University Un Univ U niv ive versity v ers ersity ersit e ty yo of W Wisc Wisconsin-Milwaukee Wisco co c onsin-Milwauke sin-M sin n-M Milwau M uke
Carlos arrlos os sJ J. Ri R Rivera ve er J Jimè Jimènez mènez ène nez Master’s M s Thes Thesis T Spring 2009 Sp Spr 009 Spring
“Architecture “Ar rch hiite h hitec tec ecture c u and ctu nd d the tth he h Creative Creativ Cr Creativ reative ve Process: Pr P Pro Proc oce ess ss
A Contemporary C temporary empor e em mp m porary po porary rar ary Wo Workspace Workspac orkspace o k e for forr Art A Artists” tists””
“Architecture and the Creative Process: A Contemporary Workspace for Artists�
Carlos J. Rivera Jimenez spring 2009
a project in fulfilment of the MArch requirements at University of Wisconsin-Milwaukee
Gil Snyder chair
Harry Van Oudenallen
committee member
Nicolas Cascarano Committee member
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ii. Abstract Preface
I
n Puerto Rico, in the city of Old San Juan, you will be able to experience a new way to appreciate art at the moment it is created. This workshop gallery breaks the mold of what an art studio has to offer. Prominent local, national or international artists will have the ability to participate in this artist-in-residence art center. The community will be able to have a direct interaction with the artists who will be in continuous performance. These artist workshops will provide the visitor the opportunity to learn about the creative process for the making of art within a safe environment. This way when you find yourself intrigued by a piece of art, you will have the opportunity to know how they did it. This complex is located in a prominent promenade becoming an end point to the urban experience of walking through this colonial city. The workshop gallery becomes one with the public park space created to encourage the intermingling of people and the arts. This design is intended to be an educational tool where different ideas will be discussed and shared with the rich and very diverse culture of the city.
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Table of Contents
Table of Contents
1. Project Introduction . Thesis Statement . Thesis Proposal
2. Site Analysis . . . . . . . . . .
History Existing Conditions Boundaries Major Forces Contextual Typology Zoning Political View Culture Economic History Climate
5. Design Solution
. Design Goals . Conceptual Strategies . Design Process
6. Conclusion 7. Acknowledgements 8. Bibliography
3. Precedent Studies . . . . .
Zenith Music Hall, France Concert Hall in Limoges, France Astana National Library, Kazakhstan Bastille Days Milwaukee, WI Other Similar Building Typologies
4.Program
. Room Schedule
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Project Introduction
1
9
1. Project Introduction Thesis Statement
T
he island of Puerto Rico doesn’t have a public place where the general public, students or visitors could interact with artists of contemporary movements and different backgrounds and experience their creative process in a safe and learning environment.
Thesis Proposal
M
y proposal is going to be a workshop gallery for contemporary artists in Old San Juan. There is a rich variety of styles and trends when it comes to contemporary arts. At the present there are many festivals that take place at the Old San Juan Islet. The workshop gallery is intended to host artists from the contemporary movements and create an end point to the festive atmosphere found on the streets. This also will allow an equal opportunity to many of the artists who reside in other parts of the island of Puerto Rico. The workshop gallery for the contemporary arts will be located in what it is a parking lot. I want to provide a new solution to the existing condition of the site. Currently used as a parking lot, this 6.63 acre parcel have a prime location in the Old San Juan Urban context. Its use encourages people for the use of cars and does not promote public transportation. This location should be the site for a more effective built environment and should improve the existing urban conditions. It is my intention to provide a program that will incorporate the use of social spaces and become a catalyst for the arts and the place for those who need to display their talents.
The versatility of this workshop gallery is what will give the artists new ways to convey what they have in mind and express themselves. The adaptable quality of the spaces within this gallery will serve the people and promote new generations of artists to become part of the experience of Old San Juan. This artist-in-residence complex will be an active place where artists in all sectors of the contemporary arts will be in continuous performance. The workspace intended for this gallery will give the artist the option to interact with the public and showcase their talents and also give them the tranquility they need to do their work which later they will display to the public. The overall design should preserve the historic quality of the city and bring new life to this venue.
