Graduate Thesis Book

URBAN INTEGRATION

A Cultural Proposal on the Historical Core of Maracaibo,Venezuela.

Carlos A. Paz Master of Urban Design

Urban Integration: A Cultural Proposal on the Historical Core of Maracaibo,Venezuela

A Thesis Submitted to the Faculty of the Urban Design Department in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts in Urban Design at Savannah College of Art and Design Carlos Alberto Paz Savannah, GA Š September, 2014

Ryan Madson, Committee Chair Ryan Bacha, Committee Member Thomas Taylor, Committee Member

DEDICATION & ACKNOWLEDGEMENTS

First of all, I would like to thank my parents, Jose Paz and Nerva Martinez, for always supporting and believing in me unconditionally.

I am where I am today because of you. Thank you.

I would also like to thank my friends, colleagues, advisors, and SCAD professors, especially Ryan Madson, Ryan Bacha and Thomas Taylor for sharing their extensive knowledge and expertise with me through my thesis process. I will always be thankful for your guidance and help.

Lastly, my hometown, Maracaibo. For being my biggest inspiration and force.

My city’s rich history, culture and vibrant spirit will always be with me.

TABLE OF CONTENTS

List of Figures

01

Abstract

13

Introduction

15

1. Understanding the Open Space

17

2. Historic Background

25

3. Maracaibo: Relevance & Analysis

33

4. Proposal: Issues & Concepts

67

Conclusion

97

Bibliography

99

LIST OF FIGURES

Introduction

0.1: Catedral Historic: M. Alberto Lares. La Iglesia Matriz - Maracaibo. 1895.

Maracaibo. (M. Alberto Lares, Acervo Histórico del Estado Zulia.) Page 15

Chapter 1

1.1: Plaza Mayor. Gryffindor, Plaza Mayor, Madrid. 2006. Madrid. (Wikipedia, http://commons.wikimedia.org/wiki/File:Plaza_Mayor,_Madrid.jpg.) Page 19 1.2: Healdsburg Plaza: Dave Alden. Fountain at Healdsburg Plaza. 2013. Healdsburg (Vibrant Bay Area, http://vibrantbayarea.org/wp-content/uploads/2013/04/ DSC_0989-Healdsburg-Plaza-Fountain.jpg.) Page 19 1.3:Temuco Plaza: Felipe Toledo Rocha. Plaza. 2012. Temuco. (La Opinion, www. laopinon.cl/sites/laopinon.cl/files/SAM_2871.JPG.) Page 19 1.4:View Plaza Mayor: Sebastian Dubiel. Plaza Mayor de Madrid (España) al atardecer. 2008. Madrid. (Wikipedia, www.wikipedia.org/wiki/File:Plaza_Mayor_de_Madrid_06.jpg.) Page 21 1.5: Plan Plaza Mayor: Image retrieved from Google Earth. October 2013. Page 21 1.6:View Plaza Bolívar: Irenchen_sp, Plaza Bolivar Bogota. 2007. Bogotá (Panoramio, www.panoramio.com/photo/2020171.) Page 22 1.7: Plan Plaza Bolivar: Image retrieved from Google Earth. October 2013. Page 22 1.8:View Piazza Santa Croce: Firenze. Sailko, Piazza Santa Croce top, 2005, Florence (Italy). (Wikipedia, http://commons.wikimedia.org/wiki/File:Piazza_Santa_Croce_top.JPG.) Page 23 1.9: Plan Piazza Santa Croce: Image retrieved from Google Earth. October 2013. Page 23 1.10:View Plaza de Mayo: Unknown, Plaza de mayo. 2013. Buenos aires. (Expanish, www.expanish.com/blog/2013/05/a-precious-week-in-buenos-aires/.) Page 24 1.11: Plan Plaza de Mayo: Image retrieved from Google Earth. October 2013.

Page 24

Chapter 2

2.1: America: Diagram by Author. Pages 27 - 28 2.2.Venezuela: Diagram by Author. Page 29 2.3: Maracaibo: Diagram by Author. Page 29 2.4: Maracaibo, Downtown: Diagram by Author, image retrieved from Google Earth. January 2014. Page 29 2.5: Porlamar: Diagram by Author. Page 30 2.6: Porlamar, Downtown: Diagram by Author. Image retrieved from Google

01

Earth. Page 30 2.7:Valera: Diagram by Author. Page 30 2.8:Valera: Downtown. Diagram by Author. Image retrieved from Google Earth.

Page 30

2.9:Valencia: Diagram by Author. Page 30 2.10:Valencia Downtown: Diagram by Author. Image retrieved from Google Earth. Page 30 2.11: City Growth: Map by Author. Page 31 2.12: City XVII – XX: Map by Author. Page 31 2.13: City XVIII – XX: Map by Author. Page 31 2.14: City XIX: Map by Author. Page 32 2.15: City XX: Map by Author. Page 32 3.1: Calle Comercio: N. J. Nathans and J. H Lacombe,Vista Lateral de la Calle del

Chapter 3

Comercio o San Francisco. 1859 – 1867, Maracaibo (Carmelo Raydan, El Hecho Fotográfico en la Maracaibo Decimonónica. Acervo Histórico del Estado Zulia.

Fototeca Arturo Lares Baralt.) Page 35 3.2: South Edge of Plaza Bolivar: N. J. Nathans and J. H Lacombe, Plaza Bolivar Cara Sur, 1859 – 1867, Maracaibo. (Carmelo Raydan, El Hecho Fotográfico en la Maracaibo Decimonónica. Acervo Histórico del Estado Zulia. Fototeca Arturo Lares Baralt.) Page 35 3.3: Catedral / Iglesia Matriz: N. J. Nathans and J. H Lacombe, Obelisco de la Plaza de San Sebastián o de la Pirámide. 1859 – 1867, Maracaibo. (Carmelo Raydan, El Hecho Fotográfico en la Maracaibo Decimonónica. Acervo Histórico del Estado Zulia. Fototeca Arturo Lares Baralt.) Page 36 3.4: Banco Central Maracaibo: N. J. Nathans and J. H Lacombe, Esquina de la Casa de la Moneda. Hoy Banco Central, 1859 – 1867, Maracaibo. (Carmelo Raydan, El Hecho Fotográfico en la Maracaibo Decimonónica. Acervo Histórico del Estado Zulia. Fototeca Arturo Lares Baralt.) Page 36 3.5: Historic Plaza Baralt: Pedro Villasmil, Templo San Francisco, unknown date, Maracaibo. (Pedro Villasmil, Coleccion Kurt Nagel Jess Von, Acervo Histórico del Estado Zulia.) Pages 37-38 3.6: Paseo Plaza Baralt: Pedro Villasmil, Antoguo Mercado, unknown date, Maracaibo. (Pedro Villasmil, Coleccion Kurt Nagel Jess Von, Acervo Histórico del Estado Zulia.) Pages 39-40

02

LIST OF FIGURES

3.7: Emblematic Areas Map, Map by Author. Page 41 3.8: Basilica: Unknown, Basílica de Nuestra Señora de Chiquinquirá en Maracaibo, unknown date, Maracaibo. (Venezuela Tuya, www.venezuelatuya.com/occidente/ maracaibo.htm) Page 42 3.9: Paseo de Chiquinquira: A. Guimera. Monumento a la Virgen de Chiquinquirá, frente a la Basílica, en Maracaibo, 2012, Maracaibo. (A. Guimera, http://yokablog.blogspot.com/2012/05/10-lugares-que-visitar-si-vas-venezuela_11.html) Page 42

3.10: Iglesia Santa Barbara: Ruben Manzano Fachada de la Iglesia Santa Barbara, 2007, Maracaibo. (Flickr, www.flickr.com/photos/15474413@N00/374665995) Page 42

3.11: Convento: Unknown, Convento San Francisco, 2013, Maracaibo. (La Patilla, www.lapatilla.com/site/2013/03/27/tranvia-de-maracaibo-realizara-la-ruta-conoce-la-pasion-de-cristo/convento-san-francisco-de-asis/) Page 42 3.12: Alcaldia de Maracaibo: Unknown, Alcalcia de Maracaibo, 2009, Maracaibo.

(Panorama Digital, www.aporrea.org/trabajadores/n131961.html) Page 42 3.13: Plaza Bolivar / Mayor: Jordi Font Bayo, Marcaibo - Plaza Bolivar, 2011, Maracaibo. (Panoramio, www.panoramio.com/photo/4331494) Page 42 3.14: Catedral de Maracaibo: Unknown, Catedral de Maracaibo, unknown date, Maracaibo. (Maracaibo24, http://www.maracaibo24.com/es-catedral-maracaibo. htm) Page 42 3.15: Palacio Legislativo: Wilfredor, Legislative Palace Maracaibo,Venezuela, 2013, Maracaibo. (Wikipedia, http://commons.wikimedia.org/wiki/File:Legislative_ Palace_Maracaibo.jpg.) Page 42 3.16: Gobernacion del Estado: Fab Zac, Palacio de los Condores Gobernación del Estado Zulia, 2007, Maracaibo (Panoramio, www.panoramio.com/photo/3065475.) Page 42 3.17: Casa de la Capitulacion: Unknown, Casa Capitulacion, unknown date, Maracaibo. (Arboleada, www.arboleda.com.ve/html/turismo/tmo_4.htm) Page 42 3.18:Teatro Baralt: Yaritza Medina Lopez, Teatro Baralt, 2012, Maracaibo. (Tinta Teatro Venezuela, http://tintateatro.blogspot.com/2012/07/teatro-baralt-de-maracaibo.html) Page 42 3.19: Plaza Urdaneta: Gabriela Angarita, Juegos Tradicionales. 2013, Maracaibo. (Coquivacoa Televisión, http://coquivacoatelevision.com.ve/wp-content/up-

03

loads/2013/02/Juegos-Tradicionales.jpg.) Page 42 3.20: Commercial District Map. Map by Author. Page 43 3.21: Road wide commercial space, section. Section by Author. Page 44 3.22: Congested Market: Ángel González, El Callejon: Una Opcion Para los Estrenos Navidenos de los Pobres y no tan Pobres, 2012, Maracaibo. (Diario Informe http://diarioinforme.net/principales/el-callejon-una-opcion-para-los-estrenos-navidenos-de-los-pobres-y-no-tan-pobres-fotos.) Page 44 Figure 3.23: Street Market: Unknown, El pasillo que parte del centro comercial Caribe Zulia hacia el Callejón de los Pobres. (Noticia Al Dia, http://noticiaaldia. com/2011/12/un-sol-radiante-y-un-ambiente-solitario-embargan-el-centro-de-maracaibo-fotos/3/.) Page 44 3.24: Markets on Calle 96. December 2013. Photograph by Author. Page 44 3.25: Social Area Map. Map by Author. Page 45 3.26: Social District Section. Section by Author. Page 46 3.27: Convento de San Francisco: Alcaldia de Maracaibo, Tranvía De Maracaibo Realizará La Ruta “Conoce La Pasión De Cristo,” 2013, Maracaibo. (La Patilla, www. lapatilla.com/site/2013/03/27/tranvia-de-maracaibo-realizara-la-ruta-conoce-la-pasion-de-cristo/.) Page 46 3.28: Street Marker in Plaza Baralt: Unknown, Galería De Fotos De La Ciudad De Maracaibo, unknown date, Maracaibo. (Asi Es Maracaibo, www.oocities.org/ asiesmaracaibo/galeria.htm.) Page 46 3.29: Plaza Baralt: A Helder, Cidade De Maracaibo E O Seu Lago – Um Lago De Petróleo." 2008. (Pequena Veneza, http://venehat.blogspot.com/2008/08/cidade-demaracaibo-e-o-seu-lago-um.html.) Page 46 3.30: Historic Zone Map. Map by Author. Page 47 3.31: Calle Carabobo, Section. Section by Author. Page 48 3.32: Calle Carabobo 1: Hector Jose Galea, Calle Carabobo, Maracaibo, 2007, Maracaibo. (Panoramio, http://www.panoramio.com/photo/511599.) Page 48 3.33: Calle Carabobo 2: Gaspar Alves, Calle Carabobo en el Saladillo de Maracaibo, 2007, Maracaibo. (Wikipedia, http://commons.wikimedia.org/wiki/File:Calle_Carabobo_en_el_Saladillo_de_Maracaibo_18_edit.jpg.) Page 48 3.34: Calle Carabobo 3: Wilfredo R. Rodriguez H., El Saladillo, 2006, Maracaibo.

(Wikipedia, http://es.wikipedia.org/wiki/Parroquia_Bol%C3%ADvar_(Maracaibo).)

