NEKC: Designs in Ethical Social Interactions by jfraz31

NEKC

Designs in Ethical Social Interaction

Volume 02

Professor

Wendy Ornelas, FAIA

Authors

Marilina Bedros Rayan Cheikh Samantha Davies Jaasiel Duarte-Terrazas Jacob Frazier Nataani Garnenez Tianyi Li Alan Lovekamp Katlyn N. M. Lovekamp Erin Murphy Vatsal Patel Garrett Scott Yajie Zhao

Book Editors Jacob Frazier Marilina Bedros

Designs in Ethical Social Interaction

NE KC III

None of us would ever imagine the circumstances we found ourselves in during the course of this bookâ&#x20AC;&#x2122;s creation. It goes without saying, but the world took many strange turns and asked us to adapt rather quickly to changing circumstances. Yet, as will be demonstrated within these pages, we prevailed. In a moment of humility, we again affirm to our belief that architecture matters, and it will help us in these times of uncertainty move forward and be stewards of better environments for us all. We would like to thank those without whom this book would not be possible: To Bob Carlson, Laura Beth Cochran, Brian Murch, Scott Pashia, Andrew Rash, and the rest of DLR Group Overland Park, whose continued support of our endeavors is emblematic of their passion for design. To DLR Group Seattle, for welcoming us into their home and demonstrating to us the power of a socially conscious architecture. To the many professionals, scholars, and practitioners who gave up their time to help us along the way. To Mikayla Sharpless, for her acute knowledge of the English language; for her patience and thoughtful criticism of our written work. To Maxine Ganske, for her endless supply of positivity and support; for her continued advocation of the treasures found in books. To Wendy Ornelas, who guided us along uncertain times, for her endless supply of wisdom. Without a good teacher, a studentâ&#x20AC;&#x2122;s potential can be overlooked but it was Wendy that believed in us. Of the many things this book represents, it may above all be a testament to her love of architecture and her students. And finally, to our peers and our families, who accompanied us along this journey.

Dedication

TABLE OF CONTENTS

PREFACE Dedication Foreword Studio Manifesto The Remote Classroom Design Proposals

V VIII XI XII XVI

PROJECT PROPOSALS The Forgotten Mother by Alan Lovekamp Nourish House by Garrett Scott Speak Up by Erin Murphy Empower by Vatsal Patel Cultural Harmony by Marilina Bedros Ambiguityâ&#x20AC;&#x2122;s Place by Jaasiel Duarte-Terrazas Regenerative Cultivation Center by Jacob Frazier Hardesty Revival by Yajie Zhao Lykins Youth Academy by Nataani Garnenez Symbiosis by Rayan Cheikh Building the Craftsman by Samantha Davies Create and Gather by Tianyi Li Agency for the Homeless by Katlyn N.M. Lovekamp

1 29 53 79 105 133 157 181 205 207 235 259 285

APPENDIX Endnotes

313

T.O.C.

VII

FOREWORD thesis [thee-sis] noun, plural the·ses [thee-seez] /˙Øi siz/. 1. a proposition stated or put forward for consideration, especially one to be discussed and proved or to be maintained against objections. 2. a subject for a composition or essay. 3. a dissertation on a particular subject in which one has done original research, as one presented by a candidate for a diploma or degree. 1

