;s relationship to space and place based on memory and nostalgic references - it became inappropriate to try to create a standard â&#x20AC;&#x2DC;formâ&#x20AC;&#x2122; directly from site observations. The results of this section draw from the experiential quality of the proposed architecture, the way people feel within the space and the boundaries of the site, and how these results become the driving force to creating a memorable place for members of past, present and future generations to enjoy. The next several spreads illustrate two series of models - conceptual reaction models and a progression into form. The attempt at creating form models became irrelevant and observations from the first set of models were used to further fuse the idea of a new structure with the existing vernacular environment.
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5.3 “Model 1.2”
5.2 “Model 1.1”
5.4 “Model 1.3”
model 1: impulse driven structure impedes circulation
5.5 “Model 1.4”
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5.6 “Model 2.1”
5.7 “Model 2.2”
5.9 “Model 2.4”
model 2: capturing desirable views movement above the site with an elevated programmatic space
5.8 “Model 2.3”
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5.11 “Model 3.2”
5.10 “Model 3.1”
5.12 “Model 3.3”
model 3: simplified circulation elevated observatory program response
5.13 “Model 3.4”
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5.14 “Model 4.1”
5.15 “Model 4.2”
5.17 “Model 4.4”
model 4: natural circulation structured path vs natural inclination of travel
5.16 “Model 4.3”
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5.19 “Model 5.2”
5.18 “Model 5.1”
5.20 “Model 5.3”
model 5: node connectivity nodes eminating from a singular central hub
5.21 “Model 5.4”
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5.22 “Model 6.1”
5.23 “Model 6.2”
5.25 “Model 6.4”
model 6: disecting the hexagon opening the closed, existing plan of other surrounding national seashore buildings 5.24 “Model 6.3”
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5.27 “Model 7.2”
5.26 “Model 7.1”
5.28 “Model 7.3”
model 7: planar modularity rhythmic elements to compose solids and voids
5.29 “Model 7.4”
152
5.30 “Model 8.1”
5.31 “Model 8.2”
5.33 “Model 8.4”
model 8: modular progression heirarchy in similar elements and spaces
5.32 “Model 8.3”
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5.35 “Model 9.2”
5.34 “Model 9.1”
5.36 “Model 9.3”
model 9: heirarchical transition responses to bisecting existing circulatory conditions
5.37 “Model 9.4”
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5.38 “Model 10.1”
5.39 “Model 10.2”
5.41 “Model 10.4”
model 10: the happy accident planar intersections relating to desirable views
5.40 “Model 10.3”
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5.44 “Model 11.3”
5.42 “Model 11.1”
5.43 “Model 11.2”
5.45 “Model 11.4”
model 11: circulation web using circulation as a tool to map solids and voids
5.46 “Model 11.5”
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5.47 “Model 12.1”
5.48 “Model 12.2”
5.50 “Model 12.4”
model 12: dominant circulation vectors their relationship to minor circulatory entities
5.49 “Model 12.3”
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5.51 “Model 1A”
5.52 “Model 2A”
5.53 “Model 3A”
5.54 “Model 4A”
5.55 “Model 5A”
5.56 “Model 6A”
The models shown here were constructured one week after concept models 1-12. Their failure at creating a relationship between a programmatic space and the site was readily apparent - it was decided by student and professor to return to the original, successful set of models and draw from the positive attributes of their construction.
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5.57 “Model 7A”
5.58 “Model 8A”
5.59 “Model 9A”
5.60 “Model 10A”
5.61 “Model 11A”
5.62 “Model 12A”
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Repetition as a Signifier Repetition is a common tool used to retain a memory. We
In models 5, 7, 8, 9, 11 and 12 seen in the previous pages,
use it to remember multiplication tables, to remember the
we can see an element of repetition present in the design
names of famous artists and their work, to remember the
of each model. The long, narrow area of current on-beach
names of family members we only see once in a blue moon.
parking always seems to communicate the same message
This concept of repetition in action can be also be applied
of repetition and consistency, creating a rhythm of solid and
to the memory of a place. In order to retain a memory, we
void as one travels from the large southeastern part of the
must repeat the feelings from and pligrimages to a place in
site towards the northwest. Originally included to represent
order to make ourselves recognize our mindâ&#x20AC;&#x2122;s capacity.
the possibility of beach cabanas and small hospitality locations, the inclusion of this repetitive element and the
We all have the ability to remember, yet we must exercise our minds in order to feel the power of a memoryâ&#x20AC;&#x2122;s true potential.
160
subsequent attempts to include similar elements at a larger scale in a larger, main structure indicate a very outstanding pattern - that repetition on this site will prove vital in the design of a structure.
Both of these conclusions yield an unmistakeable conclusion
The following pages illustrate the process of memory
the architectural element of repetition must be present in a
retention by repetition and the afore mentioned concept
design for a memorable structure because of the nature of
models (1-12, the successful first set) and highlight their
repetitive recognition in the human psyche.
main, simplistic repetitive element.
By examining the
interaction of these simplistic elements through various
When we see something repeatedly and take notice of its presence whether it be a billboard on the highway or the same familiar beachscape of annual vacations - we absorb its details, traits and identity within our memories
forms of rotation and arrangement we can explore the possibilities of both building plan and section. In order to create a more cohesive relationship between the floor plan layout of the building, its vertical section should illustrate a relationship between the two planes
161
the solidifcation of memory; the clarity and quality of memory over time initial exposure
initial exposure
recognition
second exposure
growth
third exposure
repetition of cognitive elements over time; returning back to the memoryâ&#x20AC;&#x2122;s source
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appreciation
adoration
nostalgia
nth exposure
5.63 â&#x20AC;&#x153;Repetition in Memoryâ&#x20AC;?