Page 48

04

LIST OF FIGURES

3.35. Land Use Map. Map by Author. Page 49 3.36: Basilica de Chiquinquira: Unknown, Basílica de Nuestra Señora de Chiquinquirá en Maracaibo, unknown date, Maracaibo. (Venezuela Tuya, www.venezuelatuya.com/occidente/maracaibo.htm.) Page 50 3.37: Iglesia Santa Barbara: Ruben Manzano, Fachada de la Iglesia Santa Barbara, 2007, Maracaibo. (Flickr, http://www.flickr.com/photos/15474413@ N00/374665995/.) Page 50 3.38:Teatro Baralt: Yaritza Medina Lopez, Teatro Baralt, 2012, Maracaibo. (Tinta Teatro Venezuela, http://tintateatro.blogspot.com/2012/07/teatro-baralt-de-maracaibo.html.) Page 50 3.39: Catedral de Maracaibo: Unknown, Catedral de Maracaibo, unknown date, Maracaibo. (Maracaibo24, http://www.maracaibo24.com/es-catedral-maracaibo. htm.) Page 50 3.40: Basilica de Chiquinquira – 1950: Benito Valles, Basilica Años 50, 1950, Maracaibo. (Panorama, http://m.panorama.com.ve/not.php?id=80807.) Page 51 3.41: Basilica de Chiquinquira – 2013: Benito Valles, Basilica 2013, 2013, Maracaibo. (Panorama, http://m.panorama.com.ve/not.php?id=80807.) Page 51 3.42: Catedral de Maracaibo – 1890: M. Alberto Lares. La Iglesia Matriz - Maracaibo. 1895. Maracaibo. (M. Alberto Lares, Acervo Histórico del Estado Zulia.) Page 51

3.43: Catedral de Maracaibo – 2013: December 2013. Photograph by Author.

Page 51

3.44: Plaza Mayor – 1980: Juan Baustista Maggiolo, Plaza Bolivar Maracaibo, 1895, Maracaibo. (Juan Baustista Maggiolo, Acervo Histórico del Estado Zulia) .Page 52 3.45: Plaza Mayor – 2013: Zulbert, Plaza Bolivar, 2013, Maracaibo. (En Maracaibo, http://enmaracaibo.com.ve/2013/02/19/en-plaza-bolivar-de-maracaibo-se-inicia-este-jueves-el-ciclo-de-cine-rebelde/.) Page 52 3.46:Teatro Baralt – 1890: Benito Valles, Teatro Baralt 1890, 1890, Maracaibo.

(Panorama, http://m.panorama.com.ve/not.php?id=80807.) Page 52 3.47:Teatro Baralt – 2013: Benito Valles, Teatro Baralt 2013, 2013, Maracaibo.

(Panorama, http://m.panorama.com.ve/not.php?id=80807.) Page 52 3.48: Figure Ground Map: Map by Author. Page 53 3.49: Empty Lot: 20, December, 2013. Photography by Author. Page 54 3.50: Plazoleta de la Basilica: Alvaro Jesus Hernández, Basilica De La Chinita (Maracaibo), 2008, Maracaibo. (Panoramio, http://www.panoramio.com/photo/8763183.) Page 54

05

3.51: Commercial Structures: 20, December, 2013. Photography by Author.

Page 54

3.52: Street Markets: 20, December, 2013. Photography by Author. Page 54 3.53: Zone Map: Map by Author. Page 55 3.54: PR Zone: Luis Oliveros, Saladillo, unknown date, Maracaibo. (Arquitectura, http://arquitectura.com.ve/Maracaibo/index.html.) Page 56 3.55: PH Zone: Isaac Bonyuet, Callejon de los Pobres, 2004, Maracaibo. (Trek Earth, www.trekearth.com/gallery/South_America/Venezuela/West/Zulia/Maracaibo/photo119799.htm.) Page 56 3.56: PS Zone: Unknown, Basílica de Nuestra Señora de Chiquinquirá en Maracaibo, unknown date, Maracaibo. (Venezuela Tuya, www.venezuelatuya.com/occidente/ maracaibo.htm.) Page 56 Figure 3.57: PA Zone: Ana Carolina Morales, Hospital Chiquinquira, 2014, Maracaibo. (Panorama, http://www.panorama.com.ve/uploads/hospital-chiquinquira--. jpg.) Page 56 3.58:Vehicular Flow Map: Map by Author. Page 57 3.59: Avenida 12: December, 2013. Photography by Author. Page 58 3.60: West Calle 95: December, 2013. Photography by Author. Page 58 3.61: Calle 96: December, 2013. Photography by Author. Page 58 3.62: Calle 95: December, 2013. Photography by Author. Page 58 3.63: Pedestrian Flow Map: Map by Author. Page 59 3.64: Mercado Calle 96: December, 2013. Photography by Author. Page 60 3.65: Mercado: Isaac Bonyuet, Callejon de los Pobres, 2004, Maracaibo. (Trek Earth, www.trekearth.com/gallery/South_America/Venezuela/West/Zulia/Maracaibo/photo119799.htm.) Page 60 3.66: Callejon de los Pobres: Unknown, Buhoneros, unknown date, Maracaibo.

(Directorios Zulianos, http://directorioszulianos.com/article/1-546-buhoneros-fueron-desalojados-de-maracaibo/.) Page 60 3.67: Plaza Baralt: Alcaldia de Maracaibo, Tranvía De Maracaibo Realizará La Ruta “Conoce La Pasión De Cristo,” 2013, Maracaibo. (La Patilla, www.lapatilla. com/site/2013/03/27/tranvia-de-maracaibo-realizara-la-ruta-conoce-la-pasion-de-cristo/.) Page 60 3.68: Street Scape Map: Map by Author. Page 61 3.69: Street Scape: According to Ordinance. Sections by Author. Page 62 3.70: Street Scape: Current State. Sections by Author. Page 62 3.71: Current Site Section A: Section by Author. Pages 63 - 64

06

LIST OF FIGURES

3.72: Guide Map A: Map by Author. Page 63 3.73: Current Site Section, B: Section by Author. Pages 63 - 64 3.74: Current Site Section, C: Section by Author. Pages 65 - 66 3.75: Guide Map B: Map by Author. Page 66 3.76: Current Site Section, D: Section by Author. Pages 65 - 66 Chapter 4

4.01: Current Empty Area: December, 2013. Photography by Author. Page 69 4.02: Street Market Congestion: December, 2013. Photography by Author. Page 69

4.03:Vehicular Congestion: December, 2013. Photography by Author. Page 69 4.04: Diagram 1 Map: Map by Author. Page 70 4.05: Diagram 2 Map: Map by Author. Page 70 4.06: Diagram 3 Map: Map by Author. Page 70 4.07: Mercado La Hermelinda: Unknown. Comerciantes de La Hermelinda.

2013, Trujillo (Peru). (Trujillo Informa, http://trujilloinforma.com/noticias/trujillo/ mas-de-5-mil-comerciantes-de-la-hermelinda-se-benefician-con-campana-de-salud/.) Page 71 4.08: Mercado Saara: Rodrigo Vianna, Domingo é de movimento fraco na Saara, 2007, Rio de Janeiro (Brazil). (Globo, http://g1.globo.com/ Noticias/Rio/0,,MUL237361-5606,00-DOMINGO+E+DE+MOVIMENTO+FRACO+NA+SAARA.html.) Page 72 4.09: Piazza Navonna, Bird Eye View: Roma: Romolo08, Piazza Navona, 2008, Roma. (Edublogs, http://romolo08.edublogs.org/2008/03/06/16-march/). Plan view image retrieved from Google Earth. February 2013. Page 73 4.10: National Mall, Bird Eye View: Unknown, Aerial View of the National Mall, 2013, Washington, DC. (DC Walkabout, http://dcwalkabout.com/blog/aerial-view-national-mall/). Plan view image retrieved from Google Earth. March 2013.

Page 74

4.11: Champs Elysees, Bird Eye View: Josh Hallett, Champs Élysées, 2009, Paris (France). (Wikipedia, http://en.wikipedia.org/wiki/Champs-Élysées). Plan view image retrieved from Google Earth. March 2013. Page 74 4.12: Piazza Navonna, Bird Eye View: Romolo08, Piazza Navona, 2008, Roma.

(Edublogs, http://romolo08.edublogs.org/2008/03/06/16-march/). Page 75 4.13: National Mall, Bird Eye View: Unknown, Aerial View of the National Mall, 2013, Washington, DC. (DC Walkabout, http://dcwalkabout.com/blog/aerial-view-national-mall/). Page 75

07

4.14: Champs Elysees, Bird Eye View: Josh Hallett, Champs Élysées, 2009, Paris (France). (Wikipedia, http://en.wikipedia.org/wiki/Champs-Élysées). Page 75 4.15: Book-End Diagram Map: Map by Author. Page 75 4.16: Laws of the Indies Diagrams: Diagrams by Author. Page 75 4.17: Cross Connection Concept Map: Map by Author. Page 75 4.18: Masterplan: Map by Author. Page 76 4.19: Approach 1 Diagram: Map by Author. Page 77 4.20: Main Stalls Render: Render by Author. Pages 77 - 78 4.21: Approach 1 Range Map: Map by Author. Page 78 4.22: Win Analysis: Graphic by Author. Page 79 4.23: Section: Main Stall Structure: Graphic by Author. Page 79 4.24: Section: Inner Proposal: Graphic by Author. Page 79 4.25: Stalls, Measures Structure: Graphic by Author. Page 80 4.26: Stalls, Measures Roof Area: Graphic by Author. Page 80 4.27: Calle Carabobo: Wilfredo R. Rodriguez H., El Saladillo, 2006, Maracaibo.

(Wikipedia, http://es.wikipedia.org/wiki/Parroquia_Bol%C3%ADvar_(Maracaibo.)

Page 80

4.28: Chichamaya Dance: Miguel Pons, La Yonna O Chichamaya, 2011, unknown place. (Cultura Caribe, http://culturacaribeyaprendernet.blogspot.com/2011/12/ cultura-caribe-danza-chichamaya.html.) Page 80 4.29: Fabric Colors and Details: Graphic by Author. Page 80 4.30: Approach 1 Range Map: Map by Author. Page 80 4.31: Inner Diagram: Map by Author. Page 81 4.32: Doubles Diagram: Map by Author. Page 81 4.33: Singles Diagram: Map by Author. Page 81 4.34 Current Street Market: Unknown, Buhoneros, unknown date, Maracaibo. (Directorios Zulianos, http://directorioszulianos.com/article/1-546-buhoneros-fueron-desalojados-de-maracaibo/.) Page 82 4.35: Current Inner Street Market Section: Section by Author. Page 82 4.36: Proposed Inner Street Market Section: Section by Author. Page 82 4.37: Double Stall Proposal Section: Section by Author. Page 82 4.38: Double Stall Proposal Render View: Render by Author. Page 82 4.39: Single Stalls Proposal Section: Section by Author. Page 82 4.40: Single Stalls Proposal Render View: Render by Author. Page 82 4.41: Approach 1 Range Map: Map by Author. Page 82 4.42: Markets Current State: Photography by Author. Page 83

08

LIST OF FIGURES

4.43: Proposed Double Stalls: Render by Author. Page 83 4.44: Current Situation Street: Photography by Author. Page 84 4.45: Proposed Single Stalls: Render by Author. Page 84 4.46: Approach 1 Range Map: Map by Author. Page 84 4.47: Approach 2 Diagram: Map by Author. Page 85 4.48: Plaza del Sol Amado Render: Render by Author. Pages 85 - 86 4.49: Approach 2 Range Map: Map by Author. Page 86 4.50: Plaza Diagram: Map by Author. Page 87 4.51: Brick Paver, Red Brick: Unknown, Red Pavers: Pawnee Red Pavers. Unknown. (Belden Brick, http://www.beldenbrick.com/onlinecatalog/ColorDetailPavers.aspx?ProdId=443&Color1=pavers&Color2=.) Page 88 4.52: Brick Paver, Grey Brick: Richard Alston, Black Floor Texture Seamless, 2014, unknown, (New Home Ideas 123, http://newhomeideas123.blogspot. com/2014/06/black-floor-texture-seamless.html.) Page 88 4.53: Concrete, Light Beige: Unknown, Rectangle Wide, unknown. (Tile Living, http://tileliving.com/sizes/rectangle-large.html.) Page 88 4.54: Concrete, Dark Concrete: Unknown, Smooth Concrete, unknown. (Extreme Textures: http://www.extremetextures.com/floors/83-smooth-concrete-02. html.) Page 88 4.55: Concrete, Dark Beige: Unknown, Concrete, unknown. (My Free Texture Library, http://seamless-pixels.blogspot.com/p/free-seamless-concrete-textures. html.) Page 88 4.56: Concrete, Beige: Unknown, Moderno Concrete: Beige, unknown. (Tile Living: http://tileliving.com/moderno-concrete-beige-12-x24.html.) Page 88 4.57: Granite, Light Brown: Unknown, 20mm New Light Brown Polished Granite Slab, unknown. (Stone Merchant, http://www.stonemerchant.ie/20mm-new-lightbrown-polished-granite-slab.html.) Page 88 4.58: Granite, Light Beige: Unknown, Beige and Cream Granite, unknown (Kitchen Design Ideas,http://www.kitchen-design-ideas.org/granite-countertop-colors-beige-03.html.) Page 88 4.59: Granite, Dark Beige: Unknown, SONORA LIGHT, Polished, unknown.