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Site Analysis
2
First Settlement was Caparra
Anibal Sepulveda Rivera
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2. Site Analysis History
S
an Juan is the capital of Puerto Rico. It is the second oldest city founded by the Spanish regime in the Americas. It was founded in the year 1521 by Juan Ponce de Leon. The first settlement was established in Caparra, just west of what is the metropolitan area today. Because of military and commercial reasons the city was moved to what is now the walled city of Old San Juan. The Old San Juan islet has one of the biggest and best natural harbors in the Caribbean (welcometopuertorico.org). This port serves as a destination for many tourists who can enjoy this city of historical prominence. Today San Juan has a population of over 1.4 million people. This makes it the most densely populated city in all Puerto Rican soil and constitutes one third of the total population of the island (www.planetware.com). The city of San Juan has become the metropolitan center and the place holder of economical and political life. San Juan is also a major port for tourist resorts and the financial capital of the island.
Built up environment
1625
1792
Old San Juan Islet 1850
1887
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2. Site Analysis History
O
ld San Juan is the original city founded by the military government under the Spanish flag. After er 465 years it has evolved into nto a residential neighborhood rhood with commercial spots s that bring a lively character to the narrow streets. The city y also holds many plazas thatt people can enjoy as a meeting eeting place. These activity pockets ockets are skirted with many of historical buildings (welcomecometopuertorico.org).
Open spaces are very important for every community. These activity pockets play an important role for the people and they impact positively to the social and economic life. In the old city of San Juan, there where 5 barrios and within them a clear void in the urban fabric that were nodes. Today the plaza is still a place for reunion among people. They are an oasis, particularly for this busy and densely populated city.
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Pre-existing conditions La Puntilla Sector
Aerial Photo 1938
Existing conditions Aerial view La Puntilla sector is a left over piece of land that was inhabited after the walled city could not afford to provide anymore space for the residents. The first buildings that were built where intended to protect the bay from pirates. The Arsenal and the Princesa were among the first to be built. At the present the government want the private sector to develop a mixed use for this the area. Zoning regulations allows residential construction, but the intense program that will transform this site into a built up development without any public space. This means the visitor could be alienated from this sector if good strategies could not be implemented.
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2. Site Analysis
Site Location
La Princesa Promenade
Pedestrian Traffic from Marina Main Commercial Venue Parking Lot (Site)
2. Site Analysis Boundaries
T
he site to be developed is located at the southeast most tip of the Old San Juan Islet. At the north side perimeter you can find the Princesa Promenade. One of the most beautiful promenades in the city. At the west, you will find government buildings that are relatively a new addition to this section of San Juan. At the east the Arsenal, which dates back to Spanish settlement and has a historical meaning. The site itself holds 902 parking spaces that are used by the city employed workers. There is a strong drive towards the site by the many visitors with tourist intentions, but the existing conditions do not allow the visitors to experience a better build environment. The traffic of people is very common at the promenade but there is a need and room to improve the existing conditions, giving tourists a reason to walk and experience this side of town.
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2. Site Analysis Boundaries
Panoramic view from the Plaza de Hostos looking north
The San Felipe del Morro fort was built as a military strategy to prevent attacks and provide safekeeping of the island’s Spanish dominion. The historic value of this construction makes it a National Historic Site. It was designated as a World Heritage Site by the United Nations in 1983 (www.eyetour.com). Panoramic view from the shore looking northeast
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Major Forces La Princesa Promenade
J
ust west of Plaza de Hostos and the Arsenal, along the north perimeter of La Puntilla and South of the walled perimeter of the original walled city is The Princesa Promenade. It was built in 1853 and it has been restored to its original shape. It is one of many destinations within the old city of San Juan. Midway along the promenade is Puerto Rico’s Tourism Company Headquarters. This last one was inaugurated in 1837, named La Princesa (Hence the name of the promenade) and served at its origins as a temporary prison. Now it is also a place to exhibit Puerto Rican art and host activities. The magnitude of the walled city can be experienced by walking along its perimeter. There are many sculptures along the way to the last out of five original doors to the city called “La La Puerta de San Juan” Juan (www.eyetour. com)) .