163
5
5.64 “Model 5R”
7
5.65 “Model 7R”
8
5.66 “Model 8R”
similar to the repetitive nature of multiple exposure to the same element or place, a repetitive pattern was found in 6 of the 12 conceptual models created after review 1. the following pages now identity the repetitive nature of each device and how in future design the shape can be altered according to schematic design.
164
9
5.67 “Model 9R”
11
5.68 “Model 11R”
12
5.69 “Model 12R”
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model 5 repetition element 5.70 â&#x20AC;&#x153;Model 5 Elementâ&#x20AC;?
mirrored
166
mirrored rotation
centralized rotation
model 7 repetition element 5.71 â&#x20AC;&#x153;Model 7 Elementâ&#x20AC;?
mirrored
one-way shifting
two-way shifting
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model 8 repetition element 5.72 â&#x20AC;&#x153;Model 8 Elementâ&#x20AC;?
mirrored
168
mirrored rotation
rotation & one-way shift
model 9 repetition element 5.73 â&#x20AC;&#x153;Model 9 Elementâ&#x20AC;?
mirrored
one-way rotation
rotation & one-way shift
169
model 11 repetition element 5.74 â&#x20AC;&#x153;Model 11 Elementâ&#x20AC;?
(for 11 & 12) mirrored
170
single rotation
rotation & one-way shift
rotation & two-way shift
model 12 repetition element 5.75 â&#x20AC;&#x153;Model 12 Elementâ&#x20AC;?
171
Repetition as a Signifier in the Vernacular Structure We have already discussed the presence and the historical
colloquial architecture on the cape. It should continue
integrety of the Cape Cod Dune Shack (see Chapter 4, pages
to be a source of knowledge, expression and should be
86-87).
explored to exhibit the local nature of building to visitors
This unbelievably simplistic structure became
mecca for stranded sailors tossed about the Cape Cod shore
and locals alike.
in the cold, harsh winter months. The presence of the dune
rectilinear floor plans and bare, unadorned facades
As long as structures continue to stand on the shores of the Cape, many of them should somehow stylistically embody the character of the dune shack.
that give it a naturally simplistic demeanor that at the
The following pages explore the identity of various dune
same immediately identify itâ&#x20AC;&#x2122;s location - can and should
shacks in their facade shapes, patterns and organization in
be the inspiration for the continuation of this regional,
order to better the understanding of the impending design.
shack signifies safety, enclosure and safe harbour from the freezing winter storms that would turn their clothes to ice.
The dune shackâ&#x20AC;&#x2122;s vernacular presence - itâ&#x20AC;&#x2122;s unimaginative
172
5.76 “Dune Shack 1 Elements”
5.77 “Dune Shack 1”
element of repetition present in model 11
173
5.78 “Dune Shack 2”
5.79 “Dune Shack 2 Elements”
three elements of repetition present in models 11 & 12
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5.80 “Dune Shack 3 Elements”
5.81 “Dune Shack 3”
one element of repetition present in model 11
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5.82 “Dune Shack 4”
5.83 “Dune Shack 4 Elements”
two elements of repetition present in models 11 & 7
176
5.84 “Dune Shack 5 Elements”
5.85 “Dune Shack 5”
one element of repetition present in model 11
177
Repetition as a Signifier in the Vernacular Materiality Perhaps the only adornment - the only means by which
bottom of the structure and ascend up, creating a layered
materiality became both a representation of a style and way
barrier between the interior and exterior environment.
of controlling the battering storms and harsh nature of the
material to express the identity of the area.
By utilizing the repetitive nature of a material to create an exterior protective barrier, the individual repetitive parts work as a whole to keep the interior environment unchanged.
The beauty of the shingle lies in its simplistic layering of
This arrangement of materiality also relates to our idea
similar elements in order to create a watershed barrier and
of repetition in memory, construction and dune shack
layer of exterior covering. Shingles are laid in rows from the
vernacular nature. The dune shack created shelter for sailors
sun, wind and exposed environment - is and was the wooden cedar shingle. They adorn so many of the buildings on the Cape; their presence makes them expected, predictable and a beautiful vernacular identifier all at the same time. The wooden shingle becomes the ideal local and historical
178
making their survival a possibility instead of freezing
As seen in the previous pages, we recognize the similar
to death in an exposed environment. By safeguarding
relationships between the dune shacks and original
the soldiers, they had a chance to survive. If we look
programmatic models.
toward embodying the same idea in our architecture
elements, in combination with a repetitive and vernacularly
- using repetitive elements and processes in order to
feasible material, can work together to make the coming
ensure the survival of a memory - we can create more
structure a memorable piece of architecture.
memorable architecture.
The nature of these simplistic
This does not necessarily
utilized in each architectural work in order to promote
The materiality can also provide a medium for the architecture - we can begin to think of the materiality as a form of vernacularly specific art.
memory retention of a place.
This section showcases the local relationship of the shingle.
mean that architecture needs to be contrustructed in a purely repetitive manner - because then all architecture would look the same - but an individual element can be
179
11
11
12
11
1 2 Although it is rotated horizontally in many of the models above, the cedar shake shingle shaped repetition element is present in all the dune shack study figures. The shape of the shingles may not appear correct because during construction over 50% of the shingle is covered by the shingle above it for protection and watershed.
180
11
7
11 elements of repetition in each study as they relate to the original models
5
3 4 This repetition of the vertical, rectilinear confirms the following theory; The material of the structure directly relates to the exterior proportion of the structureâ&#x20AC;&#x2122;s design. The material and the structure are designed one entity and directly connect to one another indefinitely in the design of the original architecture.
5.86 â&#x20AC;&#x153;Repetitive Elements in the Dune Shack â&#x20AC;?