(ChooseBy, http://www.chooseby.com/mar_dett.php?cod_mar=2991) 4.60: Granite, Beige: Unknown, Granite: Pavers, unknown. (Backbay Stone, http:// www.backbaystone.com/granite_pavers.htm.) Page 88 4.61 Granite, Dark Brown: Unknown, Baltic Brown, unknown. (Grannix, http:// www.granix.com/products/granite/baltic-brown/.) Page 88

09

4.62: Granite, Golden: Unknown, Granite & Stones, unknown. (Rajexim, www. rajexim.com/granite-stones.php.) Page 88 4.63: Plaza del Sol Amado, Section: Section by Author. Page 87 4.64: Section View: Section by Author. Page 88 4.65: Plan View and Front View: Graphics by Author. Page 88 4.66: Bench: Graphics by Author. Page 88 4.67: Precast Concrete Bollard: Graphics by Author. Page 88 4.68: Green Pathway: Green Pathway by Author. Page 88 4.69: Approach 2 Range Map: Map by Author. Page 88 4.70: Current, South-East View: Obny Castillo, Santa Barbara, 2011, Maracaibo.

(Hermandad Docea単era Y Parrillera, http://hermandaddominaderayparillera.blogspot.com/2011/04/santa-barbara.html.) Page 89 4.71: Proposed, South-East View Render: Render by Author. Page 89 4.72: Current, South View: December 2014. Photography by Author. Page 90 4.73: South View, Proposed Green Pathway Render. Render by Author. Page 90

4.74: Approach 2 Range Map: Map by Author. Page 90 4.75: Approach 3 Diagram: Map by Author. Page 91 4.76: Aerial View Render: Render by Author. Pages 91 - 92 4.77: Approach 3 Range Map: Map by Author. Page 92 4.78: Centro Cultural Baralt Diagram: Map by Author. Page 93 4.79: Museo La Tradicion, Plan View: Map by Author. Page 94 4.80: Museo La Tradicion, Render: Render by Author. Page 94 4.81: Restaurant Orgullo Marabino: Plan View. Map by Author. Page 94 4.82: Restaurant Orgullo Marabino: Render. Render by Author. Page 94 4.83: Plaza Central, Plan View: Map by Author. Page 94 4.84: Plaza Central, Render: Render by Author. Page 94 4.85: Centro Tradicion Zuliana, Plan View: Map by Author. Page 94 4.86: Centro Tradicion Zuliana, Render: Render by Author. Page 94 4.87: Feria de Comida El Centro, Plan View: Map by Author. Page 94 4.88: Feria de Comida El Centro, Render: Render by Author. Page 94 4.89: Approach 3 Range Map: Map by Author. Page 94 4.90: Centro Cultural Baralt, Section A: Section by Author. Page 95 4.91: Red Tile: Unknown, Residential Roofing: Tile Roofing, unknown. (Promar Exteriors, http://www.promarexteriors.com/category/services/roofing/residentialroofing.) Page 95

10

LIST OF FIGURES

4.92: Wood: Unknown, Wood, unknown. (Jungle Key, http://www.junglekey. fr/search.php?query=Wood&type=image&lang=fr&region=fr&img=1&adv=1&start=200.) Page 95 4.93: Light Beige Stucco: Unknown, Texture Descriptions, unknown. (Drywall LLC, http://www.kldrywall.com/textures.html.) Page 95 4.94: Beige Stucco: Kevin HD AT, Easiest Way to Apply Stucco, unknown. (The Home Depot, http://community.homedepot.com/howto/DiscussionDetail/Easiestway-to-apply-stucco-9065000000007V8.) Page 95 4.95: Grey Stucco: Stubdesign, Unique Stucco. 2011, Lake Oswego OR. (Deviant Art, http://stubdesign.deviantart.com/art/Grey-stucco-wall-texture-278491995.)

Page 95

4.96: Dark Stucco: Unknown, Building Materials / Walls, unknown. (VisionScape, http://www.visionscape.com/categories/Building_Materials/Walls/products?page=6.)

Page 95

4.97: Cream Stucco: Unknown, Products, unknown. (Custom Masonry CMC, www.custommasonrycnc.com/products.) Page 95 4.98: Concrete: Thecolourofshipping, Monster 15-inch Rat Terrorises Swedish Family After Chewing Through Concrete Wall, 2014, Brooklyn, NY. (Thecolourofshipping, http://thecolourofshipping.blog.co.uk/.) Page 95 4.99: Permeable Fabric: Unknown, Melrose Chenille Fabric, unknown. (Fabrics & Papers, http://www.fabricsandpapers.com/item/view/7163-melrose-chenille-fabric.)

Page 95

4.100: White Stucco: FantasyStock, White Stucco Wall Texture, unknown. (Deviant Art, www.deviantart.com/morelikethis/artists/134771105?offset=10.) Page 95 4.101: Stainless Steel: Unknown, Stainless Steel Countertop Homeowner DIY, unknown. (Craft Art, https://store.craft-art.com/store/diy-metal-countertops-shelves/stainless-steel-countertop-homeowner-diy/.) Page 95 4.102: Silver Steel: Jessica Woods, The Future Looks Shiny: Metallic Backgrounds for Vinyl Banners, 2012. (Banner 4 Sale, www.banner4sale.com/blog/the-futurelooks-shiny-metallic-backgrounds-for-banners/.) Page 95 4.103: Detail 1: Section by Author. Page 95 4.104: Detail 2: Section by Author. Page 95 4.105: Detail 3: Section by Author. Page 95 4.106: Detail 4: Section by Author. Page 95 4.107: Centro Cultural Baralt, Section B: Section by Author. Pages 95 - 96 4.108: Current Situation. December 2013: Photography by Author. Page 96

11

4.109: Proposed, Render View: Render by Author. Page 96 4.110: Approach 3 Range Map: Map by Author. Page 96 5.1: Final Render View: Render by Author. Page 97

Conclusion

5.2: Final Render View: Render by Author. Page 97 5.3: Final Render View: Render by Author. Page 97

12

ABSTRACT

13

Urban Integration: A Cultural Proposal on the Historical Cole of Maracaibo,Venezuela

Carlos A. Paz

September, 2014

The thesis aims to support the historical significance of the downtown area of Maracaibo by taking into consideration the historical architecture and areas located in one of its leading parishes, the Bolivar parish. In order to reach this goal, I decided to revitalize the area located between the Basilica and the Cathedral of the city.

At the present time, this area features a renovated park at the south area of the basilica known as Plaza Del Rosario De Nuestra Senora de Chiquinquira. Even though this plaza went through a renovation process in 2004, it lacks a proper connection to the south east of the area, where the Cathedral of the city is located. This area possesses an interesting set of emblematic structures and spaces such as the Teatro Baralt, Casa de Morales, Palacio Legislativo, and the historically known Plaza Bolivar. Thus, due to the rich combination produced by the architecture and places mentioned above, the area offers prominent cultural assets that showcase the history of the city in an accurate way.

The main goal of the thesis is the development of a proper connection among the area, which included the revitalization of the selected site and its current connection with its surrounding areas. Furthermore, I decided to modify the current streetscape of one of the streets adjacent to the site, calle 96, and implement historical and cultural aspects of the city in order support the local businesses, the historic structures, and alleviate the current congested situation throughout the selected site.When generating a well-balanced environment, the city itself becomes more consolidated and attractive for the whole community.

14

INTRODUCTION

figure 0.1: Catedral Historic

15

The city of Maracaibo, located in the west area of Venezuela has become one of the most predominant cities in the country; however, that predominance has been achieved through several historical events that took place on that area. Events that go from the arrival of the first Spanish colonist in the country, the origin of the official name of the country, to the presence of the undeniable impact of the Laws of the Indies.

In order to improve the current situation of the downtown area and its different aspects, i decided to undertake a rigorous research to understand how the site turn into what it is at the present time. It was decided to take as main focus the site framed by two of the most well-known religious structures of the area, the Basilica de Nuestra Señora de Chiquinquira and the Catedral de Maracaibo. Even though the selected area is part of one of the most profitable parishes of the city, the Bolivar parish, it is necessary to propose an urban redevelopment that would alleviate the lack on integration in it, while providing a suitable way for visitors and citizens to bond with the rich culture of the city.

The selected area provides a great historical relevance that is truly essential for the city. Numerous of the structures and paces adjacent to the selected site, such as Iglesia Santa Barbara, Catedral de Maracaibo, Basilica de Nuestra Señora de Chiquinquira, Palacio de la Capitulacion, Teatro Baralt, Palacio Legislativo and Plaza Bolivar have brought a great amount of historical relevance to the area, and have become Historical Heritage of the country.1 Nevertheless, the lack of integration between

1 Gaceta Oficial de la Republica Bolivariana de Venezuela, Año CXL – Mes XI. Caracas, Lunes 9 Septiembre de 2013.

Numero 40.246.

the selected site and its surroundings areas is neglecting their historical relevance.

16

Chapter 1:

Understanding the Open Space

17

18

PLAZA: Form, Development & Uses

“The plaza in itself, considered limited in space by its four sides, is the most exquisite expression of social life ever achieved.” 2 Plazas have been the main subject of many studies and discussions through the years, and scholars concluded that these are the places where the different aspects of life meet and work as a whole. Social, political, cultural, and other aspects of life work as one on plazas and allow people to find perfect places to live their everyday lives outside their homes and other closed spaces. At the present time, plazas can be appreciated in different sizes and can serve

figure 1.1: Plaza Mayor

different functions. Plazas can be defined as open spaces to sit and enjoy leisure time,

2 Low, Setha M. On the plaza: the politics of public space and culture. 1st ed. Austin: University of Texas Press, 2000. Print.

Page 31

spaces to provide an entrance and bring hierarchy to an area of a city, or even offer a space for the everyday passing of people to their individual destinations.

In order to offer people well suited spaces, it is essential to understand that cities are versatile places where an immense group of activities take place and overlap with each other. Public open spaces are essential in daily life for people, and the plaza

3 Woodley, Helen. Urban Open Spaces.

1st Ed. London; New York: Spon Press, 2003. Print. Page 3

can be considered one of the greatest expressions of open spaces. “Public Space is space where we share with strangers, people who aren’t our relatives, friends or work associates. It is a place for politics, religion, commerce, sport; space for peaceful coexistence and impersonal encounter.” 3 Public spaces cannot be defined as having one single use, because they are the places where the different aspects of life come together as one. Public open spaces give individuals the chance of executing numerous activities at the same time while in-

figure 1.2: Healdsburg Plaza

teracting with each other or by themselves. Many studies have been undertaken in order to summarize in a comprehensive form the kind of activities that take place

4 Gehl, Jan . Life Between Buildings: Using Public Space. 6th ed. Washington, Covelo, London: Island Press, 2011. Print.

5 Ibid. Page 9

on open spaces, and one of the most interesting approaches comes from Jan Gehl.

As stated in the book Life Between Buildings4, Ghel gives a simplified but appealing analysis of the activities that take place on public spaces: necessary activities, optional activities and social activities.

The different activities that are performed during the everyday life of a person can be considered necessary activities.Those are the activities that the individual has no other choice but doing: “Going to school or to work, shopping, waiting for a bus or a person, running errands, distributing mail – in other words, all the activities in which those involved are to a greater or lesser degree required to participate.” 5 In

figure 1.3: Temuco Plaza

19

other words, these are the overall tasks that take place on the daily life of a person.

The optional activities are those that are heavily influenced by the environmental framework of an open space. Activities such as going for a walk, relaxing under the sun, getting fresh air or simply sitting on a bench can be found. These are the activities that the individual undertakes by his or her own will: “These activities take place only when exterior conditions are favorable, when weather and place invite them.” 6 Among the three categories of activities mentioned before, this might be one of the

6 Gehl, Jan . Life Between Buildings: Using Public Space. 6th ed. Washington, Covelo, London: Island Press, 2011. Print. Page 11.

most predominant and important for urban designers. It is essential to provide well suited spaces for these activities to take place by generating inviting environments that would make people feel welcome.

At one point, the necessary activities and the optional activities meet and generate the third category of activities presented by Gehl, the social activities: “These activities could also be termed “resultant” activities, because in nearly all instance they evolve from activities linked to the other two activity categories.” 7 The range that

7 Ibid Page 12

composes social activities can go from active ones such as gathering, chatting, and playing sports, to more calm activities such as sitting on the grass and observing other individuals. At this point it becomes easy to understand how these activities are a perfect blend of both categories presented before. Social activities happen in an unplanned way as an outcome of people’s actions.

It is essential to generate a welcoming environment in order to have a successful open space. It is important to provide different spaces and areas that would accommodate the different activities that people do in their daily lives. The size of the open space must be related to the number of inhabitants in the area and how they, potentially, would use the space. One of the main elements that make an area of a city truly successful is the accessibility to suitable spaces for pedestrians to walk and bond with the area as a whole. Walkability has been one of the topics discussed

by Jan Gehl, especially on his book Cities For People: “…By improving the conditions for pedestrians, we not only strengthen pedestrian traffic, we also – and mostly – strengthen city life.” 8

8 Moughtin, Cliff, and Miquel Mertens.

Urban Design: Street and Square. 3rd ed.