La Princesa
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2. Site Analysis Major Forces
Cruise ship passengers in San Juan per year 2000
2001
2002
2003
2004
2005
2006
2007
Total
January February March April May June July August
175,624 152,852 164,396 153,221 58,742 64,127 60,941 58,754
160,021 141,684 151,647 117,476 56,742 67,576 71,480 69,940
120,898 124,298 144,815 126,909 63,159 75,093 71,232 60,940
156,025 153,497 159,024 132,145 88,686 78,966 67,761 73,264
175,933 152,035 156,813 139,447 82,733 57,250 73,078 79,358
157,538 144,040 143,550 160,742 73,019 69,566 68,972 60,718
173,555 159,620 157,056 127,727 83,783 83,444 85,718 75,528
179,539 157,446 193,668 141,405 83,231 89,510 95,085 84,467
1,299,133 1,185,472 1,270,969 1,099,072 590,095 585,532 594,267 562,969
September
61,302
57,336
51,075
62,384
58,417
52,303
63,200
75,616
481,633
October
91,508
90,487
77,302
80,337
94,951
100,775
78,796
85,443
699,599
November
143,624
136,347
101,750
143,142
150,480
116,647
119,470
126,081
1,037,541
170,154
155,565
146,466
152,932
165,716
151,453
166,852
185,362
1,294,500 10,700,782
December
Total
1,355,245 1,276,301 1,163,937 1,348,163 1,386,211
Source Statistics Office Hugo L Real Source Statistics Office Hugo L. Real
1,299,323 1,374,749 1,496,853
La Marina
T
his cruise ship port welcomes more than one and a half million visitor each year. Some people say it is the best in the Caribbean. If you initiate your trip from this side of the city you will walk along its recently restored boardwalk and encounter many shops and restaurants. You will also be able to plan your trip from there. If you go west you will encounter The Princesa Promenade. (www.eyetour.com)
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Major Forces Cobblestone Pavement
Brick Steps
Architectural Renovations
C
Commercial
urrent restoration projects towards the renovation of vacant or destroyed buildings are being promoted by the city of San Juan. Old San Juan is a city of great architectural significance and declared a world heritage site, it is important to preserve the original quality and city fabric. Some incentives to restore the city include tax exceptions.
T
he city of Old San Juan has a mixed use building type. At the first level the buildings have a commercial use. In the images at the top right you can see an example of a commercial space. This space has been modified to fit the existing structure. The image at the bottom right shows a residential condition that happened to be at the first level. You can notice the difference in the spatial quality, lighting and comfort level that makes each space successful. This is achieved by the way the structure created is higher in a commercial space and lower in a residential.
Residential
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Major Forces
The historic quality of Old San Juan gives the walled city a unique atmosphere and interest. The colonial architecture and city structure and fabric give the visitors an unforgettable experience. There are many historical sites people commonly visit. The old military fortifications, plazas and historical buildings, are just some of the attractions. Museums and cafes are very popular and give the visitors an atmosphere of celebration and festivity.
Walls Fortifications
T
he location and harbor quality of San Juan made this Old City a very susceptible territory to foreign attacks. The Spanish militia knew they needed to defend this city, and therefore started the construction of the fortification system including El Castillo San Felipe del Morro and the Fortaleza around the years 1634 and 1638. Thereafter the city was developed within the walled perimeter. (www.eyetour.com)
El Arsenal
T
he Arsenal is located just south of the perimeter walls of the Old city. This location is better known as La Puntilla. This precinct was the place the Spanish government designated for the construction of a naval station in 1791. This building has a mixture of architectural styles that includes Romanesque and Neoclassical. It serves as a placeholder for the militia used to patrol the bay. It also offered storage and living quarters for soldiers. At the present this building is being kept and renovated for its significance. It holds gallery exhibits as well as a large capacity activity hall where cultural events take place. (www.eyetour.com).
La Princesa Promenade
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2. Site Analysis residential
Contextual Building Typology and open spaces
Plaza San Jose
commercial
Plaza de Ballaja
Plaza Las Armas
Plaza de la Roguativa
galleries
Plaza del Convento
Paseo de la Princesa
Plaza del Quinto Centenario
Residential Mixed Use Governmental Galleries Hotels Churches Public Realm Parking
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2. Site Analysis Zoning
Public Venue High Density Residential Private Venue (Government) Commercial Venue Industrial Medium Density Residential
2. Site Analysis
Political Views
“Very little Puerto Rican art has been seen on the United States mainland. Some would say it is difficult to explain why, since artworks are judged individually, rather than by nationality. Others cite the dominance of figurative and realistic art in Puerto Rico when abstract styles predominated internationally.� Eleanor Blau.