181
5.87 “Cedar Shingles 1”
5.90 “Cedar Shingles 4”
182
5.88 “Cedar Shingles 2”
5.89 “Cedar Shingles 3”
5.91 “Cedar Shingles 5”
5.92 “Dune Shack 6”
5.93 “Dune Shack 7”
5.94 “Dune Shack 8”
Conspicuously, each of the dune shacks explored in the previous
model and the shingle is the appearance of model 11’s vertical
pages have two major similarities. The frist noticable connection
repetition element in each shack analysis. This vertical shape is
is the presence of shingles in each of the small vernacular cottages
almost identical in proportion to the body of a vernacular cedar
(the material was readily available and made from local cedar
shake shingle. What this tells us is fascinating conclusion-
trees). The shingles are used in all types of programmatic structures around the Cape, solidifying their presence in the environment as a severly local material. The other major similarity between each
the materiality is connected to the structure which is connected to the vernacular identity - they are all related.
183
24”
18”
16” 5” 5”
5”
5.95 “Shingle Dimensions”
5.96 “Cottage 1”
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5.97 “Cottage 2”
5.98 “Cottage 3”
5.99 “Cottage 4”
5.100 “Cottage 5”
5.101 “Cottage 6”
5.102 “Cottage 7”
The typical wooden shingle on Cape Cod comes in three varying
between every 5 and 60 years depending on the weathering. The
sizes - 16”, 18” and 24” while the width varies depending on the
shingle essentially promotes the nostalgic idealism the Cape -
make and manufacturer of the shingles. They can be left to weather naturally or can be painted and stained a specific color. Most cape shingles are allowed to weather by the salt and sun and are replaced
the material is used widely to promote the early beauty and simplicity life for Cape residents and travelers.
185
felt & moisture barrier underlay plywood / dimensional lumber sheathing concealed nailing undercoursing/grade shingles grade shingles applied 1/2” lower for watershed protection
single coursing
5.103 “Single Shingle Coursing”
186
felt & moisture barrier underlay plywood / dimensional lumber sheathing 1” maximum overlapping for 16” & 18” shingles double undercoursing/grade shingles grade shingles applied 1/2” lower for watershed protection
staggered coursing 5.104 “Staggered Shingle Coursing”
furring strips nailed to stud wall
starter course of interior wall
5.105 “Interior Wall Shingle Construction” The construction process of the wooden shingle is relatively simple.
wall construction follows a similar process. The wall is framed and a
5.106 “Shingle Construction”
A wall is framed using either wood or steel studs, the wall is covered
furring strip foundation is nailed to drywall. Shingles are then hung
with protective sheathing/plywood, a moisture barrier and felt and
on the furring strips in an ascending pattern to obtain the same
shingles are nailed over. The layering of the materiality allows for
aesthetic as the exterior wall. The aesthetic of the shingle laying
watershed and directs moisture away from the structure. An interior
can also be adjusted in accordance with material preferences.
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Repetition as a the Collective Memory of the User Now that we have connected the repetitive nature of memory retention with the dynamic shapes of the vernacular environment, we must find a way to integrate the memory of the user with the structure itself. This next step takes place through the medium of the materiality. The structure should serve as a way of mediating the
everyone who steps foot into this part of the National
dialogue between the architecture and the user in
Seashore to make each individual piece of cladding a work of
form and basic simplicity. By using the structure as a
art, we create a medium for art, positive memory association
base, we can utilize the materiality as the message and
and memory retention to flourish. For although the shingles
communication of expressed memory.
may eventually weather in the sun and salt, the memory of
The medium by which we will express the individual
creating an individual piece of collective nostalgia will far
memoryâ&#x20AC;&#x2122;s imposition on the structure is the wooden
outlast each shingle.
shingle itself.
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By allowing every individual who visits Herring Cove to have a hand in creating its structure, we ensure physical proof of an emotional memory for years to come. By allowing
The memory will always reside within the architecture.
5.107 “Beach Day”
5.108 “Entering Cape Cod”
5.109 “Anchored”
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16” 5”
5.111 “Shingle 1”
5.112 “Shingle 2”
5.113 “Shingle 3”
5.114 “Shingle 4”
5.110 “Shingle Base”
Repetition as a the Individual Memory of the User
190
By utilizing the 16” shingle as the materiality medium, hundreds if
such a large number of people to participate in the creation of a
not thousands of people would be able to create their own art on
vernacular language for this Cape Cod beach, both a new and old
a piece of architectural vernacular history. Herring Cove facilities
piece of architectural language would be formed. Users would be
would need to include a designated multi-dimensional space to
encouraged to write, draw, sketch, carve or illustrate their individual
allow for the production of these individual craft pieces. By allowing
shingles in order to create a cohensive, beautiful piece of public art.
5.115 “Shingle 5”
5.116 “Shingle 6”
5.117 “Shingle 7”
5.118 “Shingle 8”
5.119 “Shingle 9”
5.120 “Shingle 10”
5.121 “Shingle 11”
5.122 “Shingle 12”
5.123 “Shingle 13”
5.124 “Shingle 14”
191
192
5.125 “Corten Bridge”
5.126 “Modular Corten”
5.127 “Corten Aging”
5.128 “Corten Oxidation”
There almost seems to be a perfect connection between a material
the sea air, winter storms and summer sun, allowing them both
for the skeleton of the structure and the natural weathering of the
to weather at a common rate. Concrete is more susceptible to
exterior cedar shingle. By using corten steel as the frame for the
damage from erosion and wood will weather at a faster and more
main underlying structure of the building, the steel will weather
deteriorating rate than the steel. As the building and its materiality
naturally like the shingles over time. Both will be susceptible to
ages, memories will may fall privy to aging but will not disappear.