Boston: Architectural Press, 2003. Print.

Page 87

When generating spaces that are properly balanced to offer pedestrians easy movement in the area, the city itself becomes more consolidated because people are able to get in touch with its different aspects and interact with each other in a proper and natural form.

20

PLAZA: Types & Case Studies The form and shape of the squares has been a heavily discussed subject for many 9 Moughtin, Cliff, and Miquel Mertens.

Urban Design: Street and Square. 3rd ed.

Boston: Architectural Press, 2003. Print.

years; however, one of the theories that has had a great impact regarding the topic is the one presented by Paul Zucker.9 Zucker was able to outline five archetypal squares forms by taking into consideration the structures around them and their interaction.

In his theory, Zucker proposes that the smaller the opening on the corners of a square, the more closed the square would be. Other typologies are the nuclear square, which consists of a square developed around a center, the group squares, which can be described as spatial units that are combined to produce larger configurations, the amorphous square, which do not present a well defined limit, and the last type, the dominated square. This type of square was heavily used in the de-

10 â&#x20AC;&#x153;Plaza Mayor.â&#x20AC;? Famous Wonders. Web. 11 Oct. 2013. <http://famouswonders. com/plaza-mayor-of-madrid/>.

Plaza Mayor (Madrid, Spain) Plaza Mayor is a perfect example of an enclosed square due to its shape, entrances and adjacent structures. This Plaza Mayor is rectangular in shape and presents an enclosed space that is generated by three-story residential buildings. Those buildings present 237 balconies that face the plaza. One of the elements that make this plaza a perfect example of an enclosed square is the location of arches on its pedestrian entrances located on its corners. The use of architectural elements such as the arches was mentioned by Zucker in his theory regarding the enclosed squares. Zucker stated that such ornaments give the plaza a higher level of recognition and privacy because they emphasize its entrances. It can be easily said that the main element that consolidates this square as an enclosed square is the treatment of its corners and how they are designed to generate a great sense of closeness and privacy in the square. 10

figure 1.4: View Plaza Mayor

21

figure 1.5: Plan Plaza Mayor

velopment of Latin American cities; it consists of a square that is directed to a main building in the area.

Two of the typologies more developed by Zucker that can be easily appreciated are the enclosed squares and the dominating square: “The key to enclosure square in the square is the treatment of its corners. Generally speaking, the more open the corners of the square the less the sense of enclosure… ” 11

11 Moughtin, Cliff, and Miquel Mertens.

Urban Design: Street and Square. 3rd ed.

Boston: Architectural Press, 2003. Print.

Page 99.

Even though newer designe styles have generated a loss on the level of enclosure that characterize enclosed square, as stated on the book Urban Design: Street and Square, they have been able to maintain a great level of enclosure or intimacy due to the location of adjacent structures.

Plaza Bolivar (Bogota, Colombia) This plaza is surrounded by a set of structures that represent the cultural importance of the city, providing evidences of its history. This plaza is surrounded by many governmental structures that give the plaza and the whole area a great prominence. On the south edge is located the National Capitol, which houses the Colombian Congress.

On the west edge of the plaza, the French styled building, the Liévano, is located and functions as the seat for Bogotá's Mayor. On the north side of the plaza is located the building that houses the supreme court. It is essential to mention that, as many of the main historical plazas in Latin America, this plaza faces the primary Cathedral of the city on its eastern edge. The structure of this plaza is different to the one observed before in Plaza Mayor. The

12 González, Pedro. “La Plaza De Bolívar, Un Epicentro De Bogotá.” About En Español. Web. 12 Oct. 2013. <http:// encolombia.about.com/od/historia/a/ La-Plaza-De-Bolivar-Un-Epicentro-De-Bogota.htm>.

relationship between the plaza and its adjacent structures is what gives Plaza Bolivar its status of enclose square. 12

figure 1.6: View Plaza Bolivar

figure 1.7: View Plaza Bolivar

22

PLAZA: Types & Case Studies Following the typologies presented by Zucker,13 there is another type of square that 13 Moughtin, Cliff, and Miquel Mertens.

Urban Design: Street and Square. 3rd ed.

Boston: Architectural Press, 2003. Print.

can be appreciated in different parts of the world, which is the dominated square.

One of the characteristics that make this type of square unique is that it can be found in many different scales and has been appreciated for many years. The aspect that defines the dominated squares are the structures or buildings around it. This kind of square is directed towards one specific building or group of structures. In many cases, this kind of square is directed to religious buildings, such as cathedrals and basilicas, that have played a key role on the history of the city.

14 â&#x20AC;&#x153;Piazza Santa Croce.â&#x20AC;? Florence On Line. Web. 11 Oct. 2013. <http://www. florence-on-line.com/piazzas/piazza-santa-croce.html>.

Piazza Santa Croce (Florence, Italy) Known as one of the main squares of the historic core of Florence, Piazza Santa Croce is a perfect example of a dominated square. This plaza is facing one of the most emblematic structures of the city, the Basilica of Santa Croce. Aside from the basilica, the plaza is surrounded by a set of historical predominant buildings, such as Palazzo Cocchi-Serristori, Palazzo del'Antella and others; however, the basilica remains as the main focal point for the plaza.

It is relevant to mention that the large rectangular shape of the square is truly useful at the moment of hosting events and generating a better integration among the community. In the case of this plaza, several sport events take place by different local citizens of the area. In this plaza the famous game of Calcio Fiorentino takes place every spring, generating a better interaction among the local people. 14

figure 1.8: View Piazza Santa Croce

23

figure 1.9: Plan Piazza Santa Croce

Plaza de Mayo (Buenos Aires, Argentina) This plaza, located in one of the most important cities of Argentina, is an interesting example of a dominated square. Historically, this plaza has always been the main point of political life in the city of Buenos Aires. This plaza functions as a gathering point for the citizens of the city. Since 1977, this plaza has housed the congregation of “Mothers of the Plaza de Mayo,” which is an association of Argentine mothers whose children “disappeared” during the Argentinian Dirty War of the military dictatorship between 1976 and 1983. In addition to its function as a main gathering place for the city and its great historical relevancy, this plaza can be described as a dominated plaza. It is dominated by the governmental building known as Casa Rosada, which functions as the office of the

15 Guzmán Bouvard, Marguerite.

“Speaking Truth to Power Madres of the Plaza De Mayo.” Women In World History. Web. 24 Sept. 2013. <www. womeninworldhistory.com/contemporary-07.html>.

president of Argentina. 15

figure 1.10: View Plaza de Mayo

figure 1.11: Plan Plaza de Mayo

24

Chapter 2:

Historic Background

25

26

HISTORIC BACKGROUND: Spain & its Impact on Urban Development

The unification of Castile and Aragon, along with the arrival of Columbus to the New World, consolidated Spain as an empire of its own. During its historical development, Spain provided an outstanding contribution to European urbanism by introducing one of the most symbolic elements of its urban development, the plaza. Plazas were urban spaces dedicated to unique Spanish urban activities, which led to the form and architectural design of their surrounding urban spaces. As 16 Morris, A.E.J. History of urban form: before the industrial revolutions. 3rd Ed. Harlow, Essex, England: Pearson Education Limited, 1994. Print. Page 296

stated by Morris,16 plazas were the places were the different public spectacles took place in Spain; without taking into consideration their scale and development, it was essential for the Spanish empire to provide formal gathering places for their citizens: â&#x20AC;&#x153;In Spain, even villages have their formal public gathering places; large cities may well have a

17 Ibid

27

several important plazasâ&#x20AC;Śâ&#x20AC;? 17

figure 2.1: America

The Spanish contribution to urban development went over the continental barrier when the first colonist arrived in Latin America to conquer the area. At that time, the Spanish empire approached the new lands with a completely different policy to the ones executed by other empires. As opposite as the British Empire who decided to developed their new conquered areas to serve, the Spanish Latin American areas were intended to function as places to subdue.18 It is essential to mention that among the commandments established and brought to the Spanish Latin American colonies were a set of regulations that determinate the urban systems and growth

18 Morris, A.E.J. History of urban form: before the industrial revolutions. 3rd Ed. Harlow, Essex, England: Pearson Education Limited, 1994. Print. Page 296.

of their spatial developments.

The impact of the regulation brought by the Spanish imperium can be appreciated on most of Latin American cities. Most of the cities have become an enlarged, and in cases distorted, image of the original urban system that they were developed from, which came from the historically recognized Laws of the Indies. The foundation of the Laws of the Indies arises from a royal ordinance established by the king Philip II where a set of physical norms regarding the planning and developments of new Spanish urban settlements was generated. The Laws of the Indies presented more than three dozen specifications that dealt with the elements that were seen as essential for a proper urban development, elements such as plazas, building typologies and roads. On its general approach, these laws took as main focus one of the most predominant urban elements of the Spanish imperium, the plaza. â&#x20AC;&#x153;The central, distinctive component part of the imperial Spanish city planning was the plaza, which was given an appropriate symbolic emphasis.â&#x20AC;?19 The design of the Spanish Latin American cities would have the plaza as its central point, leading the different streets from its center towards the gates of the city.

19 Morris, A.E.J. History of urban form: before the industrial revolutions. 3rd Ed. Harlow, Essex, England: Pearson Education Limited, 1994. Print. Page 306.

The plaza was the most predominant element of the city and played a key role on the development of the city and its adjacent structures. Regarding the location of the plaza, when the urban development was undertaken near a waterfront, it would be arranged appropriately near the water the river or sea. In contrast, when developed inland, the plaza must present a rectangular shape and act as the core point of the city. The plaza must have a length that is at least one and a half its width in order to function appropriately for gathering activities and festivals.20 In order to support the

20 Ibid

hierarchy and the plaza and the Spanish culture, religion played a major role on the urban development on the city. In order to maintain a representative supremacy, the church would be located set back from the plaza on an elevated level. This set back location would give the church an image of having its own hierarchy and preserving a physical and spatial connection to the plaza. By locating the church on a higher level it would have a higher spatial predominance and direct people to its entrance.

28

VENEZUELA: Laws of the Indies & Downtown Structure Most Relevant Sections of the Laws of the Indies 21

21 Crouch, Dora P., and Alex I. Mundigo. “The City Planning Ordinances of the Laws of the Indies Revisited. Part II: Three American Cities.”

Town Planning Review 48.4 (2977): 254-55. Liverpool University Press.

Web. 30 Oct. 2013. <http://0-liverpool.metapress.com.library.scad.edu/ content/f646k8765512762n/?p=b5b27702109343ba98da32562ab8c434&pi=4>.

“112. The main plaza is to be the starting point for the town; if the town is situated on the seacoast, it should be placed at the landing place of the port, but inland it should be at the center of the town.”

“113. [The Plaza] shall be not less than 60 meters wide and 91meters long, nor larger than eight hundred feet long and five hundred and thirty feet wide.”

“116. In cold places, the streets shall be wide and in hot places narrow; but for purposes of defense in areas where there are horses, it would be better if they are wide.”

“119. For the temple of the principal church, parish, or monastery, there shall be assigned specific lots; the first after the streets and plazas have been laid out, and these shall be a complete block so as to avoid having other buildings nearby, unless it were for practical or ornamental reasons.”

In order to obtain a better perspective of the big impact that the Laws of the Indies had in Venezuela, it was decided to compare the downtown area of Maracaibo to the ones in three of the most prominent cities of the country.

figure 2.2: Venezuela

MARACAIBO

- Plaza Dimensions: 85 x 85 meters - Street Sizes: 8 x 8 x 7 x 6.80 meters - Church: Catedral de Maracaibo (Half block) - Port: Puerto de Maracaibo, on the south and east edges

figure 2.3: Maracaibo, Diagram

29

figure 2.4: Maracaibo, Downtown

PORLAMAR

- Street Sizes: 8 meters - Plaza size: 80 x 80 meters - Port: Puerto de la Mar, on the South - Church: Iglesia Nicolas de Bari (Whole block)

figure 2.5: Porlamar, Diagram

figure 2.6: Porlamar, Downtown

figure 2.7: Valera, Diagram

figure 2.8: Valera, Downtown

figure 2.9: Valencia, Diagram

figure 2.10: Valencia, Downtown

VALERA

- Street Sizes: 9 x 9 x 9 x 8 meters - Plaza Size: 80 x 80 meters - Church: Catedral de Valencia (Not whole block)

VALENCIA

- Street Sizes: 10 meters each.

-Plaza Size: 75 x 75 meters - Church : Catedral de Valera (Whole block)

30

MARACAIBO: City Structure & Development The city of Maracaibo, just as stated by the Laws of the Indies, had as its starting point the port of the city, which was located on the east coast of the city. Maracaibo experienced a great expansion among the seventeenth through the twentieth centuries

figure 2.11: City Growth

31

figure 2.12: City XVII

figure 2.13: City XVIII

XVII

XVIII

The city grew having as its initial

Due to growing coastal activities,

point the plaza mayor, which was

the city experienced a growth to-

located near the port of the city.

wards the west side of it.

