Thesis Exploration: The Human Experience and the Public Realm

the human experience

and the public realm

Master Thesis Project

Genevieve Frank University of South Florida

School of Architecture + Community Design

A Terminal Master’s Project Submitted in partial fulfillment of the requirements for the degree of Master of Architecture School of Architecture and Community Design College of the Arts University of South Florida May 2016 All images, models, and drawings by author except where noted.

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the human experience

and the public realm designing public space in regards to the urban and social theories that define the narrative of the city

Chair

Nancy Sanders

Committee Taryn Sabia Martin Gundersen Levent Kara

“The city is humanity’s laboratory, where people flock to dream, create, build, and rebuild.”

–Edward L. Glaesser, The Triumphant City

ACKNOWLEDGEMENTS Thank you to my chair, Nancy Sanders, for providing a wealth of knowledge and new ideas that invigorated my thesis exploration. Thank you to Taryn Sabia for not only introducing me to urban design, but for being my mentor as well. Thank you to Martin Gundersen, Levent Kara, and the rest of the faculty at SACD who have helped shaped my architectural education.

Thank you to my friends and peers who have pushed me and challenged me during these past 4 years. I have learned so much, and I will always cherish my memories at SACD. Finally, thank you to my family for always believing in me, supporting me, and being my role models in every way. I am truly blessed.

CONTENTS 08 | preface 10 | introduction 12 | preliminary research cities

the european square

american public space

public realm

types of public space

urban and social theory 24 | spatial analysis & place-making

cultural space

symbolic space

representational space

narrative space

transitional space 36 | experience and narrative 40 | regional exploration northeast southeast northwest 54 | the cities boston savannah seattle 98 | post-script 100 | list of figures 104 | works cited

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“Architecture and urban design, both in their formal and spatial aspects, are seen as fundamentally configurational in that the way the parts are put together to form the whole is more important than any of the parts taken in isolation.�

-Bill Hillier, Space is the Machine: A Configurational Theory of Architecture

PREFACE Architecture and Urban Design are two significant fields, and they should be discussed as a partnership rather than two completely separate entities. More often than not, the focus is either on the building and its interior, or the great section a “complete street� creates. The emphasis should be placed on the conversation between the building and the street, the intervention and its context, and how people move between those spaces.

All of these entities form the public realm, which is physically described as any publicly owned streets, pathways, right of ways, parks, publicly accessible open spaces, and civic facilities. However, the public realm also characterizes a more intangible spectrum: the social environment where life occurs.

Life in the city is made up of memories, experiences, and rituals. In order for these moments and events to occur, the city needs spaces that foster a rich public sphere that provides the opportunity for interaction and the inspiration for these moments.

This is the very reason why architecture and urban design should be woven together to form a cohesive urban fabric, focusing on the large and small scale details that ultimately define the experiences of a space.

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Figure | 02

Dorothy Dehner. New City

INTRODUCTION This master’s project focuses on interpreting the patterns, spaces, and encounters in cities, how they are perceived, represented, and remembered, and how they can be applied to a site-specific design project.

The research began with the study of what a city is at the urban scale. Simply put, the physical description can be summed up as architecture and all of the spaces in between, and can be applied as the same essential framework for every city.

How, then, do cities vary so distinctly when they are comprised of the same building blocks?

The common denominator for the questions that arose is humanity. People change the city, and experiences change people. It is a simple equation that begins to elude to the depth of this idea. Experiences begin to form the narratives of individuals that begin to define how the city is realized. These experiences occur in the public realm, or life between buildings.

This process illuminates the urban and social phenomena that should affect the way we design spaces. Designed spaces should be monogamous to the city to which they belong; architecture and the spaces in between should consider context, the users, and how people will interact and use the designed space. It is important to approach this idea from an urban scale to understand the lifestyle and the social theory behind why and how people utilize spaces.

How will this process look once applied to successful cities? Can it be applied to cities that do not have an enriched public realm?

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Figure | 03

Bernard Gagnon. Palmyra

Edward Dodwell. Painting of the Bazaar at Athens

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James Breasted. Plan of the City of Ur

Panini. View of the Roman Forum

PRELIMINARY RESEARCH CITIES Although appearances and forms have changed and adapted, cities have existed for centuries. The first cities ever recorded were founded in Mesopotamia around 7500 BCE. These early cities, such as Eridu, Uruk, and Ur, were comprised of mudbrick buildings that were decorated with clay mosaics and large sculptures. The city of Uruk was documented through the medium of clay pictographs. Around 3200 BCE, the Uruk blossomed and was accompanied by the developments of other city-states and empires throughout the region. Trade and conquest advanced the creation of these cities and provided the premise for interaction between them. This initial urban revolution encouraged inventions, artistic expression, and was a defining moment in humanity’s history. 1 As cities continued to evolve, certain characteristics became more prominent in the planning and design of the city. The French geographer Elisee Reclus, when studying the evolution of cities, noted that humans craved social relationships and required a space for these interactions to occur. “Where the cities increase,” he wrote, “humanity is progressing.”2 Therefore, the need for a shared public space to provide the opportunity for public gatherings emerged. The Ancient Greeks introduced this space in the agora, which subsequently led to the forum in Roman Empire, as well as further iterations over time during the Middle Ages. From the eleventh through fourteenth centuries, plazas, public squares, and courtyards began to form the center of cities in the European culture. Commonly referred to as the Market Square, this was perhaps the most pivotal invention of the European city.