5.130 “Corten in Nature”
5.129 “Corten Screening”
5.131 “Sculptural Corten”
193
5.132 “Experiential Rendering 1”
194
195
5.133 “Experiential Rendering 2”
196
197
5.134 “Experiential Rendering 3”
198
199
5.135 “Experiential Rendering 4”
200
201
5.136 “The Physical Aging of Memory”
202
It is a natural process for memories to encapsulate us, make us fall
Nothing stays the same forever - the art of the shingles will fade,
privy to their seemingly perfect nostalgia and slowly fade as we
weather and soon disappear all together. However, our knowing
age. By incorporating the skin of the building as a form of art to
recognition of their presence keeps the memory alive and allows us
aid in recognizing the beauty of the memory, we create another
to fill ourselves with joy and satisfaction when we revisit them. The
mechanism in which we inspire ourselves to remember our lives.
ink may fade into the wood, yet we always know it was once there.
203
images
204
5.1
Bonazzi, Stefano. “Smoke #6.” Stefano Bonazzi Personal Portfolio. http://www.stefanobonazzi.it/smoke-6. 2013.
5.2
[Image by Author] “Model 1.1”
5.17
[Image by Author] “Model 4.4”
5.3
[Image by Author] “Model 1.2”
5.18
[Image by Author] “Model 5.1”
5.4
[Image by Author] “Model 1.3”
5.19
[Image by Author] “Model 5.2”
5.5
[Image by Author] “Model 1.4”
5.20
[Image by Author] “Model 5.3”
5.6
[Image by Author] “Model 2.1”
5.21
[Image by Author] “Model 5.4”
5.7
[Image by Author] “Model 2.2”
5.22
[Image by Author] “Model 6.1”
5.8
[Image by Author] “Model 2.3”
5.23
[Image by Author] “Model 6.2”
5.9
[Image by Author] “Model 2.4”
5.24
[Image by Author] “Model 6.3”
5.10
[Image by Author] “Model 3.1”
5.25
[Image by Author] “Model 6.4”
5.11
[Image by Author] “Model 3.2”
5.26
[Image by Author] “Model 7.1”
5.12
[Image by Author] “Model 3.3”
5.27
[Image by Author] “Model 7.2”
5.13
[Image by Author] “Model 3.4”
5.28
[Image by Author] “Model 7.3”
5.14
[Image by Author] “Model 4.1”
5.29
[Image by Author] “Model 7.4”
5.15
[Image by Author] “Model 4.2”
5.30
[Image by Author] “Model 8.1”
5.16
[Image by Author] “Model 4.3”
5.31
[Image by Author] “Model 8.2”
chapter bibliogrpahy & endnotes tables | figures | illustrations 5.32
[Image by Author] “Model 8.3”
5.44
[Image by Author] “Model 11.3”
5.33
[Image by Author] “Model 8.4”
5.45
[Image by Author] “Model 11.4”
5.34
[Image by Author] “Model 9.1”
5.46
[Image by Author] “Model 11.5”
5.35
[Image by Author] “Model 9.2”
5.47
[Image by Author] “Model 12.1”
5.36
[Image by Author] “Model 9.3”
5.48
[Image by Author] “Model 12.2”
5.37
[Image by Author] “Model 9.4”
5.49
[Image by Author] “Model 12.3”
5.38
[Image by Author] “Model 10.1”
5.50
[Image by Author] “Model 12.4”
5.39
[Image by Author] “Model 10.2”
5.51
[Image by Author] “Model 1A”
5.40
[Image by Author] “Model 10.3”
5.52
[Image by Author] “Model 2A”
5.41
[Image by Author] “Model 10.4”
5.53
[Image by Author] “Model 3A”
5.42
[Image by Author] “Model 11.1”
5.54
[Image by Author] “Model 4A”
5.43
[Image by Author] “Model 11.2”
5.55
[Image by Author] “Model 5A”
205
206
5.56
[Image by Author] “Model 6A”
5.73
[Image by Author] “Model 9 Element”
5.57
[Image by Author] “Model 7A”
5.74
[Image by Author] “Model 11 Element”
5.58
[Image by Author] “Model 8A”
5.75
[Image by Author] “Model 12 Element”
5.59
[Image by Author] “Model 9A”
5.76
[Image by Author] “Dune Shack 1 Elements”
5.60
[Image by Author] “Model 10A”
5.77
Seufert, Christopher. “Provincetown, Cape Cod Dune Shack
5.61
[Image by Author] “Model 11A”
(Tasha).” [Retitled by Author] Imagekind. http://www.image
5.62
[Image by Author] “Model 12A”
kind.com/Provincetown-Cape-Cod-Dune-Shack-Tasha-art?IM
5.63
[Image by Author] “Repetition in Memory”
ID=df7dfa66-26b7-4e56-82dc-d116d74acd50. 2013.
5.64
[Image by Author] “Model 5R”
5.78
Sargent, Brandon. “Each Day.” [Retitled by Author] A Gentleman
5.65
[Image by Author] “Model 7R”
Knows. http://agentlemanknows.com/archives/825. 2013.
5.66
[Image by Author] “Model 8R”
5.79
[Image by Author] “Dune Shack 2 Elements”
5.67
[Image by Author] “Model 9R”
5.80
[Image by Author] “Dune Shack 3 Elements”
5.68
[Image by Author] “Model 11R”
5.81
Diedricksen, Derek. [Title by Author] Relax Shacks. http://relax
5.69
[Image by Author] “Model 12R”
shax.wordpress.com/2010/12/26/the-cape-cod. 2013.
5.70
[Image by Author] “Model 5 Element”
5.82
Muise, Matthew. “Dune Shack, Provincetown, Mass.” [Retitled by
5.71
[Image by Author] “Model 7 Element”
Author] Matthew Muise Photography. http://muisephoto.word
5.72
[Image by Author] ”Model 8 Element
press.com/2011/02/16/dune-shack-provincetown-mass. 2013.
chapter bibliogrpahy & endnotes tables | figures | illustrations 5.83
[Image by Author] “Dune Shack 4 Elements”
5.89
“Wood Shingles.” [Retitled by Author] Comstock. http://home
5.84
[Image by Author] “Dune Shack 5 Elements”
guides.sfgate.comprevent-moss-wood-roofing-shin
5.85
“Dune Shack Near Snail Trail.” [Retitled by Author] Province
town Dune Shack. http://www.asergeev.com/pictures/k/Prov 5.90
incetown. 2013.
dazzlewallpapers.com/search/widescreen+wallpapers. 2013.