As most Latin American cities, Maracaibo grew following the grid system established on the Laws of the Indies. However, as time passed, the city experienced a more informal growth towards the west side and later towards the north. 22

figure 2.14: City XIX

22 Sampere Martinez, Miguel. Maracaibo Ciudad y Arquitectura . Maracaibo: Universidad del Zulia, Facultad de Arquitectura y Dise単o, 2000. Print.

figure 2.15: City XX

100

XIX

XX

The widening of the city led to

The unbalanced population growth

spontaneous commercial activities,

on the city began because of the

such as street trade interactions.

plagues during the XX century.

300

500

700

32

Chapter 3:

Maracaibo: Relevance & Analysis

33

34

MARACAIBO: History & Relevance The selected site is located in the city of Maracaibo and possesses a perfect blend of history, economy and culture that make it one of the most prominent of the city.

The site is located in the downtown area of Maracaibo and preserves several elements of the historical development of the city.

However, the area has suffered several changes that have generated an unwelcoming environment and that is generating a division between the public and the cityâ&#x20AC;&#x2122;s rich culture. Due to its current state, citizens and visitors have started to avoid the area due to the unwelcoming look and experiences they have had while visiting the 23 Downtowns: Revitalizing the Centers of Small Urban Communities. Michael A. Burayidi Editor. 1st Ed. New York: Routledge, 2001. Page 94.

site: â&#x20AC;&#x153;Once people have been attracted to the downtown they must have a positive experience if they are to return. The first element of that experience is a pleasant environment.â&#x20AC;? 23 Maracaibo has always been a place with a truly welcoming environment and has housed some very unique historical events, which has allowed the area to develop a distinctive character. The culture in Maracaibo is highly related to its indigenous ancestors. The culture of the city is well known for the different states of Venezuela due to its vast influence that comes from its typical food, music, architecture, and clothing style.

figure 3.1: Calle Comercio

35

figure 3.2: South Edge of Plaza Bolivar

The first approach to the land that is Maracaibo nowadays was made by Alonso de Ojeda on August 24, 1499. Ojeda discovered the renowned Lake of Maracaibo, along with Juan de la Cosa and Amerigo Vespucci.

When it comes to the name of the country itself, this event is highly significant. The name of â&#x20AC;&#x153;Venezuelaâ&#x20AC;? is attributed to Ojeda, De la Cosa and Vespucci.They suggested the just discovered area was similar to Venice when they saw that people lived in stilt houses, palafitos, on the lake and moved from one place to another by small wooden bridges and canoes. They decided to use the name Little Venice as the starting name for the area. Nearly thirty years later, on September 8, 1529 , the German captain Ambrose AlfĂ­nger, governor and captain of the province Venezuela, built a temporary

24 Contreras , Lucia. Atlas de Maracaibo.

Maracaibo: Fondo Editorial Simon Bolivar de la Ciudad de Maracaibo, 2006.

Print.

settlement in Maracaibo, but his avid search for gold and the increasing hostility of the Indian tribes forced him to leave the area.

Around 40 years later, in January 20, 1569, Captain Alonso Pacheco re-founded the city under the name of Ciudad Rodrigo de Maracaibo. However, the city was abandoned again in 1573 by the 30 residents who lived there at that period of time due to harassment from the surrounding Indian tribes.24

figure 3.3: Catedral / Iglesia Matriz

figure 3.4: Banco Central Maracaibo

36

MARACAIBO: History & Relevance Later on during the first decade of the seventeenth century, the town was able to be stabilized when the indigenous tribes of the area were successfully conquered.

By 1883, Maracaibo functioned as a large town and possessed a great number of commercial activities in the process of expansion.

25 Contreras , Lucia. Atlas de Maracaibo.

Maracaibo: Fondo Editorial Simon Bolivar de la Ciudad de Maracaibo, 2006.

Print.

At the same time, the Maracaibo port functioned as a coastal and transshipment port for ships destined for the ports in Hamburg, New York and Amsterdam.25 Maracaibo was the first city in Venezuela to have telephone, electric lighting, and banks. In addition, the first film ever projected in Latino America was in Maracaibo by the end of the nineteenth century. However, the city experienced a period of decline. In the nineteenth century, the city served an important role as a center for coffee exporters from Venezuelan and Colombian Andes, which lasted until 1917

figure 3.5: Historic Plaza Baralt

37

when oil was discovered in the vicinity. Later on, in March 1990, the territorial political structure of the city was entirely settled, subdividing the city into 18 parishes.

The selected site is located in one of the most important areas of downtown Maracaibo, which has been subject to many controversies through time. On March 20, 1970, the President of Venezuela at that time, Rafael Caldera, started a remodeling project in neighborhood known as Saladillo. The traditional architecture of the neighborhood Saladillo can be described a manifestation of the culture of the city.26

26 Ortega Gonz谩lez, Rutilio. El Saladillo: Una Tragedia De Hoy. Maracaibo: Gobernaci贸n Del Estado Zulia, 1998.

Print.

The project had as main goal the economic revival of the central area of the city, along with the improvement of the environmental conditions of the city. The remodeling project entailed the demolition of most of the neighborhood, which was

38

SELECTED SITE: Historic Impontance known as the traditional and historic core of the city. In order to convince the citizens of the city and the national communities, the project was presented as the 27 Ortega González, Rutilio. El Saladillo: Una Tragedia De Hoy. Maracaibo: Gobernación Del Estado Zulia, 1998.

Print.

starting point for urban economic revitalization. The government stated that they would build “a new Saladillo,” respecting and incorporating the existing structures to new life. 27 Despite the promises made by government agencies on the remodeling project, it did not materialize as it originally was intended to. In 1972, instead of an original cultural center that had been proposed and that would benefit the importance of the area, a large plaza, known as Paseo Ciencias Boulevard, was built. Along with the boulevard, the square of the Basilica and a number of residential structures were built on the adjacent areas. Nevertheless, the damage had been done; entire blocks

figure 3.6: Paseo Plaza Baralt

39

of houses were distroyed, turning the area into a dead zone. As a result, most of the inhabitants of the Saladillo decided to dispersrse throughout the city, largely to peripheral and low income areas due to low pay they received for their homes. The historical event has inspired poets, writers, and even filmmakers of the city who used these different artictic expressions to discuss the huge loss experienced in the city and protest against the government.

The mud and reed houses still surviving are used mostly as storage places by traders to keep the items they sell in the current informal businesses. In many of the lots that formerly had houses, nothing remains today, and empty unused spaces can be found. Those empty spaces are generating a sense of separation in the area which led to the loss of the areaâ&#x20AC;&#x2122;s identity.

40

SELECTED SITE: Emblematic Areas & Districts 1

12

CALLE

100 / L

IBERTA DOR

AVENID A

Commercial Markets

CALLE

96

2

AVEN IDA 8

3

Social Area

AVEN IDA 7

12

CALLE

95

11 6

5

10

9

8 7

NIDA / AVE

Zone

AVENID A7

AVEN IDA 9 3

Historical

PADIL LA

4

COMMERCIAL MARKETS SOCIAL AREA

AVENID A5

HISTORIC ZONE RELIGIOUS STRUCTURES GOV. STRUCTURES PLAZA BARALT

figure 3.7: Emblematic Areas Map AV E

NI

DA

2/

AV E

NI

41

DA

EL

MI

LA GR

O

The selected site is located in one of the most culturally rich areas of Maracaibo.The selected site is surrounded by some of the most important religious structures, such as Iglesia Santa Barbara and Basilica de Nuestra Se単ora de Chiquinquira. The latest is well known all over the country and has become one of the most distinguishable buildings of Maracaibo. In addition, the site presents several governmental buildings that preserve many of their original features, such as Palacio Legislativo. Nevertheless, the site possess open spaces that are highly important for the city, such as the case of the historically renowned Plaza Bolivar.

1. Basilica

2. Paseo de Chiquinquira

3. Iglesia Santa Barbara

figure 3.8

figure 3.9

figure 3.10

4. Convento de San Francisco de Asis

5. Alcaldia de Maracaibo

6. Plaza Bolivar / Mayor

figure 3.11

figure 3.12

figure 3.13

7. Catedral de Maracaibo

8. Palacio Legislativo

10. Gobernacion del Estado

figure 3.14

figure 3.15

figure 3.16

9. Casa de la Capitulacion

11. Teatro Baralt

12. Plaza Urdaneta

figure 3.17

figure 3.18

figure 3.19

42

COMMERCIAL MARKETS

Street Market: Road Wide Street Market: Sidewalk Wide Vehicular Movement figure 3.20: Commercial District Map

43

The commercial markets zone is one of the most visited and problematic districts of the area. Through time, the street market activities have taken over most of the district. Even though they have caused damage to the historical relevance of the area, they have become part of its identity because they have been embraced by the citizens of Maracaibo and its visitors. The street markets allow people to obtain good merchandise at low prices; however, as time has passed, many merchants have taken over streets and sidewalks, neglecting the original structures of the area.

figure 3.21: Road Wide Commercial Space, Section

figure 3.22: Congested Market

figure 3.23: Street Market

figure 3.24: Markets on Calle 96

44

SOCIAL AREA

Plaza Baralt: 100 commercial spots Commercial Area: 240 commercial spots Commercial Area: 300 commercial spots Commercial Area: 10 commercial spots Vehicular Movement

figure 3.25: Social Area Map

AVEN 45

The social area presents one of the most historically relevant spaces of the area, Plaza Baralt. This plaza was the first social plaza of Maracaibo. This district presents urban features, such as benches, trees, fountains and lights that allow pedestrians to socialize with each other and rest while visiting the area. In addition, this district

28 Contreras , Lucia. Atlas de Maracaibo.

Maracaibo: Fondo Editorial Simon Bolivar de la Ciudad de Maracaibo, 2006.

Print.

possesses one of the most historically important religious buildings of the area, Convento de san Francisco de Asis. Built in the early 1600s, the convent started as a small chapel for the area. Later on, part of it functioned as a school and offices of the Universidad del Zulia in 1891, until in 1908 it was designated to function as it does at the present time, a church.28 In addition, it is relevant to mention that five of the adjacent streets to Plaza Baralt function as street market areas, creating a blend between social and commercial activities.

figure 3.26: Social District Section

figure 3.27: Convento de San Francisco

figure 3.28: Street Market in Plaza Baralt

figure 3.29: Plaza Baralt

46

HISTORIC ZONE

Calle Carabobo Cultural Buildings Religious Buildings Governamental Buildings Vehicular Analysis figure 3.30: Historic Zone Map

47

The historical zone presents a perfect blend of the most relevant and emblematic activities of the area. The most important governamental buildings can be found in this district: Governacion del Estado, Palacio Legislativo, and Alcaldia de Maracaibo.

Also, the cathedral of the city is located at the east area of it, facing the renowned Plaza Bolivar. Buildings such as Teatro Baralt, the first theater of Maracaibo, and Casa de los Condores bring a high level of history and culture to the district. However, one of the most important aspects is the presence of a high number of traditional residential buildings. The Calle Carabobo, also known as Calle de la Tradicion, Street

29 Contreras , Lucia. Atlas de Maracaibo.

Maracaibo: Fondo Editorial Simon Bolivar de la Ciudad de Maracaibo, 2006.

Print.

of the Tradition in English, presents some of the best examples of the original residential buildings of the area, showcasing many of their original features and colors. 29

5mts

figure 3.31: Calle Carabobo, Section

figure 3.32: Calle Carabobo 1

figure 3.33: Calle Carabobo 2

figure 3.34: Calle Carabobo 3

48

SELECTED SITE: Land Use & Structures The selected site is located in one of the most economically and culturally predominant parishes of the city, the Bolivar parish. This parish offers a set of unique features, both historic and commercial.

This combination, along with the predominant importance and local economy, consolidated it as the main source of revenue for the city.

This area is known as the governmental core of the city because it houses governmental facilities that are essential for the city, such as the governorship, the town hall and legislation. It is important to mention that the parish presents the biggest number of structures and buildings that have been declared

as

Historical

Cultural Heritage of the city.

Public Facility Religious Open Space/Recreational Commercial Mix Use Governmental Historic / Cultural Residential Future Residential Vacant Street Market Pedestrian Area figure 3.35: Land Use Map

49

The Basilica de Nuestra Señora de Chiquinquira is considered the greatest religious symbol in the state. Inside this building, the historical table with the image of the Virgin painted in oils can be admired, 30 and has become one of the most prominent

30 Contreras, Lucia. Atlas de Maracaibo.

Maracaibo: Fondo Editorial Simon Bolivar de la Ciudad de Maracaibo, 2006.

Print. Page 46.

elements of the religious aspect of the city.

The Teatro Baralt was built in the mid-twentieth century and is considered a national treasure due to its Art Deco structure. The exterior structure of the building is decorated with a collection of elements, such as frescos that are located on the lower area of the walls: “One of the predominant historical events that took place in this theater was the first showcase of the production by the ‘Lumiere brothers’

31 Contreras, Lucia. Atlas de Maracaibo.

Maracaibo: Fondo Editorial Simon Bolivar de la Ciudad de Maracaibo, 2006.