1. Department of Ancient Near Eastern Art. “Art of the First Cities in the Third Millennium B.C.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–.

2. Reclus, Elisee. “The Evolution of Cities.” The Contemporary Review v. 67 (1895): n. pag. Isbister and Company Ltd.

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THE EUROPEAN SQUARE The Market Square was designed as a multi-functioning urban space that successfully embodied the idea of “the outdoor room.”2 Effectively set in the heart of the city, the square was the center of most social, economic, civic, religious, and cultural activities. Often times the square would be bordered on all four sides by mixed-use houses and shops. In many instances, churches, city halls, and other important buildings would have a place in the square, affirming the value of the location. The entry and exits were small so as not to detract from and interrupt the “room” feeling.

One of the benefits of the square was its ability to adapt to encompass a wide variety of occasions and activities. These events provided a catalyst for community engagement, requiring people to work together to coordinate efforts to plan events.

The design of the square balanced programmed and unprogrammed spaces to ensure continuous activity when festivities were not planned.

The square, especially when studied over time, provides an accurate representation of the city’s distinct identity. The buildings around the square were specifically designed to reflect the style and atmosphere of the city. All of the structures were built to a human scale to make people feel comfortable. Socially, many of the routine and sporadic interactions that occurred on a day-to-day basis were fostered in the square. These opportunities for social engagement made the square appealing and successful. Lewis Mumford, an American philosopher, wrote that “the dialogue [that occurs in these public spaces] is one of the ultimate expressions of life in the city.”4 By understanding the types of business, cultural, and social experiences that ensued in the square, we can gain a better understanding of the importance of the role these spaces played in the European cities.

3. Lennard, Suzanne H. Crowhurst. (2002, September). The European Square Conference Report.

Paper presented at The European Square Conference, Salzburg, Austria.

4. Mumford, Lewis. “The Nature of the Ancient City.” The City in History: its Origins, its Transformations, and Its Prospects. New York: Harcourt, Brace & World, 1961. N. pag. Print.

Figure | 07 National Geographic Place de Vosges, France

Figure | 08 Axel D. Old Town Square, Czech Republic

Figure | 09 Aurelien Schvartz Place Stanislas, France

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THE AMERICAN PUBLIC SPACE When Europeans began to colonize America in the 17th and 18th centuries, they attempted to bring their way of life with them, but the square began to function differently compared to the European counterpart. The early colonial settlements were small, compact communities that were laid out for convenience on a functional grid.

Primarily the setting for public life, the streets were accompanied by the common green, town squares, or public markets. Naturally, these spaces became public meeting grounds that were often fronted by churches and town halls.5 In the 19th century, cities began implementing the landscaped public park. Grading, trees, and shrubbery were used to make the spaces more attractive. However, by that time a new phenomenon was beginning in America: urban sprawl. Partially credited to the accessibility of commuter trains, ferry routes, and automobiles, life in the suburbs was a practical and appealing choice to many city-dwellers who wanted the country lifestyle. 6 The isolated travel and the security of private life that was introduced by the suburbs changed the way of living and the use of public space.

At the beginning of the 20th century, progressive efforts began to combat urban sprawl and make cities more enticing. Health, hygiene, and recreational opportunities were heavily valued reasons for open space, and the accessibility to these spaces was critical to planning concepts at the metropolitan and neighborhood levels.7 Although many cities eventually “privatized” public space, the accessibility to open space concept was eventually revisited by cities desiring to enhance and maintain their public realm.

5. Certeau, Michel De. The Practice of Everyday Life. Trans. Steven Rendall. Berkeley: U of California, 1984. Print.

6. Frumkin, Howard, Lawrence D. Frank, and Richard Jackson. “The Origins of Sprawl.” Urban Sprawl and Public Health: Designing, Planning, and Building for Healthy Communities. Washington, DC: Island, 2004. N. pag. Print.

7. Banerjee, Tridib. “The Future of Public Space: Beyond Invented Streets and Reinvented Places.”

Journal of the American Planning Association 67.1 (2001): 9-24. Web.

Figure | 10 James Kidder Boston Common 1829

Figure | 11 Unknown Boston Common 1920

Figure | 12 Richard F. Ebert Boston Common and Back Bay Skyline

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Loop Chicago Alliance. Placemaking Initiative

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Placemaking Chicago. Projects for Public Spaces

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David Masefield. Sidewalk Cafe Dining in Chicago

Adam Alexander, Choose Chicago. Millenium Park Summer Film Series

PUBLIC REALM The American public space evolved differently than its European counterpart. With the advent of the automobile, cities transitioned to being designed for cars. While this trend was largely reversed in European cities and towns in the 1970s, when cars were excluded from central parts of the city, American public space, though intermittently successful, continued to battle the lack of pedestrian focus.8 Architects, urban planners, and urban designers began to study the complexity of this subject as people and cities struggled to reclaim and maintain public life. Why were some spaces successful while others were avoided? Does the size of the space matter? What do we need from the space? What do we look for?

In order to gain a better understanding of what makes a successful space, we have to understand the larger component: the public realm. According to the dictionary, the public realm is defined as any publicly owned streets, pathways, right of ways, parks, publicly accessible open spaces, and any public and civic buildings and facilities. However, the public realm is more than the just the physical space: the public realm is where life occurs.