5.86
[Image by Author] “Repetitive Elements in the Dune Shack”
5.91
“Shingles_2007.” [Retitled by Author] TechCredo. http://www.
5.87
Speed, Kristin. “Old, Worn Crooked Wooden Shingles.” [Ret
techcredo.com/android/wood-texture-wallpaper-collec
tled by Author] 123RF. http://www.123rf.com/pho
tion-for-android. 2013.
to_1171533_oldworn-crooked-wooden-shingles.html. 2013.
5.92
Simpson, Luke. “Among the Dunes.” [Retitled by Author] http:/
5.88
“Weathered Shake Shingles.” [Retitled by Author] Photos
capecodlife.com/life/stories/2010/10. 2013.
Public Domain. http://www.photos-public-domain
5.93
“Dune Shacks 13.” [Retitled by Author] Relax Shacks. http://re
com/2012/03/18. 2013.
laxshax.wordpress.com/page/103. 2013.
gles-34812.html. 2013. “Shingles.” [Retitled by Author] Dazzle Wallpapers. http://www.
207
5.94
Lewis, Susanne. [TItle by Author] Smithsonian Magazine.
5.102 McCulley, Kate. [Title by Author] Adventurous Kate. http://
http://www.smithsonianmag.com/arts-culture/What-Do-Jack
208
www.adventurouskate.com/photo-essay-cape-cod. 2013.
son-Pollock-Ten nessee-Williams-and-Norman-Mailer-Have-in- 5.103 [Image by Author] “Single Shingle Coursing”
Common.html. 2013.
5.104 [Image by Author] “Staggered Shingle Coursing”
5.95
[Image by Author] “Shingle Dimensions”
5.105 [Image by Author] “Interior Wall Shingle Construction”
5.96
Greim, John. “Cape Cod Cottage.” [Retitled by Author] Mira.
5.106 “Carpenter Installing Cedar Shingles.” [Retitled by Author]
http://miraimages.photoshelter.com/image/I0000I6. 2013.
Dreamstime. http://www.dreamstime.com/stock-image-car
5.97
McCulley, Kate. [Title by Author] Adventurous Kate. http://
penter-installing-cedar-shingles-image8967701. 2013.
www.adventurouskate.com/photo-essay-cape-cod. 2013.
5.107 McPhaul, Meghan. “Cape Cod Memories.” [Retitled by Au
5.98
McCulley, Kate. [Title by Author] Adventurous Kate. http://
thor] Writings from A Full Life. http://writingsfromafulllife.blog
www.adventurouskate.com/photo-essay-cape-cod. 2013.
spot.com/2011_08_01_archive.html. 2013.
5.99
McCulley, Kate. [Title by Author] Adventurous Kate. http://
5.108 “Entering Cape Cod Highway Marker.” iStockPhoto. http://www.
www.adventurouskate.com/photo-essay-cape-cod. 2013.
istockphoto.com/stock-photo-13219862-entering-cape-cod-
5.100 McCulley, Kate. [Title by Author] Adventurous Kate. http://
5.109 [Title by Author]. Cape Cod Fishing Charters. http://www.cape
www.adventurouskate.com/photo-essay-cape-cod. 2013.
highway-marker.php. 2013.
5.101 McCulley, Kate. [Title by Author] Adventurous Kate. http://
5.110 [Image by Author] “Shingle Base”
www.adventurouskate.com/photo-essay-cape-cod. 2013.
fishingcharters.com/index.html. 2013.
chapter bibliogrpahy & endnotes tables | figures | illustrations 5.111 [Image by Author] “Shingle 1” 5.112 [Image by Author] “Shingle 2”
5.123 [Image by Author] “Shingle 13”
5.113 [Image by Author] “Shingle 3”
5.124 [Image by Author] “Shingle 14”
5.114 [Image by Author] “Shingle 4”
5.125 “Corten Steel.” [Retitled by Author] Michitecture. http://mich
5.115 [Image by Author] “Shingle 5”
5.116 [Image by Author] “Shingle 6”
5.126 “Grid House.” [Retitled by Author] Knstrct. http://knstrct.
5.117 [Image by Author] “Shingle 7”
5.118 [Image by Author] “Shingle 8”
5.127 “Cor-Ten Steel.” [Retitled by Author] Paviom. http://www.pav
5.119 [Image by Author] “Shingle 9”
5.120 [Image by Author] “Shingle 10”
5.128 McLassus, Roger. “Weathering Steel.” Botanica Atlanta. http://
5.121 [Image by Author] “Shingle 11”
www.botanicaatlanta.com/apps/blog/
5.122 [Image by Author] “Shingle 12”
tecture.com/tag/corten-steel. 2013.
com/2010/07/19/grid-house. 2013.
om.com/lighting-units/aptus-single. 2013.
show/12492517-weathering-steel. 2013.
209
5.129 Watkinson, Angela. [Title by Author] Design 5aw. http://desi
gn5aw.blogspot.com/2012/04/corten-steel.html. 2013.
5.130 [Title by Author’] Inhabitat. http://inhabitat.com/tag/corten
steel. 2013.
5.131 Yarwood, Sarah. [Title by Author] Wordpress. http://sarahlou iseyarwood.wordpress.com/2011/02/08/now-thats-how-you
design-with-corten-ron-arad-design-museum-holon. 2013.