Print. Page 38.

in America.” 31 Another outstanding building is the Catedral de Maracaibo. Built in the seventeenth century, this structure houses one of the most precious treasures of the state, which is a statue known as El Cristo Negro from the sixteenth century. This statue originally belonged to San Antonio de Gibraltar. 32

figure 3.36: Basilica de Chiquinquira

figure 3.37: Iglesia Santa Barbara

figure 3.38: Tratro Baralt

figure 3.39: Catedral de Maracaibo

32 Ibid. Page 37.

50

MARACAIBO: Iconic Structures & Historical Evolution One of the aspects that make the city of Maracaibo truly unique is the conservation of many of its historically important structures, areas and buildings. In order to obtain a better appreciation of that quality, it was decided to develop a time comparison of four of the most predominant buildings and areas of the historic downtown of Maracaibo.Those are: the Basilica de Nuestra Señora de Chiquinquira, the Cathedral of Maracaibo, the Teatro Baralt, and the renowned Plaza Bolivar.

Through time, the Basilica de Nuestra Señora de Chiquinquira and the Catedral de Maracaibo have preserved many of their original features, which helps the citizens of the city and visitors to get a closer look into the rich culture of the city, how it started and how it still remains as a great part of Maracaibo. Most of the decorative features on both buildings are still intact. Columns, windows, and other features allow people to appreciate in a closer way the city’s historically rich architecture.

Basilica de Chiquinquira

Catedral de Maracaibo

51

1950

2013

figure 3.40

figure 3.41

1890

2013

figure 3.42

figure 3.43

The starting point of the city, Plaza Mayor / Bolivar, presents a completely different structure and spatial integrity at the present time. This plaza functions more like a hub of pathways, and not as an open space for people to gather as it was originally intended to be. The plaza was originally intended to give people a place to interact with each other, relax and do social activities, but, sadly, at the present time it does not work that way.

Teatro Baralt, built in the mid-twentieth century, presents several modifications of its main facade; however, even after suffering several modifications on its structure and facades, many aspects of its original Art Deco structure can be appreciated today. The columns and windows allow people to appreciate many of the original features of the building, giving them a palpable way of feeling the rich culture of the city of Maracaibo.

1890

2013

figure 3.44

figure 3.45

1890

2013

figure 3.46:

figure 3.47

Plaza Mayor

Teatro Baralt

52

SELECTED SITE: Figure Ground

figure 3.48: Figure Ground Map

53

When taking a look at the current figure ground of the area, it becomes easy to appreciate how dense and congested it is. One of the most congested districts of the area is the Commercial Markets district. It can be said that the only proper open spaces found on this district are the streets and a few empty lots, which at the present time are congested by the presence of the street market stalls.

figure 3.49: Empty Lot

figure 3.50: Plazoleta de la Basilica

figure 3.51: Commercial Structures

figure 3.52: Street Markets

54

SELECTED SITE: Zones

figure 3.53: Zones Map

55

One of the aspects that make the selected site so interesting is the great comination of different zones and uses. At the present time, there are four main zones that can be found in the area. However, those four main zones are subdevided into many categories that allow one to get a closer look at the most important factors and activities of the area.

PA Zones: Administrative - Governamental Zone Healthcare Area (PA, Poligono Asistencial) Government Administration Area (PAG, Poligono Administrativo Gubernamental) PS Zones: Socio-Cultural Zone PSC: Socio Cultural Zone (PSC: Poligono Socio Cultural) PR Zones: Recreational-Historic Zone Recreation - Sports Zone (PRD: Poligono Recreacional - Deportivo) Historic Residential District 1 (PRH1: Poligono Residencial Historico 1) Historic Residential Zone 2 (PRH2: Poligono Residencial Historico 2) Historic Residential Zone 2 - Neighborhood Trade (PRH – Comercio Vecinal) Planned Residential Zone - Community Trade (PRP CC – Comercio Comunal) Urban Renewal Area 1 - Community Trade (PRU1 CC- Comercio Comunal) Urban Renewal Area 2 (PRU 2: Poligono Renovacion Urbana 2) Urban Renewal Area - Community Trade (PRU2 CC: Poligono Renovacion Urbana 2 - Comercio Comunal) Urban Renewal Area 3 - Community Trade (PRU2 CC: Poligono Renovacion Urbana 3 - Comercio Comunal) PH Zones: Historical Zone Historic Zone 1 - Neighborhood Commercial (PH1 CV: Poligono Historico 1 – Comercio Vecinal) Historic Zone 2 - Community Trade (PH2 CC: Poligono Historico 2 – Comercio Comunal) Historic Zone 3 - Trade Veninal (PH3 CV: Poligono Historico 3 – Comercio Veninal) Historic Zone 4 - Neighborhood Trade (PH4 CV: Poligono Historico 4 – Comercio Vecinal) Historic Zone 5 (PH5: Poligono Historico 5) Historic Zone 5 - Neighborhood Trade (PH5 CV: Poligono Historico 5 – Comercio Vecinal) Historic Zone 6 (PH6: Poligono Historico)

figure 3.54: PR Zone

figure 3.55: PH Zone

figure 3.56: PS Zone

figure 3.57: PA Zone

56

SELECTED SITE: Vehicular Flow Analysis

Avenida 2 / Milagro Avenida 93 / Padilla Calle 100 / Libertador Calle 95 / Calle 96 Avenida 5 Avenida 7 Avenida 8 / Comercio Traffic Nodes

figure 3.58:Vehicular Flow Map

57

At the present time, the selected site and its surrounding areas present a strong case of heavy traffic congestion. In order to obtain a closer look into this issue, it was decided to develop a study regarding the different streets on the selected site and the area in general. Even though the site presents a great number of vehicular roads, there are two that are truly important for the site; these are Calle 95 and Calle 96. Those roads are the ones that frame the main linear plaza on the north and south edges.

figure 3.59: Avenida 12

figure 3.60: West Calle 95

figure 3.61: Calle 96

figure 3.62: Calle 95

58

SELECTED SITE: Pedestrian Flow Analysis

Main Pedestrian Pathways Commercial Pathways Social Pathways Crossways

figure 3.63: Pedestrian Flow Map

59

During the site analysis, it was discovered that there are two main areas that are heavily used by pedestrians near the site, generating two different pathways. the commercial pathways and the social pathways. The commercial pathways are the ones that can be appreciated on the commercial district near the site. Those pathways are framed by the presence of street market stalls, as appreciated on the Callejon de los Pobres. The social pathways are linked to one of the most social and historically important plazas of the area, Plaza Baralt. These pathways allow people to move in a less congested way and interact with each other in the open space that is Plaza Baralt.

figure 3.64: Mercado Calle 96

figure 3.65: Mercado

figure 3.66: Callejon de los Pobres

figure 3.67: Plaza Baralt

60

SELECTED SITE: Streetscape Analysis

12

CALLE

CALLE

CALLE

95

96

100 / L

IBERTA DO

R

AVENID A

A

AVENID A8/A VENID A COM

NIDA / AVE AVEN IDA 9 3

AVENID A7

PADIL L

ERCIO

AVENID A7

AVENID A5

AVEN

IDA 5

AV E

NI

DA

2/

AV E

NI

DA

EL

MI

LA GR

O

figure 3.68: Streetscape Map

61

In order to obtain a more detailed perspective of the current vehicular movement around the selected site, it was decided to study the most prominent streets and other vehicular roads of the area. After obtaining the ordinance of the city and generating a set of street sections, it became easy to appreciate how most of the roads presented smaller dimensions than the ones presented on the ordinance.

These modifications were not only found on the street lanes, but also on medians, gutters, curbs, etc.

STRUCTURE: ACCORDING TO ORDINANCE EET STRUCTURE:STREET ACCORDING TO ORDINANCE

STRUCTURE: CURRENT S STREET STRUCTURE:STREET CURRENT STATE

Streetscape: Current State

Streetscape: According to Ordinance

EXPRESA

PRESA

2.70

3.60

2.70 3.60

3.60

3.60 3.60

3.60 3.60

3.60 2.70

2.40

3.60

2.70

3.30

3.60 2.40

3.30

3.30 3.30

3.30 3.30

2.40 3.60

3.30

3.303.30

3.30

3.30

3.00 10.20

3.30

.90

2.40

3.30

.90 3.90

3.30

3.30

3.30

3.30

figure 3.69

1.50

3.00

3.00

2.10

3.00

3.00

3.30

3.30

3.30

3.30

1.50

3.00

3.00

3.00

3.30

3.00

1.50

12.00

3.00

.40

3.00 .40

3.00 6.80

6.80

figure 3.70

3.90 .90 18.90

LOCAL

3.00 .40

10.20

3.60

2.70

23.40

12.00

LOCAL

2.10

3.60 3.60

COLECTORA

13.20

2.10

3.60 3.60

18.90

LOCAL

3.00

3.60 3.60

ARTERIAL

COLECTORA

13.20

2.10

2.70

3.60

21.60

COLECTORA

CAL

3.60

ARTERIAL

21.60

3.30

2.70

23.40

ARTERIAL

OLECTORA

TS IN METERS

3.60

23.40

23.40

TERIAL

EXPRESA

EXPRESA

Units in meters.

UNITS IN METERS

62

.40

SELECTED SITE: Site Sections

figure 3.71: Current Site Section, A

In order to obtain a clearer understanding of the current state of the selected site, it was decided to develop four main site sections of the area. Through these sections, it became easy to appreciate how the current spatial state of the street markets stalls are generating an unwelcoming environment by making it hard for pedestrians to move and enjoy the area.

figure 3.72: Guide Map A

figure 3.73: Current Site Section, B

63

The market stalls are blocking the commercial buildings located on the south edge of the site, which leads to the loss of the buildings rich historical importance. Other elements that offer a great amount of potential are the green open spaces. At the present time, those spaces are not being used because of the presence of fences on their edges.

64

SELECTED SITE: Site Sections

3.01 3.01

11.12

.86

7.03

26.97

1.30

1.30

108.56 figure 3.74: Current Site Section, C

One of the most predominant aspects that was found while developing the site sections, was the enormous opportunity found on the section C. This area of the site is completely empty at the present time. The current state of the area comes from a governamental undeveloped project. This area was a supposed to be developed in 2005 by the government of Maracaibo, but the renewal plan was never materialized.

8.04

3.01 3.01 1.97

4.29 2.96

8.50

4.13

4.29

4.13

4.29

4.13

1.90

figure 3.76: Current Site Section, D

112.34 65

11.07

3.95

22.08

1.18

3.01 3.01

5.69 1.75

1.75

6

figure 3.75: Guide Map B

9.97

4.13

4.29

4.13

4.29

4.13

8.50

1.90

4.29

3.00 3.00 2.09

1.61 1.09

Units in meters.

4 66

Chapter 4:

Proposal: Issues & Concepts

67

68

ISSUES & GOALS Main Issues

1

2

3

Lack of Spatial Integration & Cultural Integrity

Street Market Activities

Current Vehicular Congestion

figure 4.01: Current Empty Area

figure 4.02 Street Market Congestion

Current physical state of

figure 4.03:Vehicular Congestion

High congestion on current sidewalks.

Dense vehicular congestion.

Unwelcoming spatial environment.

Misuse of current streetscape

historical structures and spaces.

Loss of cultural integrity of the area.

structure.

Disconnection among main

Neglect of physical appearance of cur-

Disconnection between the two

religious buildings:

rent commercial structures in the area.

main activities in the area: Commercial & Cultural

Basilica + Church + Cathedral.

Misuse of open/green spaces.

Increase in noise pollution.

Comparison

Positive

69

Negative

Allows people to have easy access to cheap

Generates congestion and unwelcoming

merchandise

environment

Generates spatial cultural identity in the area

Increases of current crime probability

Goals Diagrams Diagram 1: Generate a linear

Diagram 2: Integrate the two

Diagram 3: Alleviate the current

connection among three of the

prominent activities near the site

traffic congestion near the site

most relevant religious buildings

in order to improve the pedestri-

while changing the current state

on the site, the Basilica, Catedral

an flow between the commercial

of the streetscape on the north

and Iglesia Santa Barbara.

and the residential areas.

and south edges.

figure 4.04: Diagram 1 Map

figure 4.05: Diagram 2 Map

figure 4.06: Diagram 3 Map

70

CASE STUDIES: Street Markets

NEGATIVE

Health Issue

LA HERMELINDA Trujillo, Peru

figure 4.07: Mercado La Hermelinda

33 “Trujillo: Mercado Está En Emergencia Por Posible Brote De Peste Bubónica.”

El Mercado Peru. 15 Jan. 2013. Web. 3 Feb. 2014. <http://elcomercio.pe/peru/ lima/trujillo-mercado-esta-emergencia-posible-brote-peste-bubonica-noticia-1523290>.

The street market "La Hermelinda" is located on the North of Peru's largest shopping area and is visited by more than 5,000 people daily. It was founded on 1987 on a land that presents over 10 acres in length.