Jan Gehl, a Danish architect and urban designer, devoted several books to his study of the public realm and its symbiotic connection to the corresponding city.

He coins the term “life between buildings” in his book of the same name. Life between buildings, he states, “is not merely pedestrian traffic or recreational or social activities. Life between buildings comprises the entire spectrum of activities, which combine to make communal spaces in cities and residential areas meaningful and attractive.”

8. Lennard, Suzanne H. Crowhurst. “Chapter 5: The Public Realm and the Good City.” Livable Cities Observed. Carmel, CA: Gondolier, 1995. N. pag. Print.

9. Gehl, Jan. Life between Buildings: Using Public Space. New York: Van Nostrand Reinhold, 1987. Print.

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Figure | 17 Jan Gehl Types of Activities Graphic representation of the relationship between the quality of outdoor spaces and the rate of occurrence of outdoor activities.

Figure | 18 By the Bus Stop

Richard Hooker

Figure | 19 Seagram Plaza

Fernando De Leon

Figure | 20 Sheap Meadow, Central Park

Guillame Gaudet

TYPES OF PUBLIC ACTIVITIES The types of activities that occur in outdoor spaces vary depending on the physical environment, but these activities also place demands on the physical conditions of the space and influence the design as well. Gehl divides these activities into three categories: necessary activities, optional activities, and social activities.

Necessary activities happen under all conditions, because they are typically compulsory and require participation. These activities include going to work, waiting for a bus, or running errands.

Optional activities occur under favorable conditions, meaning people only participate if they wish to do so and the time and place make it possible and enjoyable.

Examples include taking a walk, watching street performers, or sitting and sunbathing.

Social activities, or resultant activities, completely depend on the activation of the space and the presence of others occupying the space. These activities include greetings, conversations, communal activities, and simply hearing and seeing other people. These activities are spontaneous and often evolve from activities listed as either necessary or optional.

The frequency of optional and resultant activities is a fair indicator of the quality of the space. The better the quality, the more likely optional and resultant activities will occur.9 The types of connections and interactions listed above are important to consider when designing spaces. Although these activities should not dictate the plan of a space, providing the opportunity for these activities to occur can allow the stimulation and inspiration needed to make the public space successful.

9. Gehl, Jan. Life between Buildings: Using Public Space. New York: Van Nostrand Reinhold, 1987. Print.

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URBAN AND SOCIAL THEORY Architects, urban designers, and urban planners typically design spaces for specific uses, but the intended use and actual use are not always the same. The reasons why this occurs can be explained through urban and social theory. However, as the research of urban sociology will prove, there is little coherence in the field. A wide variety of factors differentiate urban sociology between regions and cities, ranging from urban geography (causes of urbanization, the role of the social class, urban transport) to urban politics (intergovernmental relations, urban policies, social movements) and even urban economics (the urbanization process, alternative approaches to locational analysis, the quality of urban life).10 Generally, urban sociology focuses on how the urban experience feels, if and how places acquire distinctive identities, and the spatial structures of cities.10 By researching these areas of interest, we can begin to understand the attraction and pull of certain spaces, why some places function better or differently within the city, and the importance these individual spaces play in the greater public realm.

There are five aspects that have been suggested as being critical qualities of public space: inclusiveness, pleasurability, meaningful activities, safety, and comfort.11 Although this is not a definitive recipe for an appealing space, public spaces that entertain these qualities are provided the foundation for an active, interesting realm of activities that will make the space more desirable.

In addition, spaces must be able to accommodate the full range of user activities.

Architects and planners must provide the basic physical support for these activities, while also emphasizing their expression. This means creating a space that is democratic, responsive, and meaningful.12 Classified as the ideal qualities of a public space, this criteria requires the space to be open, accessible, and inclusive, to be able to change and respond to people’s needs, and be able to provide opportunities for connections and interactions.

10. Harding, Alan, and Talja Blokland-Potters. Urban Theory: A Critical Introduction to Power, Cities and Urbanism in the 21st Century. London: Sage, 2014. Print.

11. Mehta, Vikas. “Evaluating Public Space.� Journal of Urban Design 19.1 (2014): 53-88. Print.

12. Carr, Stephen. Public Space. Cambridge: Cambridge UP, 1992. Print.

Figure | 21 Vikas Mehta Five Dimensions of Public Space

Figure | 22

Arch [Be]Log. Get Out! Enjoy the Sunshine and take in the Views

The Olympic Sculpture Park in Seattle is an example of a space that is democratic, responsive, and meaningful. It is open and accessible to everyone. The movable chairs and open green spaces provide a responsive setting to visitors by allowing them to “define� their own space and move and change the space to fit their needs. The space provides meaning by creating connections between and with people, allowing them to reflect their own interpretations and needs onto the space.