5.132 [Image by Author] “Experientail Rendering 1” 5.133 [Image by Author] “Experientail Rendering 2” 5.134 [Image by Author] “Experiential Rendering 3” 5.135 [Image by Author] “Experiential Rendering 4” 5.136 [Image by Author] “The Physical Aging of Memory”
210
chapter bibliogrpahy & endnotes tables | figures | illustrations
211
212
circulation as the generator of movement and memory the directional feasibility of plans enhancing circulation as the generator of movement and memory selecting the circulatory matrix shipbuilding; a structural inspiration multi-dimensional development review iii deliverables chapter endnotes
6.1 â&#x20AC;&#x153;Smoke 8â&#x20AC;?
213
214
The following chapter showcases the development of structural configurations and phenomenological attributes through the first half of spring quarter. The necessary dominance of directed circulation yielded multiple studies of plan and user interaction with a built structure and the environment. The careful balance between an ordered, required path of movement and a free, flowing path allowing the user to choose their own journey became the catalyst for the following two series of diagrammatic sketches and one series of models. One particular plan was chosen to fabricate and create the structure. The following chapter investigates the necessity of plan exploration, its cultivation and ultimately construction of a physical being. Renderings, perspectives and other architectural drawings were completed for committee review by thesis review III.
215
lifesaving services first aid park ranger headquarters storage space
men’s restroom men’s showers/changing women’s restroom women’s showers/changing
circulatory paths 6.2 “Circulation Grid and Key”
Circulation as the Generator of Movement and Memory
216
The most important movement in this spatial structure will need to
their own memories and combining them with the hundreds or
come from circulation from the inland area toward the beach. By
thousands left behind at the beach before them. The following
manipulating the path of arrival through the structure and allowing
twelve sketches were created to explore circulatory paths based
the user to see the beach itself as a beacon of their arrival, the
on two grid requirements - a designated point of visual ‘arrival’
experience of coming to the beach will be all the more memorable.
by vehicular route and a grid drawn upon by the breakline of
By fusing this enticing sense of arrival with the materiality
waves on the beach. Additionally, the best models (highlighted
previously discussed - artwork shingles and the aging quality of
with asterisks) were constructed to determine the feasibility of
the corten steel - the user will have a full experience of making
their layout.
plan 1
plan 2 6.3 “Plan 1A”
plan 3
*
6.5 “Plan 3A”
6.4 “Plan 2A”
plan 4
*
6.6 “Plan 4A”
217
plan 5
plan 7 218
*
plan 6 6.7 “Plan 5A”
6.9 “Plan 7A”
plan 8
*
6.8 “Plan 6A”
6.10 “Plan 8A”
plan 9
*
plan 11
*
plan 10 6.11 “Plan 9A”
6.13 “Plan 11A”
6.12 “Plan 10A”
plan 12
6.14 “Plan 12A”
219
6.15 “Plan Model 3.1”
plan model 3 6.16 “Plan Model 3.2”
220
6.17 “Plan Model 3.3”
6.19 “Plan Model 4.2”
plan model 4 6.18 “Plan Model 4.1”
6.20 “Plan Model 4.3”
221
6.21 “Plan Model 5.1”
plan model 5 6.22 “Plan Model 5.2”
222
6.23 “Plan Model 5.3”
6.25 “Plan Model 6.2”
plan model 6 6.24 “Plan Model 6.1”
6.26 “Plan Model 6.3”
223
6.27 “Plan Model 10.1”
plan model 10 6.28 “Plan Model 10.2”
224
6.29 “Plan Model 10.3”
6.31 “Plan Model10.2”
plan model 11 6.30 “Plan Model 11.1”
6.32 “Plan Model 10.3”
225
6.33 â&#x20AC;&#x153;Modified Base Gridâ&#x20AC;?
Circulation as the Generator of Movement and Memory
226
After completing the original twelve diagrammatic sketches and
The second radial point came from the circulation of the bicyclist, a
six models, it was determined there was a lacking element in the
circulation path we have seen with high redominance in chapter 4.
formation of the grid structure. The original point of vision/entry
The movement of the bicyclist down the first corridor of the parking
from the vehicular path served as an excellent point of visual
area showcases another major form of circulatory heirarchy - the
contact, yet the secondary notion of overlaying a grid from the
biker sees the same vision and approaches the site with anticipatory
ocean breakwater did not translate. This is when it was discovered
growth - the structure they see before them goes from an abstract
that the ideal grid configuration would be to have two radial points
object to a detailed establishment. The following twelve diagrams
interlace to create the superstructureâ&#x20AC;&#x2122;s footprint.
were created from this new underlying grid structure.
plan 1
plan 2 6.33 “Plan 1B”
plan 3
6.36 “Plan 3B”
6.35 “Plan 2B”
plan 4
*
6.37 “Plan 4B”
227
plan 5
plan 6 6.38 “Plan 5B”
plan 7 228
6.40 “Plan 7B”
6.39 “Plan 6B”
plan 8
6.41 “Plan 8B”
plan 9
plan 10 6.42 “Plan 9B”
plan 11
6.44 “Plan 11B”
6.43 “Plan 10B”
plan 12
6.45 “Plan 12B”
229
Selecting the Circulatory Matrix
230
The second set of diagrammatic plans yielded many interseting
must feel like they are directing their own path and they have the
perspectives on the quality of circulatory movement. In order to
freedom to do so. If the circulation is forced, the ritual of entry and
provide the maximum amount of enjoyment while moving about
arrival feels forced as well. The user must be able to circulate freely,
the structure, a few major points of interset presented themselves.
choose their own path and without restriction, but must ultimately
First, the circulation must contain an axial terminous; a way by
end up on the terminous axis whcih leads to the beach. Plan 4 from
which people - and more importantly emergency units or people
the second set of diagrammatic sketches was chosen to construct
in a hurry - could circulate without being trapped in a maze. This
because of its long, terminous central axes from both visual points
point indicated another more passive means of circulation; the user
of interst and its many, unhibited paths of travel throughout.