S
ome people believe that there is a political influence towards promoting the arts in the United States mainland. Artists with different political views prefer to show their art to other countries including Latin American and Spain. On the other hand those who have tried to exhibit their work in the United States find themselves running into barriers that surely include prejudice. Paradoxically some people do not consider Puerto Rico as part of Latin America or part of the United States restricting them from showing their art in either place. (Eleanor Blau)
The director of the University of Puerto Rico Museum in Rio Piedras states that only a few major painters have emerged in the island before the 1950’s. Because the lack of resources and tradition due to the poor conditions in which this Spanish Colony has found itself, Puerto Rico lacked museums, art training centers and a market for art. At the end of the 1940’s and 50’s there where incentives that promoted economical and social developments which created some pictorial movements that represented Puerto Rican landscape, its people, music and traditions. By the end of the 1950’s the optimistic vision of the Commonwealth relationship of Puerto Rico and the United States changed to a more pessimistic view inspired by the Cuban revolution giving artists the courage to convey a more explicit political expression.
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2. Site Analysis
Culture
“Culture is a series of visual manifestations and interactions with the environment that make a region and/or a group of people different from the rest of the world.” Anonymous
P
uerto Rico’s culture and character is a compilation of the historical mosaic of cultural events that took place over the last 500 years. Initially a Spanish government that used local indigenous people named Tainos to labor the land and later on with African imports, Puerto Rican identity can be described as a lively but complex collection of subcultures. This cultural mix is an important determinant in the cultural heritage; this mix includes music, art, dance, food and many other elements. After the American invasion in 1898, Puerto Rico’s heritage has been greatly influenced and dominated by the United States ever since. Many social, economical and political aspects are also determined by the United States mainland. (www.planetware.com)
Festivals One of the most popular streets in Old San Juan is La Calle de San Sebastian. It is the center of festivals and gallery nights celebrated the first Tuesday of every month. One can interact with locals and experience many aspects of daily life in San Juan. There are opportunities to see art, eat local cuisine and enjoy live music. This street is one of the many streets that still preserve the original character and materiality of the city fabric. Cobblestone pavement, brightly painted facades, overhanging balconies and friendly people are just some examples of its character. (www.eyetour.com)
Museum of Puerto Rico
Contemporary Art Museum of Puerto Rico
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2. Site Analysis
Economic History
P
uerto Rico’s economy might be described as diverse. In the 1940’s the current government tried to develop several alternatives of industrial character to boost the stocked economy Puerto Rico suffered at the moment. The first stage of this economic plan included cement and bottle factories. These were intended to provide employment to the many people in need. This strategy didn’t seem to succeed, therefore the government started to promote Puerto Rico as a place where the private sector could invest by providing incentives to manufacturing companies that required lots of workers and a relatively small budget to start operations. These industries included shoe and clothing factories. This economy was still very dependent on the United States mainland and was affected by the lack of demand. Toward the year 1965 Puerto Rico’s government tried to help establish a different kind of industry that would use a more advanced technology but fewer people to operate these facilities. As a result of the industrialization in Puerto Rico people who intended to work in factories moved to the city and left behind the farm lands changing the agricultural character which once described Puerto Rico’s economy. In the 1960’s, they found an answer in the petrochemical industry, but not much time passed before they seemed to fail when the world energy crisis took place in 1973.
Electronics seemed to appear as the alternate manufacturing solution to the economy. This grew strong from the years 19761996 thanks to the tax incentives given to manufacturing companies at the end of the century. In 2006 these laws ceased and many companies moved abroad. Some industries are still in Puerto Rico including the pharmaceuticals, which was estimated to contribute 50 % towards the total exports in the year 2000. Nowadays Puerto Rico is a country with a very dynamic and yet accelerated economy that has reached international recognition. (Silvestrini, 64-65)
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2. Site Analysis
Climate and Wind Study
I
n Puerto Rico, the average mean temperature in the coast is approximately 800 Fahrenheit. It is a tropical marine because of the 80% relative humidity. The wind normally blows from the east regulating the norm temperature. Rainfall is evenly distributed during the year, although a higher rainfall is seen during the months of May to October. This period is also considered hurricane season. When this last period ends a dry one can be registered during the months of January to April.