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SPATIAL ANALYSIS &

PLACE-MAKING Kevin Lynch, an urban planner, spent 5 years researching the most important elements of a city as perceived by residents. This fieldwork would help establish how the built environment could be organized into a recognizable pattern, essentially providing the foundation for a mental map of the city. Identifying these characteristics would help architects and planners understand how people navigate, experience, and remember the city. Lynch determined 5 key elements of the urban environment: paths, nodes, landmarks, edges, and districts.13 Paths: channels along which the observer moves Nodes: strategic points within the city that are often the main focal point of travel Landmarks: external features that are a point-reference Edges: physical or perceived barriers that separate regions Districts: medium-to-large sections of the city These five elements all tend to be public spaces, which supports the argument that public spaces are the anchors to our mental maps, affecting how our mental and psychological maps are formed and understood. This framework is dynamic and changes over time, just as people change with experience. This equation implies that people and space, often thought of as autonomous entities, are connected and collaborate with one another.14 These spaces and elements can be studied further from several theoretical angles: as cultural space, symbolic space, representational space, narrative space, and transitional space.15 Defining the actions of the space rather than the physical description can help architects design better connections.

13. Lynch, Kevin. The Image of the City. Cambridge, MA: MIT, 1960. Print.

14. Lewin, K. “Defining the ‘field at a given Time.’” Psychological Review 50.3 (1943): 292-310. Web. 15. Parker, Simon. Urban Theory and the Urban Experience: Encountering the City. London: Routledge, 2004. Print.

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Kevin Lynch. The Visual Form of Los Angeles as Seen in the City

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CULTURAL SPACE A physical or metaphorical space that can have different meanings dependent on the cultural implications associated with the space.

Cultural spaces differ greatly from city to city, depending on how the cultural identity and history of the city is valued. These spaces can range from specific buildings, often museums or historic preservation sites, to monuments and landmarks.

These spaces often incorporate nostalgic associations to enrich the importance of the history of the site or city. This creates a sense of unity among the observers and helps establish the cultural implications of the space in modern-day history.

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Cultural Space

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Figure | 25

Symbolic Space

SYMBOLIC SPACE A space that is used for or regarded as representing something else.

Symbolic space is unique because it is both objectively and subjectively identified. Symbolism can be used to imply meaning to a space and encourage people to notice and explore the connotation of the design. For example, the Freedom trail in Boston symbolically represents Paul Revere’s historic ride through the city in 1775. The simple linear path that navigates Boston street’s embodies much more than meets the eye.

In addition, symbolic space allows people to reflect their own associations and suggestions onto the space, altering its meaning but allowing a personal connection to be formed.

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Figure | 26

Representational Space

REPRESENTATIONAL SPACE The space of inhabitants or users; passively experienced space that the imagination seeks to change.

Representational space is highly subjective space that is influenced by the inhabitant’s mental image of a city. The space is typically passively experienced, which means that the inhabitant is not overly stimulated and the space allows for some projection of personal conceptions or feelings.

This particular space is essential to cities because it emphasizes the importance of the connection between the inhabitant and the design of a space. By understanding what stimulates this connection, architects and urban designers can supply the foundation for this experience.

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Figure | 27

Narrative Space

NARRATIVE SPACE A space that is the setting of different personal stories in which diverse moments and events occur.

Narrative space is where a wide variety of activities can occur. This public space is the location of a different story for each individual inhabitant; the design of the space offers the opportunity for these story lines to collide. The resulting interactions are what constitute the experiences that effect the way the city is perceived, represented, and remembered.

Narrative space often has the most design potential because of stimulation required to enhance the individual narratives.

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TRANSITIONAL SPACE A space that is relating to or a characteristic of a process or period of transition.

Transitional space is perhaps the most common and widely used space in cities. These channels are constituted of sidewalks, streets, subways, and other transit corridors that support the movement of people.

This type of space can easily be overlooked when addressing design potential, but this transitional spaces supply the framework that holds the city together. Thresholds, circulation, and connectivity are all important factors that impact the experiences and narratives of the city.

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Transitional Space

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EXPERIENCE AND NARRATIVE EXPERIENCE Experiences are temporal units, defined as an instance of encountering all that is perceived, understood, and remembered. These moments affect individuals and the way they interpret their surroundings. These experiences change people; therefore, people change cities. The city is in constant flux, morphing and adapting to its inhabitants over time.

Well-designed spaces offer opportunities for experiences and are constantly changing and adjusting to its context. As Jan Gehl says in his book, “Living cities, therefore, ones in which people can interact with one another, are always stimulating because they are rich in experiences, in contrast to lifeless cities, which can scarcely avoid being poor in experiences and thus dull...�

In order for a city to be successful, spaces have to be designed for these experiences to occur. There is not a formula for the design of a space; it has to consider the user and the greater context in order for successful connections to happen.

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Z. City LIghts

An interpretation of a temporal moment that can be defined as an experience.

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Figure | 30 Bogdan Floridana Oana Abstract CIty.

NARRATIVE Every city and every individual has a narrative, and these narratives continually collide within the public realm.

The narrative, made up of experiences, is comprised of two parts: the movement and the moments.

Moments are instants, periods, or junctions of events that deal with a specific action or memory. The movement of the narrative connects the moments and weaves them into a cohesive journey that connects the individuals and spaces within the city.

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Figure | 31

REGIONAL EXPLORATION I began my exploration by studying cities in regional clusters. Through traveling and research, it was apparent that cities within regions shared unique qualities that allowed the clusters to develop a distinct regional identity. By analyzing the types of public spaces and understanding the hierarchy within each cluster, I was able to pinpoint specific characteristics and qualities. The goal of this investigation was to be able to understand the broader context in order to truly be able to design for the individual city at a detailed scale.