6.46 “Merged Grid with Final Plan”
231
6.47 “Ship Structure 1”
6.48 “Ship Structure 2”
Shipbuilding; A Structural Inspiration
232
During Review II, the idea of shipbuilding was discussed as a design
ship on land to serve as a harbor for beachgoers and their memories,
inspiration, stemming from the original nature of the dune shack’s
by way of their individual shingles.
construction. The shacks were constructed to provide safe harbor
The structure of these whaling ships will serve as an inspiration
on land for sailors who survived shipwrecks. It seemed almost
for the corten steel framing of the structural grid. Their joinery,
natural to use the inspirational properties of the shack’s shelter
construction technique and curvature will provide means to create
and combine its history with a means for erecting the proposed
a pseudo ship in safe harbor, essentially, a means of safekeeping for
structure. If the shack was a harbor for sailors, why not produce a
the memories and shingles of all who visit Herring Cove.
6.49 “Interior Ship Structure”
6.50 “Ship Structure Assembly”
6.51 “Futtocks Assembly”
233
A
Local Site Plan 6.52 â&#x20AC;&#x153;Local Site Planâ&#x20AC;?
The following pages showcase the structural development of the Herring Cove facility
234
B
Axonometric Structural Plan 6.53 “Axonometric Plan”
C
Master Site Plan 6.54 “Master Site Plan”
235
D
View from Vehicular Entry 6.55 “Vehicular Entry 1”
E
North/South Section
6.56 “North/South Section”
236
F
View Along Central Axis 6.57 “Central Axis”
G
View from Vehicular Entry
6.56 “Vehicular Entry 2”
237
H
238
6.59 “Centralized Inteior View 1”
Centralized Interior View
6.60 “Bicycle Parking Lot Entry”
I
View from Bicycle and Parking Lot Entry
239
J
View Along Central Axis 6.61 “Central Axis View”
240
K
Centralized Interior View 6.62 “Centralized Inteior View 2”
241
Vehicular Entry
The following pages show renderings with context from Review III
242
6.63 “Vehicular Entry; Review III”
Axonometric Plan
6.64 “Axonometric Plan; Review III”
243
North to South Site Section 244
6.65 “North To South Site Section; Review III”
245
View Along Central Axis 246
6.66 “Central Axis View; Review III”
Bicyclist/Parking Area Entry
6.67 “Parking Area Entry; Review III”
247
Centralized Interior View 248
6.68 “Interior Circulation; Review III”
249
images
250
6.1
Bonazzi, Stefano. “Smoke #8” Stefano Bonazzi Personal Portfolio. http://www.stefanobonazzi.it/smoke-8. 2013.
6.2
[Image by Author] “Circulation Grid and Key”
6.17
[Image by Author] “Plan Model 3.3”
6.3
[Image by Author] “Plan 1A”
6.18
[Image by Author] “Plan Model 4.1”
6.4
[Image by Author] “Plan 2A”
6.19
[Image by Author] “Plan Model 4.2”
6.5
[Image by Author] “Plan 3A”
6.20
[Image by Author] “Plan Model 4.3”
6.6
[Image by Author] “Plan 4A”
6.21
[Image by Author] “Plan Model 5.1”
6.7
[Image by Author] “Plan 5A”
6.22
[Image by Author] “Plan Model 5.2”
6.8
[Image by Author] “Plan 6A”
6.23
[Image by Author] “Plan Model 5.3”
6.9
[Image by Author] “Plan 7A”
6.24
[Image by Author] “Plan Model 6.1”
6.10
[Image by Author] “Plan 8A”
6.25
[Image by Author] “Plan Model 6.2”
6.11
[Image by Author] “Plan 9A”
6.26
[Image by Author] “Plan Model 6.3”
6.12
[Image by Author] “Plan 10A”
6.27
[Image by Author] “Plan Model 10.1”
6.13
[Image by Author] “Plan 11A”
6.28
[Image by Author] “Plan Model 10.2”
6.14
[Image by Author] “Plan 12A”
6.29
[Image by Author] “Plan Model 10.3”
6.15
[Image by Author] “Plan Model 3.1”
6.30
[Image by Author] “Plan Model 11.1”
6.16
[Image by Author] “Plan Model 3.2”
6.31
[Image by Author] “Plan Model 11.2
chapter bibliogrpahy & endnotes tables | figures | illustrations 6.32
[Image by Author] “Plan Model 11.3”
6.43
[Image by Author] “Plan 10B”
6.33
[Image by Author] “Modified Base Grid”
6.44
[Image by Author] “Plan 11B”
6.34
[Image by Author] “Plan 1B”
6.45
[Image by Author] “Plan 12B”
6.35
[Image by Author] “Plan 2B”
6.46
[Image by Author] “Merged Grid with Final Plan
6.36
[Image by Author] “Plan 3B”
6.47
“Construction From Around 1800.” [Retitled by Author] History
6.37
[Image by Author] “Plan 4B”
of Shipbuilding. http://www.abc.se/~pa/bld/img/1800. 2013.
6.38
[Image by Author] “Plan 5B”
6.48
“18th Century Construction Drawing.” [Retitled by Author] Hi
6.39
[Image by Author] “Plan 6B”
tory of Shipbuilding. http://www.abc.se/~pa/bld/img. 2013.
6.40
[Image by Author] “Plan 7B”
6.49
[Title by Author] Schooner Appledore. http://www.appledore2.
6.41
[Image by Author] “Plan 8B”
com/history.html. 2013.
6.42
[Image by Author] “Plan 9B”
251
252
6.50
Alves, Francisco. “Construction of the Duoro River.” [Retitled
by Author] Geneaology and Archaeology of Portuguese Ships.
http://www.abc.se/~pa/publ/gen_port.htm. 2013.
6.51
“Components of a Wooden Ship Frame.” [Retitled by Author]
The Model Shipwright. http://www.themodelshipwright.com/
prototype-shipbuilding/the-hull-the-heart-of-a-ship. 2013.