WIND D ROSE PLOT MAR RCH R H
0%
EA A
d Spee ed (m/s)
06 5.40 - 8.49 3.34 - 5.40 1.80 - 3.34 0.51 - 1.80
Temperature Data for San Juan, PR TEMP
JAN
FEB
MAR
APR
MAY
JUN
JUL
AUG
SEPT
OCT
NOV
DEC
ANNUAL
MAX MEAN MIN
84.0 75.0 66.0
84.4 75.2 66.0
85.2 75.8 66.4
86.7 77.4 68.0
88.0 79.3 70.6
89.5 80.9 72.2
89.4 81.0 72.5
89.5 81.2 72.9
89.5 80.9 72.3
89.0 80.5 71.9
86.7 78.5 70.2
84.6 76.1 67.6
87.2 78.5 69.7
Average Temperature
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Precedent Studies
3
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3.Precedent Studies
Zenith Music Hall, France Massimiliano and Doriana Fuksas
T
he Zenith Music Hall was designed as a modular structure. It has been articulated in such a way it creates a balanced yet, dynamic composition. Best in acoustics it provides a great experience for every people and performing artist alike. The building sculptural quality achieve its most dynamic form by the rotation of the elliptical metal frames. During daytime this membrane give the building a quiet presence but at night the steel structure “underlines� the textile membrane when light effects transforms this elemental structure into a beacon of light. The transparent quality of this enclosure is utilizes to communicate of the upcoming events to passers-by. (www.archinnovations.com) photo by Philippe Ruault
photo by Moreno Maggi
photo by Philippe Ruault
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3.Precedent Studies
Concert Hall in Limoges, France Bernard Tschumi Architects
T
he main design move in this building is the articulation of two distinct acoustical envelopes. The outer skin is constructed of a polycarbonate material that filters sun light and insulates the space. At the same time it provides the means of circulation throughout the building. A second more private enclosure give the spectators a more intimate environment. The building was designed with a sustainable mentality. The materiality used provides best performance and energy conservation. This concert hall seats 6,000 spectators, but it can transform to accommodate as few as 600 or as many as 8,000. The performance stage is approximately 260 ft. wide and 130 ft. deep. This stage area was designed to be free of any structural members. (www.archinnovations.com)
Structural Composite Exploded Axonometric
photo by Christian Richter
Assembly of 3 structures
photo by Peter Mauss
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3.Precedent Studies
Astana Na National ationa al L Library, ibrary, K Kazakhstan. azakhstan. D an nish A rchitects Bjarke Bjarke IIngels ngels G roup Danish Architects Group
T
he design concept co onc ncep cep pt is is based bas ased ed in in the tth he merging he me m e erg rg gin ng of of four fou ur The archetypes. T he circle, he circl irrc clle, e the th he e rotunda, rot otu un nda, the arch a ch ar ch and an nd d tthe th e yurt forms this thi h s unique un n e and an nd d contemporary con ontte em mp porrar ary design. des desi de siign. Th The he infinite circle cirrcle cle will cl w llll g wi give ive pe iv ive people eop ople l a c clear le ear und understandder erst stan anddiing in ng of o the orientation orien enta en tation on and on d the the he relationships rel elat atiio onshi nsh hiips ps of of every ev eve ver ery elem me ment n in the nt e composition. co omp mpos osition. n The Th he continuous conttinuo co ous path pat atth through a through th tthe th he building buildi diing d g creates cre re ea attes s an an intimate intima ate e connection con onn nection n between be be g gr ground rou ound nd and and d sky sky y and and exposes exp xpos ose es s iits ts v ts visitors is sitor ors to b or both oth in ot iinside side a an and n nd d out. This T is Th s iconic iconic design de esign gn projects p proje ects a nature n tu na ure e of of change ch hange allows people with att tthe a he same he sa am me time it al llows p eop eo plle to to iinteract ntte erra ac ct w wi ith th it. (ww www.architecturelab.net) ww.ar arrch chiittec ch t ctu ture ture relab.ne ne ett))
Concept Studies
Building Elevation
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3.Precedent Studies
Bastille Days Milwaukee, WI
I
n Milwaukee in the State of Wisconsin the Bastille Days are celebrated each summer as a celebration of the French heritage the locals are a part of. The city is always very involved with the planning of this four day celebration. The heart of the downtown area becomes the stage where thousands of people find a festive atmosphere. There are street performers, artists, shops, great food, music, stage entertainment and many other French festivities. This festival becomes an opportunity to interact with artist and learn about the different artistic expressions.
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3.Precedent Studies
Similar Building Typologies
T
here are other projects that have a similar intent to promote the same idea as a place for the creation of art and a vehicle to educate people. Some of which are artists-in-residence and others whose intention is to become a temporary host for guest artist . The Kunzelmann Esser in Milwaukee, the MoMA, MoMA’s PS1in New York ,Chicago’s Pilsen Art District and The Daniel Performing and Visual Art Center in Massachusetts are just a few examples of the type of place this project ought to be.