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Figure | 32

NORTHEAST: BOSTON, NEW YORK, PHILADELPHIA The Northeast is a diverse region. The cities were built in the beginning of American history, many of the structures still stand, and most of the street grids have not been altered. The historic fabric has been woven into the newer, denser, and more modern development occurring within the urban context. Public spaces are cherished and come in wide varieties like parks and plazas, both programmed and unprogrammed. The cities, for the most part, are built to the human scale and are walkable and bikeable, emphasizing the importance of movement in all forms.

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Figure | 33 Patrice Todisco Boston Common

Figure | 34 N. Fierer Central Park Meadow

Figure | 35 Ted Eubanks Fairmount Park, Philadelphia Water Works

Figure | 36 Boston Geology Faneuil Hall/Quincy Market, Boston

Figure | 37 Michael F. Paley Park

Figure | 38 Arbor Day Foundation Rittenhouse Square

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Figure | 39

SOUTHEAST: CHARLESTON, SAVANNAH, ST. AUGUSTINE The southeast is rich in cultural heritage. Many of the cities cherish their history and pay homage to their roots through the simplicity of their lifestyle. When the cities were founded, a strict street grid was laid out, and the businesses, houses, and amenities wrapped around the parks and plazas that were used to connect the community. An intimate human scale was established and maintained, giving priority to the pedestrian and the connectivity possibilities available.

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Figure | 40 Visitor’s Bureau Visit Charleston

Figure | 41 Linda U. Factor’s Walk

Figure | 42 R. Heinrich Castillo de san Marcos

Figure | 43 Kaleb C. Trees Leading to the Harbor at Waterfront Park

Figure | 44 Forrest Gump A Scene from Forrest Gump in Johnston Square

Figure | 45 Staff St. George Inn

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Figure | 46

NORTHWEST:

VANCOUVER, SEATTLE, PORTLAND The Pacific Northwest is a unique region because much of its development happened in the latter part of American history. These cities tend to be more progressive with their designs, in both architectural and urban aspects, and there is an emphasis placed on the human scale. There are many local gathering spaces, many of them smaller and more intimate in nature. Places of retreat are tucked in between buildings and along the street. Walking is emphasized and rewarded through gateway moments that only the pedestrian could stumble across.

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Figure | 47 Joseph J. Stanley Park

Figure | 48 Staff, Beautiful Washington Pike Place Market

Figure | 49 Travel Portland Director Park

Figure | 50 Jay Banks Vancouver Downtown

Figure | 51 Author View from the Space Needle

Figure | 52 David Grant Downtown Portland

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Figure | 53

THE CITIES After analyzing the clusters of city, I decided to choose 3 cities that I would investigate further in order to study the small-scale details that define each city. I was able to identify valuable characteristics at the regional scale that would set the premise for the analysis of the individual cities. This jump in scale was a very important connection to be made because it emphasized the importance of the two fields of architecture and urban design cohesively being stitched together. This connection would help identify how we can design spaces or interventions that enhance, not detract from, the public realm, and how those spaces can be monogamous to the city and the users.

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Figure | 54

B O S T O N, M A S S A C H U S E T T S My analysis of Boston began with the abstract representation of the narrative of the city. This model, nested in the historic street grid of Boston, embodies the journey that the critical tourist would experience as they traversed through the variety of public spaces, notably transitional and cultural spaces that exemplify the rich history and growth of Boston.

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Figure | 55

Following my city-scale analysis, I felt it would be beneficial to explore the city at the street level. This would emphasize the focus on the human scale, rather than looking at spaces from plan-view. This section cut would take that abstract exploration and begin to show the variety of spaces that the critical tourist or resident would experience when traveling through the city.

The best way to do this was by taking a section cut through a successful public space. Boston Common has been a key anchor to the city since its conception in 1634, making it the oldest city park in the United States.

As the city grew, development around Boston Common was key. Ranging from residential-mixed use on one side to commercial on the other, Boston Common was home to a wide variety of people and uses. It was the ideal threshold, acting as an agglomeration of the 5 types of spaces.

How can we design a space that catalyzes off of the energy produced by Boston Common? The new public space needs to emphasize and enrich the public realm and not detract from the public sphere.

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This map identifies all of the potential sites for a new public space or intervention around the catalyst area.

The site I chose was an under-utilized alley that led to the Granary Cemetery, a stop along the Freedom Trail. In this cemetery, important patriots such as Samuel Adams were laid to rest. The historic relevance of this site is extensive.

The cemetery has only 2 entrances, with the alley being one of them.

Because it was such a unique space, I felt that it had the potential to be activated to emphasize the importance of the procession.

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The alley is 30 feet wide and 150 feet long. Normally treated as a transitional space that moves people in and out, I wanted to create moments of pause and contemplation to juxtapose the consistent movement of the users.

The structure of the ceiling cuts an angle through the alley and extends into the street to draw people in. 4 glass panels hang from the ceiling structure at consistent distances. At each of these moments, the ground steps down, requiring the user to actively engage with the groundscape. Underneath the glass panels, slits are cut into the stone, allowing rain water to catch and forming a thin reflection pool.

The angle of the ceiling creates two spaces, both growing or shrinking depending on the direction of travel. This design encourages people to freely move and experience moments of pause and movement.