6.52
[Image by Author] “Local Site Plan”
6.53
[Image by Author] “Axonometric Site Plan”
6.54
[Image by Author] “Master Site Plan”
6.55
[Image by Author] “Vehicular Entry 1”
6.56
[Image by Author] “North/South Section”
6.57
[Image by Author] “Central Axis”
6.63
[Image by Author] “Vechicular Entry; Review III”
6.58
[Image by Author] “Vehicular Entry 2”
6.64
[Image by Author] “Axonometric Plan; Review III”
6.59
[Image by Author] “Centralized Interior View 1”
6.65
[Image by Author] “North to South Site Section; Review III”
6.60
[Image by Author] “Bicycle Parking Lot Entry”
6.66
[Image by Author] “Central Axis View; Review III”
6.61
[Image by Author] “Central Axs View”
6.67
[Image by Author] “Parking Area Entry; Review III”
6.62
[Image by Author] “Centralized Interior View 2”
6.68
[Image by Author] “Interior Circulation; Review III”
chapter bibliogrpahy & endnotes tables | figures | illustrations
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7.1 “Smoke #11”
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In the previous pages, it has become clear that memory is an element of human nature, a free and fleeting occurance, where to capture it is the capture the photographic images and their imprintation on the soul of the viewer. We want to remember everything - it is within human nature to want to recall the wonderful times of our lives and to fight the dissolving appearance of a snapshot in our mind - yet without a physical representation of that particular time, it becomes hard to reminisce about the past. By creating and imprinting a psychological manifestation of our memories in a physical form, we encapsulate a feeling - a moment in time where we feel joyous, uninhibited and free - and make it a representation for all others to see and feel in the coming days, months and years ahead. And, when the time comes where our physical manifestation of our psychological output fades away - when a shingle weathers from the continuous spray of the sea or the relentless barraging of the New England summer sun - we are still left with a physical manifestation of memory - yet though its appearance may not be what we remember - the nostalgic admiration of time, space and place will always remain. In allowing all who visit Herring Cove in the future to leave their ceremonial marks upon the structure, we allow beachgoers and their families, friends, loved ones, etc. to reperesnt their memory in a physical manner within the architecture. The ritual of creating a shingle, carving or drawing on the face of a materiality becomes a mechanism to express individual memories for others. It also allows the collective memory of the place to remain on display for new visitors every day of every year to come. The collective nostalgia associated with the place creates an aura of common and specialized memory for the beach at Herring Cove. It is an expression of the visitor through the dimension of time - for although the materiality will undoubtably fade, the userâ&#x20AC;&#x2122;s memory within the place will still remain for generations to come. There is no better place than Cape Cod to put this process of memory into practice. The site of the first American colony - the initial memory of the nation imprinted into the fabric of the vernacular for all to appreciate and see from the founding of our country unto present day. The full circle of time, from inception to the modern era, is highlighted in this historic and beautiful place. It will forever and always find a home in my fondest memories.
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The following pages illustrate the completion of this thesis project. The final boards, renderings and adjacent images surely will serve as a mechanism to illustrate the power of memoryâ&#x20AC;&#x2122;s presence in architecture. For when the presence of people and their time in a place is evident within a space, we feel the gathering of all those at the site before us. When time is present in a space, the place becomes a place to explore, know and love for all.
Thank you for reading. Thank you for the love, spirit, devotion and memory of all those involved in this project. - ALK
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7.2 “Final Board”
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7.3 “Aerial From Beach | 7:00 am”
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7.4 “Axonometric Plan | 9:00 am”
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7.5 “Main Entry | 9:00 am”
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7.6 “Entry Corridor | 10:00 am”
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7.7 “Bike and Parking Entry | 11:00 am”
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7.8 “Interior Perspective 1 | 5:00 pm”
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7.9 “Interior Perspective 2 | 6:00 pm”
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7.10 “Interior Perspective 3 | 7:00 pm”
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7.11 “Shingle Identification | 10:00 am”
7.12 “Site Plan | 8:00 am”
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7.13 “North to South Site Section”
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7.14 “Shingle Infill Progression”
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7.16 “General Steel Connection”
7.17 “Cantilevered Steel End Connection”
7.15 “Steel Strucutral Section”
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7.19 “Final Model 2”
7.18 “Final Model 1”
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7.20 “Final Model 3”
7.21 “Gallery Display”
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images
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7.1
Bonazzi, Stefano. “Smoke #11” Stefano Bonazzi Personal Portfolio. http://www.stefanobonazzi.it/smoke-11. 2013.
7.2
[Image by Author] “Final Board”
7.3
[Image by Author] “Aerial From Beach | 7:00 am”
7.17
[Image by Author] “Cantilevered Steel End Connection”
7.4
[Image by Author] “Axonometric Plan | 9:00 am”
7.18
[Image by Author] “Final Model 1”
7.5
[Image by Author] “Main Entry | 9:00 am”
7.19
[Image by Author] “Final Model 2”
7.6
[Image by Author] “Entry Corridor | 10:00 am”
7.20
[Image by Author] “Final Model 3”
7.7
[Image by Author] “Bike and Parking Entry | 11:00 am”
7.21
[Image by Author] “Gallery Display”
7.8
[Image by Author] “Interior Perspective 1 | 5:00 pm”
7.9
[Image by Author] “Interior Perspective 2 | 6:00 pm”
7.10
[Image by Author] “Interior Perspective 3 | 7:00 pm”
7.11
[Image by Author] “Shingle Identification | 10:00 am”
7.12
[Image by Author] “Site Plan | 8:00 am”
7.13
[Image by Author] “North to South Site Section”
7.14
[Image by Author] “Shingle Infill Progression”
7.15
[Image by Author] “Steel Structural Section”
7.16
[Image by Author] “General Steel Connection”
chapter bibliography & endnotes tables | figures | illustrations
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