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Program
4
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4. Program
Room Schedule
Artist Workshops
Performing forming Arts Auditorium
Living Quarters - 500 sq. ft. Workspace - 800 sq. ft. Visitor’s Catwalk - 1,000 sq. ft. Retail Gallery - 675 sq. ft. Equipment room - 800 sq. ft. Storage Closet- 250 sq. ft. multi use space - 1,500 sq. ft. Sculpture garden - 1,200 sq. ft. Installation area - 120 sq. ft. Public Restrooms - 875 sq. ft. Interior Garden - 285 sq. ft. Circulation - 6,800 sq. ft.
Stage e - 1,500 sq. ft. Audience ence - 5,800 sq. ft. k Stage Area - 2,500 sq. ft. Back Pre-assembly assembly area - 4,600 sq. ft. Ticket et sale - 350 sq. ft. Stafff Office - 350 sq. ft. o Gallery - 6,000 sq. ft. Video Outdoor door Stage - 1,000sq.ft. Rain Garden - 26,500 sq. ft. Green en Lawn - 20,950 sq. ft. Outdoor door plaza - 4,550 sq. ft.
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Design Solutions
5
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5. Master Plan
Design Goals
T
he design is intended to engage the promenade located at the north most perimeter of the site. Claiming the north boundary the building will maintain an urban front that will directly interact with the walled perimeter of the old city across La Princesa Promenade. The initial concept of the composition will mimic the solid character of the wall but will allow a connection to the interior of the site by opening up the north boundary. The design is intended to use patterns that are repeated all over the old city of San Juan. This way the new addition will maintain a connection and an endemic relationship to the character of the city. The different spaces will open up to outdoor rooms that will be used in accordance to the program and spatial relationships to one another. The overall composition will include three very distinct areas that will be interconnected with each other. These will be intended for the experience of the creative processes among artists and its connection to the community.
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5. Master Plan
Conceptual Design Strategies Main Elements This complex is a compilation of different spaces that are to be developed simultaneously. According to the established program, it is intended to provide the community with a public space at the same time there is a private sector for the artists. It is important to design these three completely different elements but keeping a connection is strongly needed.
Circulation and Connections The north boundary of the site is a strong driver as to how the design should be addressed. After many considerations it seemed very important to maintain a perpendicular grid that will correlate with the strong axis the promenade has established. This way people who visit the promenade will permeate towards the site.
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Patterns in the Design:
117- Roof Gardens 61- Small Public Squares 118- Sheltering Roof 62- High Places 120- Paths and Goals 63Dancing in the Street 8- Mosaic of Sub cultures 121- Path Shape 64Pools and Streams 9- Scattered Work 122b- Compression and Intensity 64aBridges 10- Magic of the city in an Alley 67- Common Land 13- Subculture Boundary 123- Pedestrian Density 68- Connected Play 15- Neighborhood Boundary 124- Activity Pockets 69Public Outdoor Room 16- Web of Public Transportation 125- Stair Sets 71Still Water 18- Network of Learning 127- Intimacy Gradient 73aPlay with Water 19- Web of Shopping 128- Indoor Sunlight 74Animals 20- Mini Buses 130- Entrance Room 77- House for a Couple 21- Four Storey Limit 131- The Flow through Rooms 78- House For One Person 23- Parallel Roads 132- Short Passages 80Self Governing Workplaces 24- Sacred Sites 133- The Staircase 81Small Services without Red Tape 25- Access to Water 134- Zen View 81uLocal Administration 27- Men and Women 135- Light to Walk Towards 83Master and Apprentices 30- Centers of Action 140- Private Terrace on Street 83u- Classroom Distribution 31- Promenade 144- Bathing Room 85- Shopfront Schools 32- Shopping Street 145- Bulk Storage 87Individually Owned Shops 33- Night Life 146- Flexible Office Space 88Street CafĂŠ 35- Household Mix 148- Small Work Groups 92Bus Stop 36- Degrees of Publicness 148u- Student Workplace 96uParking Spaces 37- House Cluster 150- A Place to Wait 97- Shielded Parking 38- Row Houses 151- Small Meeting Rooms 98Circulation Realms 39u- Student Community 152- Half Private Office 100Pedestrian Street 39-Living Learning Circle 153- Rooms to Rent 101Indoor Streets 40c- Manufacture, Wholesale, and Retail 157- Home Workshop 