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Figure | 66

S A V A N N A H, G E O R G I A This abstract analysis of Savannah emphasized the strict grid system that the city was founded on. Traversing through Savannah is a very linear experience, with streets intersecting at precise intervals and designated public space spread evenly across the grid. However linear, each street has different characteristics that enlighten the inhabitant as they explore. The grid pulls the inhabitant toward the river, encouraging that connection to be made.

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Figure | 67

One of the most unique characteristics about Savannah is the square.

The city is designed so the inhabitant regularly encounters these pockets of public space and can enjoy the greenery, the trees, and the variety of activities.

Ellis Square was one of the four original squares laid out in 1733. The square went through several program changes during the course of its lifetime. Originally home to four market houses, it was also used as a slave market prior to the Civil War. In the 1950s the market structure was torn down to build a parking garage. It wasn’t until 2004, when the city reclaimed the square, that it was restored as public space.

Ellis square is one of the northernmost squares and is also one of the last the inhabitant will encounter before reaching the river. This square also provides a threshold in the sectional narrative of the city, as the journey transitions from the strategic planning of the grid down the slope toward the river.

This section emphasizes the processional journey to the river. The cultural and symbolic experiences encountered along the way need a space to culminate and celebrate Savannah’s journey as a river city.

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This map identifies all of the potential sites for a new public space or intervention around the catalyst area.

The site I chose was an empty lot next to a factory along the river. River Street, the road that runs along the river, is a very popular destination for tourists and residents. The river walk is peaceful and enjoyable, but there is no opportunity for interaction with the river.

As previously mentioned, the entire grid system of Savannah forms a processional journey toward the river. Once the inhabitant reaches the water, there should not be a barrier. The proposed program will redefine this edge condition.

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The site is nearly 300 feet long and 50 feet wide. It made sense to make the site primarily a park space in order to add greenery and trees along the riverwalk, and make the space feel like an extension of the public square.

In order to contrast with the linear nature of Savannah’s streets, the “grid” on the site shifts at a 35° angle, providing a stark juxtaposition. The ground is cut away at these grid lines, and river water fills the slits.

A shallow wading pool allows the river to permeate the edge. The riverwalk that extends out into the river is accessible at multiple points to avoid creating a hard barrier.

Interactive urban walls slide out of the ground along the new grid lines, allowing the creation of more intimate spaces to occur in this open park setting.

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Figure | 78

S E A T T L E, W A S H I N G T O N The abstract analysis of Seattle was slightly more interpretive than the other cities. Seattle had the greatest diversity of public spaces. Ranging in scale from a couple square feet to acres, much of the public realm was concocted through impromptu moments and relied heavily on the users of the space to create the use and interpretation of the space.

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Figure | 79

Pioneer Square is a small triangular plaza originally known as Pioneer Place. It was once the heart of the city, after Seattle’s founders settled there in 1852. It is the only place in the city that pays homage to Chief Si’ahl, after whom the city is named.

Although the Pioneer Square neighborhood completely burned in the Great Seattle Fire in 1889, by 1890 construction was already beginning in its stead. The city was regraded at the time, so the new buildings had two entrances, at the low level and the new, higher level. The Seattle Underground Tour, located next to the plaza, shows what remains of the old storefronts.

Pioneer square, although very small, is nestled next to a busy intersection, providing constant through-traffic. The square is very shady with lots of trees, and is surrounded by mixed-use storefronts on all three sides.

This section cut shows the variety of spaces the inhabitant would encounter when traveling through the city, from the harbor to city hall. Many of Seattle’s streets are built on steep slopes, providing the opportunity for vertical exploration in many of the areas.

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This map identifies all of the potential sites for a new public space or intervention around the catalyst area.

The site I chose was an empty lot a couple of blocks east from Pioneer Square, across from City Hall. It was rare to see an entire block completely undeveloped in an area that had a rich context.

I thought it would be interesting to explore how to design and build a space that has to meet the many requirements of the different users in the area. The constraints proposed by the site could create a unique challenge to design a space that would enrich the public realm.

Figure | 80

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Figure | 81

Figure | 82

The city block is 225 feet by 225 feet. There was a 19° slope along the north and south borders and a 21° slope along the eastern edge. Although challenging, this slope provided a unique opportunity to play with the groundscape and incorporate vertical elements to pay homage to the history of the Underground.

Because of the location and size, the site was conducive for a larger scale building.

Although the program of the whole building was not the focus, it was important to integrate an opportunity for public space. Many of the parks and open spaces in this area are smaller, creating the need for a larger space.

The site would have fluctuating ground planes, allowing the inhabitant to enter the building at multiple levels and providing a variety of spaces. The walls along the site would be interactive and movable, permitting people to take temporary ownership of the space and create a place that reflects their needs.

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Figure | 85

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Figure | 88

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Figure | 89

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Figure | 90

POST-SCRIPT Through this thesis exploration, I learned how important public spaces are to cities, and how much effect the public realm has on the success of our built environment.

It is hard to “create� a public realm; there are many factors and conditions that can change how the space is perceived, represented, and remembered.

However, understanding these necessities can give designs a foundation to build on.

This thesis looked at three cities with extensive narratives and enriched public realms. It is important to understand how to design within the constraints formed by these conditions. These cities require a delicate balance when designing new spaces or interventions; it is necessary to emphasize the assets of the public realm and not detract from the energy of the narrative.