Due to the highly dense environment on the area, some cases of Bubonic Plague (cause by rat bites) have been identified. More than 2,000 merchants in the market have been approached by health promoters in favor of preventive measures against bubonic plague.

Traders were trained on how to regulate their stalls, cleanliness, proper food storage, and the importance of adequate infrastructure to ensure the health of their owners, dealers and buyers. It is desired to developed proper health measures that would turn this market into the first healthy street market Latin America. 33

71

POSITIVE

Cultural & Touristic Richness SAARA Rio de Janeiro, Brazil

figure 4.08: Mercado Saara

Saara is Portuguese for “Sahara.” The name is actually an acronym for “Sociedade de Amigos das Adjacências da Rua da Alfândega,” which translates “Society of Friends of the street next to Customs Street,” a merchant group formed in the early 1960’s to promote the area.

34 “Trujillo: Mercado Está En Emergencia Por Posible Brote De Peste Bubónica.”

El Mercado Peru. 15 Jan. 2013. Web. 3 Feb. 2014. <http://elcomercio.pe/peru/ lima/trujillo-mercado-esta-emergencia-posible-brote-peste-bubonica-noticia-1523290>.

Geographically, this street market is formed only by 30 blocks and generates a balanced way of offering people a great amount of merchandise that goes from clothing, decoration, furniture, glasses, watches, electronics, and many other products.

Due to the abundant merchandise found on this market and the work developed by the “Society of Friends of the street next to Customs Street” has put into generating a proper environment on the market, it has become one of the most famous and visited by tourists. 34

72

CASE STUDIES: Linear Open Spaces

In order to understand how linear parks and plazas work in a proper way, it was decided to analyze three of the most well-known and successful linear plazas, Piazza Navona, The National Mall and Champs Elysees.

Those three projects present a similar pattern that generate a spatial consolidation, that is the presence of two elements on the edges that work as “book-end” elements to frame the openness of the plazas. In addition, the three case studies selected each present a central element that function as an anchor point, generating a spatial consolidation on the plazas PIAZZA NAVONA Rome, Italy

figure 4.09: Piazza Novona, Bird’s Eye View

SPATIAL CONSOLIDATION

Obelisk at the Center

Wide Sidewalks MOVEMENT ON EDGES

+ Social Gathering Spaces

73

THE NATIONAL MALL Washington, DC

CHAMPS ELYSEES Paris, France

figure 4.11: Champs Elysees, Bird’s Eye View

figure 4.10: National Mall. Bird’s Eye View

Monument at the center

Wide pathways

+ Linear green lines / edges

Arch / Round-About at the Center

Wide Sidewalks

+ Non-continuous Green Edges

74

DESIGN GOALS Book-End Concept

Cross Connection Concept

In order to understand how linear parks and plazas work In order to generate a better spatial integration and imin a proper way, it was decided to analyze three of the prove the pedestrian movement along the site, it was most well-known and successful linear plazas, Piazza decided to use the original shape and structure of the Navona, The National Mall and Champs Elysees. Those Plaza Mayor as main inspiration. According to the Laws of projects present a similar pattern that generates a spatial the Indies, the Plaza Mayor should function as the initial consolidation with two elements on the edges that work point of the city. It would present openings on each of its as “book-ends”. The three case studies selected each corners. In order to implement this idea, it was decided present a central element that functions as an“Anchor to connect the most important structures, spaces and Point”, creating a spatial consolidation.

figure 4.12

figure 4.13

districts of the area.

figure 4.14

figure 4.15: Book-End Diagram Map

figure 4.16

figure 4.17: Cross Connection Concept Map

Book-End Point

Central Anchor Point

Book-End Point MAIN POINTS MAIN PEDESTRIAN FLOW PROPOSED PEDESTRIAN FLOW RELIGIOUS STRUCTURES GOV. STRUCTURES PLAZA BARALT

75

Mercado Popular del Centro Book-End Point

Central Anchor Point Plaza del Sol Amado

Centro Cultural Baralt

Book-End Point

figure 4.18:

Masterplan 76 0 10

20

30

40

50 mts

STREET MARKET PROPOSAL: Mercado Popular The street market has become part of the identity of the site itself, thus it was decided to modify the current steetscape of Calle 95, in order to generate wider sidewalks and a spatial separation between the commercial stalls and the commercial buildings. That way the pedestrians and the sellers would have a space that is well-suited for interacting and exchanging merchandise.

figure 4.19: Approach 1 Diagram

77

figure 4.21

figure 4.20: Main Stalls Render

STREET MARKET PROPOSAL: Mercado Popular Design Strategies: 1. Improve Ventilation Flow When designing street markets, it is essential to take into consideration the wind and its movement. In order to generate a fresh environment that is inviting for pedestrians, it is important to design a structure that would enhance the wind flow through the area.

2. Provide Shade In order to generate a fresh environment, it is important to generate a stall design that would protect pedestrians from the sun. At this point, elements such as per-

PLAN VIEW

meable fabrics become a key factor; they protect from the sun and are lightweight.

Single Double Stall

Triple Double Stall

Dual Double Stall

3. Enhance the Space

Dual Double Stall, Inner Proposal

When working on an area that is affected by the presence of street market stalls, it

1.8

is essential to generate a set of designs that would work on different areas of the

1.8

1.8

selected site. The design must give enough room for people to move between the

3.9 1.3

0.8

stalls and the buildings.

0.8

1.8

0.8 2.2 2.8

5.6

1.8

0.8

4. Use of Contextual Colors One of the advantages of using fabrics is that they allow the use of colors. When 1.8 1.3

0.8 0.8 2.2 2.8

working on a rich area such as a downtown, fabrics can be used as devices of0.8com-1.0 munication. Fabrics allow the use of the typical colors of the area and turn them into part of the structure.

figure 4.22: Wind Analysis

2.3

2.0

0.9

0.9 1.2

0.6

4.4 0.6

0.2 3.9

3.4 2.3 1.3 0.9

2.8 3.3

0.9

2.0

0.8

0.8 2.1

1.3

figure 4.23: Section: Main Stall Structure

79

0.9

0.6

0.5

3.5

0.8

1.0

0.8

figure 4.24: Section: Inner Proposal

0.8

5.8

0.8

1.8

1.3

0.8

0.8

1.0

0.8

2.2 2.8

PLAN VIEW, TABLES Treple Double Stall

Dual Double Stall 1.8

2.3 VIEW PLAN

2.0

0.9

Single Double Stall

0.8 1.8

5.6 0.8

0.9

Single Double Stall

1.2

Dual Double Stall

0.6

3.9

4.4 0.6

1.8

1.8

Triple Double Stall

1.8

0.8

0.8

1.3

1.3

Dual Double Stall, Inner Proposal 1.3

0.8

0.8

0.8

0.8

2.2

2.2

2.2

2.8

2.8

2.8

0.2

3 0.9

1.8

2.8 3.3 1.8

0.9

0.9

0.6

0.5

1.3

0.8

0.8

0.8 2.1

1.3

0.8

1.8

0.8 2.2 3.5 2.8

figure 4.30

1.8

2.0

3.9

5.6 0.8

0.8

1.8

1.0

SECTION VIEW 2.3

0.8

2.0

0.9

0.9

0.2 3.9

0.8

2.8

0.9

2.3

1.8

1.3

3.4

1.3

0.9

3.3

0.6

0.5

0.8

0.8

0.8

1.0

1.3

3.5

0.8

0.8 2.1

2.2 2.8

figure 4.25: Stalls, Measures Structure

2.3

2.0

0.9

WIND FLOW

PLAN VIEW: Dual0.9Stalls

PLAN VIEW: Single Stalls

1.2

Single Stall

3.4

2.8 3.3

0.9

2.3 1.3 0.9

4.8

4.4 0.6

Fabric Details & Selection

Dual Double Stall 0.2

3.9

0.6

It was decided to use the traditional colors found on the historical buildings of the downtown area in order to 2.0

0.5

4.8

0.8

0.8 2.1

0.9

0.6

accentuate the rich culture of the city. Also, similar colors

1.3

are found on the clothes 0.8of the traditional guayu people.

1.0 0.8

3.5

FABRIC DETAIL, PLAN & SECTION VIEWS

1.9 0.05

0.05 0.1

1.8

1.8 3.9

Single Double Stall 4.3

PLAN VIEW: Dual Stalls

PLAN VIEW: Single Stalls

figure 4.27: Calle Carabobo

3.9

Single Stall TrIple Double Stall

COLOR SELECTION

figure 4.28: Chichamaya Dance

Dual Double Stall

TRADITIONAL COLORS

3.9

Heat Absorption 4.8

4.8

HEAT ABSORPTION Lighter color = Lower Lighter color = Lower

Light Reflectivity Darker color = Lower

LIGHT REFLECTIVITY Darker color = Lower

Single Double Stall, Inner Proposal 1.9

2.2

Single Double Stall FABRIC DETAIL, PLAN & SECTION VIEWS

4.3

Fabric Instalation Detail 2.2 0.05

3.9

3.8

5.8

0.05 0.1

1.8

1.8 3.9

TrIple Double Stall

figure 4.26: Stalls, Measures Roof Area

3.9

figure 4.29: Fabric Colors & Details

80 Single Double Stall, Inner Proposal

STREET MARKET PROPOSAL: Mercado Popular The street market has become part of the identity of the site, thus it was decided to modify the current steetscape of Calle 95 by turning it into a one lane street, in order to generate wider sidewalks and a separation between the commercial stalls and the commercial buildings.

3.8 0.8

Street Market Proposal: Inner Area Stalls +.15

9.0

1.5

3.0 2.0

Several highly popular street markets, such as el Callejon de los Pobres, are found inside the commercial area. These markets take place on the streets and sidewalks between many of the blocks, because at the present time, those streets are not used for vehicular traffic anymore. As a result, it was decided to propose a commercial stall that would be inspired by the ones proposed on Calle 95, but suited to the urban enviroment of this area.

1.6

1.8

5.8

2.3

figure 4.31: Inner Diagram

Street Market Proposal: Double Stalls 3.8 0.8 +.15

9.0

1.5

1.6

5.8

figure 4.32: Doubles Diagram

The distance between the buildings and Calle 95 varies through the site, which led into the introduction of two different types of commercial stalls. The first type would be the double Stall, which would not only give pedestrians more space between the buildings and the street markets, but also would generate an alternative path between the two commercial stalls.This path would have a welcoming environment due to the presence of the fabrics on top of them and well ventilated spaces.

Street Market Proposal: Single Stalls +.15

3.8

1.5

2.0

figure 4.33: Singles Diagram

81

On some areas of the Calle 95 edge, the distance does not allow the introduction of the double stall proposal. Thus, it was decided to generate a single stall structure.

This single stall proposal would also present fabric roofs; however, this would not propose an alternative pedestrian path. This stall proposal would generate an even wider separation between the buildings and the stall, allowing pedestrians to have a better experience while visiting the area.

figure 4.41

figure 4.34: Current Street Market

figure 4.35: Current Inner Street Market Section

figure 4.36: Proposed Inner Street Market Section

figure 4.37: Double Stall Proposal Section

figure 4.38: Double Stall Proposal Render View

figure 4.39: Single Stalls Proposal Section

figure 4.40: Single Stalls Proposal Render View

82

STREET MARKET PROPOSAL: Mercado Popular

figure 4.42 Markets Current State

figure 4.43: Proposed Double Stalls

figure 4.46

figure 4.44: Current Situation Street

figure 4.45: Proposed Single Stalls

SOCIO-CULTURAL PROPOSAL: Plaza del Sol Amado When developing a plaza that would work as a central point for the whole site, it was decided to use the nickname of the city, â&#x20AC;&#x153;The Beloved Land of the Sun,â&#x20AC;? as the main inspiration. Using a set of materials and textures that would generate a pleasant environment for people, the figure of a sun was created on the center of the plaza.

Using the sun as a center point, a set of lines was generated from its center in order to help pedestrians see the different spaces adjacent to the plaza. In addition, due to the heat of the area, it was decided to propose a green pathway that would allow people to take a rest under the shadow of a line of trees and green roofed structures.

In order to consolidate the pathway, benches and lower illumination were included. figure 4.47 Approach 2 Diagram

85

figure 4.49

figure 4.48: Plaza del Sol Amado Render

SOCIO-CULTURAL PROPOSAL: Plaza del Sol Amado

Design Strategies: 1. Use the Original Plaza Structure

2

It is important to use the historic concepts that were

1

originally created. Plazas were originally places designed

12

to function as open spaces, which would allow people to

11 9 10

3 4

walk freely and interact with each other.

5 7

8

6

2. Use Local / Contextual Materials Design should utilize materials that are typical of the area.

However, an original mix of colors and textures must be provided. That way, the proposed area would feel connected with the whole site while having its own identity.

3. Layered Vegetation Vegetation should also be used in different ways. In this case, concrete made structures that would present vegetation on top of them.Vegetation would block the rays of the sun while generating a fresh environment.