102cCommon Entrance in the Same Place 158- Open Stairs 104- South Facing Outdoors 41- Work Community 159- Light on Two Sides of 104a- Site Drainage 45- Necklace of Community Project Rooms 106Half Hidden Garden 46- Market of Many Shops 160- Building Edge + Addendum 107Main Entrance 49- Looped Local Roads 161- Sunny Place 108Entrance Transition 50- T Junctions 162- North Face 109Car Connection 51- Green Streets 163- Outdoor Room 111- Connected Buildings 52- Pant Networks 164- Street Windows 113- Positive Outdoor Space 53- Main Gateways 165- Opening to the Street 114Hierarchy of Open Space 55- Raised Walk 166- Gallery Surround 115Courtyards Which Live 58- Carnival 167- Six Foot Balcony 116Cascade of Roofs 60- Accessible Green
168- Connection to the Earth 169- Terraced Slope 169a-Irrigation 171- Tree Places 172- Garden Growing Wild 174- Trellised Walk 176- Garden Seat 179- Alcoves 183- Workspace Enclosure 184- Cooking Layout 185- Sitting Circle 187- Marriage Bed 188- Bed Alcove 189- Dressing Room 190- Ceiling Height Variety 191- The Shape of Indoor Space 192- Windows Overlooking Life 193- Half Open Wall 196- Corner Doors 197- Thick Walls 198- Closets between Rooms 205d- Structure Follows Social Space 206d- Efficient Structure 207d- Incremental Construction 208d- Good Materials 209d- Appropriate Processes and materials 212d- Vertical Supports Where Needed 213d- Utilities Layout 214d- Foundations 215 d- Floor/Ceiling Constructions 216d- Thick Vertical Supports 217d- Perimeter Horizontal Supports 218d- Roof Construction 219d- Connections in the Structure 220- Natural Doors and Windows 224- Frames as Thickened Edges 226d- Mechanical Space 230- Floor Surface 233- Windows Which Open Wide
234- Solid Doors with Glass 235- Filtered Lights 238- Seat Spots 239- Front Door Bench 243a- Paving Of Outdoor Rooms 247- Warm Colors 249 – Pools of Light
Pattern Language Part of the design process started by using Christopher Alexander’s “A Pattern Language”. The basic components that make a city live are incorporated within the master design. Many of them are already part of the Old city of San Juan. These helped rediscover some design moves that where made before and are determinants of the character of this city.
DN N
DN
DN
DN
DN
DN N
DN
DN N
DN
DN
DN
DN
DN
DN
DN UPDN
DN
DN
DN
DN
DN
DNUP
UPDN
DNUP
DN UPDN
5. Artists Workshops
Design Concepts
5. Artists Workshops Conceptual Design Strategies Public and Private Gradient
Workshop public to private circulation
People who visit the Princesa Promenade will have access to the artists workshops when in operation. The diagram on the left represents the connections of the public and the private. The blue arrow pointing towards the promenade (the public) and the red arrows showing the path where people can see the artists in their workshops (private). At the second level you will gain access to the workshops catwalks through the staircases located on axis with the main entries. These catwalks will give you access to the most private part of the complex and people will have the opportunity to see the artist’s creative process. This experience will be a safe way to interact with the artist performance.
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5. Artists Workshops Repetition of one element When designing the artist’s workshop and living spaces the main idea is the repetition of a unit mirrored into itself. This will create a group of two that will be mirror a second time. This repetition of clusters will become the central parti in the composition . Each unit will house one artist. They will be interconnected and will share the main circulation spine at the first level and the elevated catwalk that loops around each of the work areas when the artist is at work. The public will have entry to the complex through a series of access points. If the workshop if not in session the visitors will still see into the work rooms.
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5. Artists Workshops
RESIDENTIAL BUILDING OUTDOOR STAGE GREEN LAWN RAIN GARDEN WATER POOL LIVING QUARTERS MULTI USE SPACE ARTIST’S WORKSHOPS CIRCULATION SHAFTS SCULPTURE GARDEN VIDEO GALLERY PERFORMING ART AUDITORIUM ENTRY GATES LA PRINCESA PROMENADE WALL OF THE CITY GOVERNMENT BUILDING
5. Artists Workshops
5. Performing Arts Auditorium T
he Artist will have a space that will accommodate an audience of 400 people. The composition is generated through the repetition of a modular section of the whole. The simple elemental shape of the building is an attempt to connect the two grids existing grids. At night this iconic shape will transform into a beacon of light that will have presence.