Moving forward, I plan to look at how we can design these types of networking spaces in cities that either do not have a public realm, or very little of it.

These are the cities that need help from designers who understand the core building blocks required to design successful urban spaces.

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LIST OF FIGURES 01 |“Seattle Waterfront” 02 |“New City” by Dorothy Dehner

Inside Cover 10

http://www.moma.org/collection/works/140488?locale=en

03 |“Palmyra” by Bernard Gagnon

12

https://commons.wikimedia.org/wiki/File:Palmyra_03.jpg

04 |“Painting of the Bazaar at Athens” by Edward Dodwell

12

http://eng.travelogues.gr/collection.php?view=315

05 |“Plan of the City of Ur” by James Breasted

12

http://www.bibleorigins.net/UrofChaldeesurfaurie.html

06 |“View of the Roman Forum” by Panini

12

http://art.thewalters.org/detail/24230/view-of-the-roman-forum/

07 |“Place de Vosges, France” by National Geographic

15

http://www.europeish.com/25-amazingly-stunning-european-squares/

08 |“Old Town Square, Czech Republic” by Axel D.

15

http://www.europeish.com/25-amazingly-stunning-european-squares/

09 |“Places Stanislas, France” by Aurelien Schwartz

15

http://www.europeish.com/25-amazingly-stunning-european-squares/

10 |“Boston Common 1829” by James Kidder

17

https://www.digitalcommonwealth.org/search/commonwealth:c821gs31f

11 |“Boston Common 1920” by Unknown

17

http://www.shorpy.com/files/images/SHORPY-141010-0001.preview.jpg

12 |“Boston Common and Backbay Skyline” by Richard F. Ebert

17

http://encircleworldphotos.photoshelter.com/image/I0000tU6kogGtPjU

13 |“Placemaking Initiative” by Loop Chicago Alliance

18

http://loopchicago.com/blog/loop-placemaking-initiative-announced-at-chicago-loop-alliances-2014-annual-meeting

14 |“Projects for Public Spaces” by Placemaking Chicago

18

http://www.placemakingchicago.com/places/why.asp

15 |“Sidewalk Cafe Dining in Chicago” by David Masefield

18

http://the-weather-in.com/chicago/

16 |“Millenium Park Summer Film Series” by Adam Alexander, Choose Chicago

18

http://www.choosechicago.com/event/Millennium-Park-Summer-Film-Series/22238/

17 |“Types of Activities” by Jan Gehl

20

http://www.pps.org/reference/jgehl/

18 |“By the Bus Stop” by Richard Hooker

20

http://rzhooker.com/busstop/about

19 |“Seagram Plaza” by Fernando de Leon

20

http://www.onefootinberlin.com/2012/07/van-der-rohe-in-berlin-and-new-york.html

20 |“Sheap Meadow, Central Park” by Guillame Gaudet

20

http://guillaumegaudet.photoshelter.com/image/I0000WG0t05AgISs

21 |“Five Dimensions of Public Space” by Vikas Mehta www.lib.usf.edu

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22 |“Get Out! Enjoy the Sunshine and Take in the Views!” by Arch [Be]Log

23

http://uwarch-belog.com/index.php/2012/07/tonight-get-out-summer-at-sam/

23 |“The Visual Form of Los Angeles as Seen in the City” by Kevin Lynch

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http://architectureandurbanism.blogspot.com/2011/01/kevin-lynch-image-of-city-1960.html

24 |Cultural Space

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25 |Symbolic Space

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26 |Representational Space

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27 |Narrative Space

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28 |Transitional Space

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29 |“City Lights” by Z

37

http://zy0rg.deviantart.com/art/City-Lights-370438065

30 |“Abstract City” by Bogdan Floridana Oana

38-39

http://fineartamerica.com/featured/abstract-city-bogdan-floridana-oana.html

31 |“View of Downtown Portland”

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32 |“Northeast”

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33 |“Boston Common” by Patrice Todisco

44

https://landscapenotes.com/2012/06/03/boston-common/

34 |“Central Park Meadow” by N. Fierer

44

http://www.amnh.org/explore/news-blogs/news-posts/microbiome-monday-the-microbiome-of-central-park/

35 |“Fairmount Park, Philadelphia” by Ted Eubanks

44

http://www.fermatainc.com/?p=652

36 |“Faneuil Hall/Quincy Market, Boston” by Boston Geology

45

http://bostongeology.com/boston/casestudies/waterfront/waterfront.htm

37 |“Paley Park” by Michael F.

45

http://nycitytourist.com/five-of-the-best-pocket-parks-in-nyc-manhattan/

38 |“Rittenhouse Square” by Arbor Day Foundation

45

http://actrees.org/news/trees-in-the-news/newsroom/preparing-phillys-trees-to-meet-climate-change/

39 |“Southeast”

46-47

40 |“Visit Charleston” by Visitor’s Bureau

48

http://www.charlestoncvb.com/beaches/visit-charleston/

41 |“Factor’s Walk” by Linda U.

48

http://www.charlestoncvb.com/beaches/visit-charleston/

42 |“Castillo de San Marcos” by R. Heinrich

48

43 |“Trees leading to the Harbor at Waterfront Park” by Kaleb C.