0.40

32.00 figure 4.63: Plaza del Sol Amado, Section

87

0 10

20

30

40

50 mts

figure 4.50: Plaza Diagram

22.00

0.80 1.70 0.80 0.40

4.00

1.90

3.80

0.90

6.00

Green GreenRoof RoofStructure Structure Base BaseStructure: Structure: Grey Greyprecast precastconcrete concrete

figure 4.69

Metal MetalScreen ScreenRoof Roof: : Materials Selection: Metal MetalMesh, Mesh,stainless stainlesssteel steelininaalight lightsilver silver To create a better integration between the plaza and its surroundings, it was decided finish finishisispreferred preferredtotoprevent preventexcessive excessiveheat heat to generate a color palette that would bring colors from the materials used in the adsorption adsorption surrounding areas. Three main materials were generated; these materials are highly

t

used in the city of Maracaibo: Brick, concrete and granite.

1. Red

Brick Paver

2. Grey

4. Dark Grey

3. Light

5. Dark Beige

6. Beige

1.0 1.0

2.4 figure 4.53

2.4 figure 4.52

figure 4.51

figure 4.54

figure 4.55

9. Dark Beige

10. Beige

11. Dark Brown 12. Golden

figure 4.59

figure 4.60

figure 4.61

3.1 3.1 1.0 1.0

Granite

Concrete

Green Roof Structure Green Roof Structure Base Structure: Base Structure: Grey precast concrete Grey precast concrete

7. Light Brown 8. Light Beige

figure 4.56

1.0 1.0

figure 4.57

figure 4.58

figure 4.62

1.8 1.8

Urban Furniture

figure 4.68: Green Pathway

3.6 3.6 Metal Screen Roof : Metal Screen Roof : 2.9 2.9 Metal Mesh, stainless in stainless aprecast light silver Metalsteel Mesh, steel in a light silver Structure: Grey concrete finish is preferredfinish to prevent excessive heat excessive heat is preferred to prevent adsorption adsorption

Roof: Metal Mesh, stainless steel in a light silver finish is preferred to prevent excessive heat absorption

1.0

3.1

1.0

1.0

1.0

1.8

3.1

2.4

1.0

1.8

3.6

3.6

2.9

2.9

figure 4.64: Section View

figure 4.65: Plan & Front View

1.7

Bench Bench

Precast PrecastConcrete ConcreteBollard Bollard

Bench Bench 1.7 1.4

1.7 .45

.45

0.8

0.8 0.4 0.4

figure 4.66: Bench

0.3

0.2 1.1

0.6

0.3 0.3

1.7 1.4

0.2 0.2

1.1 1.1

1.7 1.7

.4

0.6 0.6

figure 4.67: Precast Concrete Bollard

Precast Concrete Bollard Precast Concrete Bollard

1.1

2.4

1.0

0.3

0.2 0.6

Bench

Bench 1.7 1.4 1.7

1.7 .45

0.8

0.4

1.7 1.4 .45

0.8

0.4

SOCIO-CULTURAL PROPOSAL: Plaza del Sol Amado

figure 4.70: Current, South-East View

figure 4.71 Proposed, South-East View Render

figure 4.74

figure 4.72: Current, South View

figure 4.73: South View, Proposed Green Pathway Render

SOCIO-COMMERCIAL PROPOSAL: Centro Cultural Baralt To provide pedestrians a better environment on the site, it was decided to develop a socio-commercial area that would give people accessibility to four main facilities: a museum, a restaurant, a commercial center and a fast food center. In order to provide a better integration between the closed and open spaces, it was decided to bring back the original concept used on the historical structures of Maracaibo, which includes the presence of a central courtyard. This aspect can be easily appreciated in the fast food center and the commercial center.

Both of these structures would be completely open. In addition, in order to generate a better integration with the rest of the site, it was decided to propose a set of outdoor sitting areas that would be covered by the same fabrics used on the street market proposal. figure 4.75: Approach 3 Diagram

91

figure 4.77

figure 4.76: Aerial View Render

3.8 0.8

9.0

1.5

SOCIO-COMMERCIAL PROPOSAL: Centro Cultural Baralt 1.6

Design Strategies 1. Inside / Outside Connection

5.8

2. Provide Social Spaces

To improve the pedestrian flow and achieve a better spa- In order to give people the ability to rest and take a break tial integration, it is important to provide central green/ from the sunlight, it is essential to provide roofed seating social areas to give people the feeling of being outdoors areas with urban features such as fountains that would while being inside the proposed structures.

generate an inviting environment.

Museo La Tradicion Reception Waiting Area Central Green Area Exposition Pathways Exterior Pathways Reading Area (Second Level) Library / Social indoor area

Restaurant Orgullo Marabino Restaurant: Entrance Waiting Area Kitchen / Other Central / Patio

A

Plaza Central 4 Seating Outdoor Areas Central Fountain 4 Restrooms

Centro Tradicion Zuliana

2 Restrooms & 8 Stores: Gift shop Traditional Clothing City Tours Religious Store Historic Store Music Store Outdoor Sitting Area

Feria de Comida El Centro 4 Traditional Fast food restaurants: Arepas Tequenos Empanadas Pabellon

B

0 10

20

30

40

50 mts figure 4.78: Centro Cultural Baralt Diagram

93

3. Use of Light Roofs

4. Generate Green Roofs

The use of light elements such as fabrics would give the In order to create a fresher environment, vegetation entrances of the buildings a fresher and inviting aspect, should be utilized to generate shade on the roofed areas. while providing shade for pedestrians and giving promi- That would give the area a more natural, fresher, and welcoming environment

figure 4.79: Museo La Tradicion, Plan View

figure 4.80: Museo La Tradicion, Render

figure 4.81: Restaurant Orgullo Marabino, Plan View

figure 4.82: Restaurant Orgullo Marabino, Render

figure 4.83: Plaza Central, Plan View

figure 4.84: Plaza Central, Render

figure 4.85: Centro Tradicion Zuliana, Plan View

figure 4.86: Centro Tradicion Zuliana, Render

figure 4.87: Feria de Comida El Centro, Plan View

Render Views

Plan Views

nence to the entrances of the buildings.

figure 4.88: Feria de Comida El Centro, Render

94

figure 4.89

SOCIO-COMMERCIAL PROPOSAL: Centro Cultural Baralt

figure 4.90 Centro Cultural Baralt, Section A

1. Red

2. Wood

3. Light Beige

1. Incorporate Local Materials

Tile

Stucco

It is essential to use local materials from the city when the proposal is being develfig. 4.91

fig. 4.92

fig. 4.93

4. Beige

5. Grey

6. Dark

oped. That would allow people to feel more connected to it, due to their sentimental and historical attachment.

2. Utilize Inviting Colors

fig. 4.95

Stucco

fig. 4.94

Stucco

Stucco

In order to give higher predominance to the proposed buildings, it is essential to use fig. 4.96

8. Concrete

7. Cream

colors present on some of the most historically important and highly used buildings in the area.

9. Fabric

3. Create Contrast Stucco

It is recommended to use a mix of two different colors on the different openings.

In this case, after developing a color pallete and a compilation of materials, it was

fig. 4.97

fig. 4.98

fig. 4.99

10. White

11. Dark

12. Silver

decided to mix two of them to bring more attention to the doors and windows.

4. Generate Visual Integration

fig. 4.100

That way, pedestrians would be able to have a visual consolidation of the space.

Steel

Steel

Stucco

In order to generate a better spatial integration, it is essential to use similar colors. fig. 4.101

fig. 4.102

1 2 6

1

11 12 4 3 8

9 7 10

fig. 4.103

figure 4.107: Centro Cultural Baralt, Section B

95

fig. 4.104

5

6

fig. 4.105

fig. 4.106

figure 4.110

figure 4.108: Current Situation

figure 4.109: Proposed Render View

96

CONCLUSION

figure 5.1

97

figure 5.2

figure 5.3

As time has passed, an unwelcoming environment has been developed on the selected site, and has turned into a barrier between the citizens of the city and its rich culture. In order to solve the problem of lack of urban integration, it was decided to generate a proposal that would alleviate the lack of integration in it, while providing a suitable way for visitors and citizens to bond with the rich culture of the city. This proposal tackled three biggest issues that were damaging the area:The lack of spatial integration and cultural integrity, the current street market activities and the current vehicular congestion.

It was decided to renovate the street market activities near the selected site by generating commercial stalls that would accommodate the current commercial traders, improve the pedestrian flow and exalt the existing buildings of the area. A model metallic structure that would accommodate properly the commercial activities on the area while improving the wind movement and providing adequate shade was designed. As the project was developed the model structure was altered in order to fit the different commercial spaces near the site.

Due to the location of the site, it was decided to utilize the original concept of the plaza and make it the central core of the whole proposal. The current open space next to Iglesia Santa Barbara was turned into a open plaza that presented a perfect blend of the cityâ&#x20AC;&#x2122;s culture. The nickname of the city â&#x20AC;&#x153;Tierra del Sol Amadoâ&#x20AC;? (The beloved land of the sun) was used as main inspiration to generate a combination of materials and features that would provide citizens and visitors with a well designed and welcoming space.

Lastly, it was decided to develop a socio-commercial plaza that would consolidate the whole area and connected to the governmental proposal being developed on the historically renowned Plaza Baralt. This proposal would give visitor a blend of different activities that include a restaurant, a museum, commercial spots and a food courts based.The development of this proposal was based on the historical buildings of Maracaibo and its central courtyards. By utilizing the central courtyard idea a perfect balance between the inner and outer spaces was found, which would allow visitors to move more freely on the plaza and the whole selected site.

98

BIBLIOGRAPHY

Alcaldia de Maracaibo. “Bolivar, Santa Lucia, Olegario Villalobos.” Plano De Desarrollo Urbano Local De Maracaibo - PDUM, Plano Zonificación De La Ciudad De Maracaibo.

Marcaibo: Alcaldia de Maracaibo, 2003. Print.

Centro Rafael Urdaneta. Plan Integral De Rehabilitation Urbana, Programa De Rehabilitacion De Espacios Urbanos Patrimoniales En El Centro Historico De Maracaibo.

Maracaibo: Gobernacion Bolivariana Del Zulia, 2013. Print.

Centro Rafael Urdaneta. Mapas Crecimiento Historico Maracaibo. Marcaibo: Centro Rafael Urdaneta. Print.

Contreras, Lucia. Atlas de Maracaibo. Maracaibo: Fondo Editorial Simon Bolivar de la Ciudad de Maracaibo, 2006. Print.

Crouch, Dora P., and Alex I. Mundigo. “The City Planning Ordinances of the Laws of the Indies Revisited. Part II: Three American Cities.” Town Planning Review. 48.4 (2977): Liverpool University Press. Web.

Gaceta Oficial de la Republica Bolivariana de Venezuela, Año CXL – Mes XI. Caracas, Lunes 9 Septiembre de 2013. Numero 40.246. Print.

Gehl, Jan . Life Between Buildings: Using Public Space. 6th ed. Washington, Covelo, London: Island Press, 2011. Print.

Gehl , Jan. Cities For People. 1st ed. Washington, Covelo, London: Island Press, 2010. Print.

Hedman, Richard, and Andrew Jaszeweski. Fundamentals of Urban Design. 1st Ed. Washington, D.C.: Planners Press, American Planning Association, 1984. Print.

Informe de la Sectorizacion catastral, Sectorizacvion de la Parroquia Bolivar del Municipio Maracaibo. Informe N. 231302U01. Fecha del inrodme: 06 – 12 – 2012.

Burayidi, Michael A., Downtowns: Revitalizing the Centers of Small Urban Communities. 1st Ed. New York: Routledge, 2001. Print.

Low, Setha M. On the plaza: the politics of public space and culture. 1st ed. Austin: University of Texas Press, 2000. Print.

99

Lynch, Kevin. The Image of the City. 1st Ed. ed. Cambridge: MIT; 1ST Edition, 1960.

Print.

Sampere Martinez, Miguel. Maracaibo Ciudad y Arquitectura. Maracaibo: Universidad del Zulia, Facultad de Arquitectura y Diseño, 2000. Print.

Morris, A.E.J. History of urban form: before the industrial revolutions. 3rd ed. Harlow, Essex, England: Pearson Education Limited, 1994. Print.

Moughtin, Cliff, and Miquel Mertens. Urban Design: Street and Square. 3rd ed. Boston: Architectural Press, 2003. Print.

Comisión de Arquitectura, Urbanismo, Construcción, Ambiente y Turismo de la Camara Municipal De Maracaibo. Ordenanza de Zonificacion del Municipio Maracaibo. Marcaibo: OMPU/PDUM, 2005. Print.

Ordenanza Sobre Licencia E Impuestos a Las Actividades Economicas, Comerciales, Induatriales, De Servicio Y De Indole Similar En El Municipio Maracaibo Del Estado Zulia. Maracaibo: Alcaldía Del Municipio Maracaibo, 2013. Print.

Ortega Gonzalez, Rutilion. El Saladillo: Una tragedia de hoy. Maracaibo,Venezuela: Gobernación del Estado Zulia, 1998. Print.

Woodley, Helen. Urban Open Spaces. 1st Ed. London; New York: Spon Press, 2003.

Print.

100