conceptual studies
conceptual c onc ceptual studies
5. Performing Arts Auditorium Perspective of Modular Unit
View form Arsenal Street looking West
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5. Performing Arts Auditorium Perspective of Modular Unit
View from stage towards spectators
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Conclusion
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A
rt is a talent that people express it in multiple ways. It is the expression of human emotions and the way to communicate with future generations. In this thesis I am providing a design for an environment that will facilitate visitors to have a first hand experience at the moment in which art is created. The built environment around the artist’s studio is an attempt to create a flexible space for the artist’s use. This space will become a vehicle to educate future artists and visitors giving them a valuable experience. The artists themselves will have the opportunity to interact directly with the public and other artists that live in this workspace community. The built environment will give visitors a destination in this side of the city and will improve the existing conditions of the site. The program will be supported by the city and its inhabitants and will become a catalyst for the arts. Although the artists will be founded by the government, this will create a symbiotic relationship that will promote the tourism and quality of life in this important part of the island.
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Acknowledgements
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Thank you for your support...
Thesis Committee: Gil Snyder Harry Van Oudenallen Nicolas Cascarano
Christine Scott Thomson
Pre-thesis:
Friends:
Katie E. Thanig Jezamil Arroyo Sarah Diericx Margaret Blinstrup Juan C. Feliciano Maria M. Rivera Shelly Sang
Linda Krause
Family:
Leonardo Rivera Migdalia Jimenez Alexander Rivera
Research process:
Leonardo Rivera Luis A. Ramos Lugo L. Real Sharadha Natraj Bruce Brockman Tara Bogart Instituto de Cultura Puertorrique単a
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Bibliography
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8. Bibliography Works of Reference
Albert Mehrabian. Public Places and Private Spaces. New York: Basic Books Inc., Publishers, 1976 Jose A. Fernandez. Architecture in Puerto Rico. Architectural Book Publishing Co., Inc., 1965. Merle Colby. Puerto Rico: A Profile in Pictures. New York: Duell, Sloan and Pearse, 1990. Jorge Rodriguez Beruff. Strategy as Politics: Puerto Rico on the Eve of the Second World War. San Juan, P.R.: La Editorial Universidad de Puerto Rico, 2007. Arlene M. Davila. Sponsored Identities. Philadelphia: Temple University Press, 1997. Andrew Gravette. Architectural Heritage of the Caribbean. Princeton, NJ: Markus Wiener Publishers, Inc., 2000. Robert Bennett. Sun Angles for Design. Bala Cynwyd, PA: Robert Bennett, 1978. Baiz, Myrna & Torres Morti単o, Jose A. Puerto Rico Arte & Identidad. San Juan, PR : Editorial de la Univ. de Puerto Rico, 1998. Jorge Rigau. Puerto Rico 1900: Turn-of-the-Century Architecture in the Hispanic Caribbean 1890-1930. New York: Rizzoli International Publications, Inc., 1992. Daniels, Klaus & Hidrichs, Dirk. Plusminus 20/40 Latitude. Stuttgart, London, Edition Axel Menges, 2007. Carol R. Jopling. Puerto Rican Houses in Socio historical Perspective. Kuoxville: The University of Tennessee Press, 1988. Tania del Mar Lopez Marrero & Nancy Villanueva Colon. Atlas Ambiental de Puerto Rico.
San Juan, P.R., La Editorial Universidad de Puerto Rico, 2006. Welcome to Puerto Rico. Magali Rivera, AIG Travel Ground International 1995-2008. November 5, 2008. http://welcome.topuertorico.org. Institute do Culture Puertorriquena. 2003. November 5, 2008. www.icp.gobierno.pr. El Status Independent Platform for Contemporary Puerto Rican Art. Lisa Ladner, November 5, 2008. http://www.el-status.com. Museo de Arte Contemporaneo de Puerto Rico. 2005. October 2, 2008. http://museocontemporaneopr.org. Eye Tour Puerto Rico. Juan Narquez, Jose Marti, Alfredo Richner. 2008. Commonwealth of Puerto Rico Tourism Company. http://www.eyetourpuertorico.com rico.com U.S. Census Bureau. Census 2000 Data for Puerto Rico.
Other Web Places www.archinnovations.com/featured-projects/performance-arts www.architecturelab.net z online achitecture magazine www.arcspace.com/architects/Fuksas/zenith/zenith.html www.planetware.com www.welcometopuertorico.org www.eyetour.com
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