49

44 |“A Scene from Forrest Gump in Johnston Square” by Forrest Gump [1994]

49

http://www.sellinghistoricstaugustine.com/

http://www.city-data.com/picfilesc/picc26430.php

http://www.savannahtheatre.com/forrest-gump-bus-stop-bench/

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45 |“St. George Inn” by Staff at St. George Inn http://augustine.com/place-to-stay/st-george-inn

46 |“Northwest”

49 50-51

47 |“Stanley Park” by Joseph J.

52

48 |“Pike Place Market” by Staff at Beautiful Washington

52

49 |“Director Park” by Travel Portland

52

50 |“Vancouver Downtown” by Jay Banks

53

51 |“View from the Space Needle”

53

52 |“Downtown Portland” by David Grant

53

http://joeandjulie.modwedding.com/site/pages/54725 http://www.beautifulwashington.com/king-county/markets/seattle/138-pike-place-market.html http://www.10best.com/destinations/oregon/portland/attractions/parks/ http://jaybanks.ca/photos/vancouver-bc/downtown/page/3/

https://www.flickr.com/photos/fusionpanda/284254012

53 |“Boston Waterfront” 54 |“Boston Abstract Narrative”

54-55 56

55 |“Boston Section Drawing”

58-59

56 |“Map of Boston and Studied Sites”

60-61

57 |“Boston Parti Concept”

62

58 |“Boston Parti Model”

63

59 |“Final Site Model: Boston”

64

60 |“Final Site Model: Boston: View 1”

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61 |“Final Site Model: Boston: View 2”

65

62 |“Section Model: Boston: View 1”

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63 |“Section Model: Boston: View 2”

66

64 |“Section Model: Boston”

67

65 |“Boston: Perspective Sketch”

68-69

66 |“Savannah Abstract Narrative”

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67 |“Savannah Section Drawing”

72-73

68 |“Map of Savannah and Studied Sites”

74-75

69 |“Savannah Parti Concept”

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70 |“Savannah Parti Model”

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71 |“Final Site Model: Savannah”

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72 |“Final Site Model: Savannah: View 1”

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73 |“Final Site Model: Savannah: View 2”

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74 |“Section Model: Savannah: View 1”

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75 |“Section Model: Savannah: View 2”

80

76 |“Section Model: Savannah”

81

77 |“Savannah: Perspective Sketch”

82-83

78 |“Seattle Abstract Narrative”

84

79 |“Seattle Section Drawing”

86-87

80 |“Map of Seattle and Studied Sites”

88-89

81 |“Seattle Parti Concept”

90

82 |“Seattle Parti Model”

91

83 |“Final Site Model: Seattle”

92

84 |“Final Site Model: Seattle: View 1”

93

85 |“Final Site Model: Seattle: View 2”

93

86 |“Section Model: Seattle: View 1”

94

87 |“Section Model: Seattle: View 2”

94

88 |“Section Model: Seattle”

95

89 |“Seattle: Perspective Sketch”

96-97

90 |“Savannah Riverwalk”

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WORKS CITED 01 | Department of Ancient Near Eastern Art. “Art of the First Cities in the Third Millennium B.C.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–.

02 | Reclus, Elisee. “The Evolution of Cities.” The Contemporary Review v. 67 (1895): n. pag. Isbister and Company Ltd. 03 | Lennard, Suzanne H. Crowhurst. (2002, September). The European Square Conference Report.

Paper presented at The European Square Conference, Salzburg, Austria.

04 | Mumford, Lewis. “The Nature of the Ancient City.” The City in History: its Origins, its Transformations, and Its Prospects. New York: Harcourt, Brace & World, 1961. N. pag. Print.

05 | Certeau, Michel De. The Practice of Everyday Life. Trans. Steven Rendall. Berkeley: U of California, 1984. Print.

06 | Frumkin, Howard, Lawrence D. Frank, and Richard Jackson. “The Origins of Sprawl.” Urban Sprawl and Public Health: Designing, Planning, and Building for Healthy Communities. Washington, DC: Island, 2004. N. pag. Print.

07 | Banerjee, Tridib. “The Future of Public Space: Beyond Invented Streets and Reinvented Places.”

Journal of the American Planning Association 67.1 (2001): 9-24. Web. 08 | Lennard, Suzanne H. Crowhurst. “Chapter 5: The Public Realm and the Good City.” Livable Cities Observed. Carmel, CA: Gondolier, 1995. N. pag. Print.

09 | Gehl, Jan. Life between Buildings: Using Public Space. New York: Van Nostrand Reinhold, 1987. Print.

10 | Harding, Alan, and Talja Blokland-Potters. Urban Theory: A Critical Introduction to Power, Cities and Urbanism in the 21st Century. London: Sage, 2014. Print.

11 | Mehta, Vikas. “Evaluating Public Space.” Journal of Urban Design 19.1 (2014): 53-88. Print.

12 | Carr, Stephen. Public Space. Cambridge: Cambridge UP, 1992. Print.

13 | Lynch, Kevin. The Image of the City. Cambridge, MA: MIT, 1960. Print.

14 | Lewin, K. “Defining the ‘field at a given Time.’” Psychological Review 50.3 (1943): 292-310. Web. 15 | Parker, Simon. Urban Theory and the Urban Experience: Encountering the City. London: Routledge, 2004. Print.

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