Who would have thought the Spring 2020 semester would have had a trajectory as incredible as the one in which we found ourselves? We began the semester with two extraordinary events (both sponsored by the DLR Group)–the first was a field trip to Seattle; the second was a sketching and watercolor workshop, given by a colleague from Oklahoma State University, Professor Moh’d Bilbeisi. It was to be a semester to learn a few new things, weave practice into the education process, and pull together all of the various subjects that have been a part of the past five years to bring clarity to every student’s academic career, culminating in a design proposition. Additionally, each was to become a virtuoso in the focus of their thesis. Since the impetus of our studio this academic year was one which was to have a political or social impact on the citizens of the Northeast neighborhoods of Kansas City (NEKC), we naturally thought we would be able to visit the area numerous times immersing ourselves in the nuances of the place. The studio was successful in focusing their efforts to understand NEKC through the first seven and a half weeks with in-person research–visiting their individual sites numerous times; holding a forum with community members at the Chamber of Commerce; and engagements with experts associated with their project proposals. The remaining nine and a half weeks were spent in seclusion, many in the studio were totally isolated, because of the COVID-19 pandemic. Their success, during a constantly changing environment, was in large part due to the passion they held for their design proposition. The studio began last Fall semester with no brief or program for the specifics of the student’s thesis design proposition. Only an intention defining the direction of our work. The studio brought together some compelling and heart-wrenching research. We were all dedicated to the passion and rigor of our positions, as well as in the conviction of the stories every student developed. Each was determined to offer humane propositions, with a clear resolve on serving the neighborhood with the design intent of their individual proposals. Through successfully integrating new information, analyzing data, exploring compelling design propositions, and finally reflecting upon their processes and solutions these master’s students iterated, reflected, and represented–in a written, graphic and verbal manner a culminating design proposal. To ensure a more realistic aspect of each of the student’s theses, we engaged various consultants at numerous times across the semester: from members of the community through a forum at the NEKC Chamber of Commerce (in-person); to architectural, engineering, landscape architecture and agricultural engineering faculty (via ZOOM); architectural, electrical, mechanical, structural, landscape and planning consultants from the DLR Group (pre-Spring Break in-person; post Spring Break via ZOOM or email); and numerous professionals from across the region and country with specific knowledge to each individual student’s programmatic intentions (pre-Spring Break in-person; post Spring Break via ZOOM or email). Most of the interactions were based on our passion for increasing our knowledge of the people we were designing for as well as to be as authentic and appropriate to the community as we could. In having command over the site and the programmatic framework, we all gained a deeper, more personal understanding of what VIII

it meant to build in this Midwestern city through forward-thinking, innovative, and aspirational notions of architecture. Within this book, you will find a wide range of design propositions: spaces to celebrate the rich diversity of the various cultures within the community; proposals to regenerate a brownfield from a former federal complex into vertical farms and/or community gardens; after-school interventions for youth to empower themselves by learning to find their voice or to create works of art or music; skills-based programs to learn from the elders of the community; a place to be for the homeless or single mothers; a child-care facility to nourish the body and mind; places addressing issues of food insecurity; a bazaar to barter or share culturally imbued food or goods; or places for members of the community to build a stronger sense of involvement within their neighborhood of the city. We balanced inventiveness with strategic thinking; risk-taking with design; systems with economics. Our initial assumptions were challenged rather than blindly following pre-conceived notions. The aspiring architects in this studio studied the issues; critically assessed them; and then developed a strategy of what to do with the information. We made intellectual arguments and then assembled them through inquiry, discovery, writing, speaking, diagrams, drawings and images. The ability to clearly and concisely tell the story of their design proposition was critical, as was making a case through iteration, reflection, and representation. These young professionals understood that everything helped them express the narrative of their work. We became more nimble in our thinking, more provocative as designers, and more thoughtful in our design propositions. Every one of them was passionate about their work and able to clearly communicate that passion to others. Each student’s design proposal was beautiful and realistic. We infused our work with a critically regional form that had a sense of humanism, appropriate materials and filled with authenticity. By the end of the semester each was a master of her or his program, the urban area, the building’s assemblies, environmental, and structural systems as well as the formal, spatial, and poetic notions of their project. We had thirteen compelling and thoughtful thesis proposals. All of us are amazed in how comprehensive and beautiful they are considering the disarray of the semester. I am proud of each and every student in this studio. They succeeded in their goals to have the finest project they had ever done. Everyone in the studio collaborated, supported, encouraged, challenged, and pushed one another. We were all in this together. We had to be. Without everyone’s support, none of us could have completed the semester with such strength and resolve. Every design was done with purpose and heart; empathy and experience and the culminating projects could not have been designed to this level without our yearlong team of critics – Bob Condia, FAIA; Brooke Craig, AIA; Matt McCord, AIA; and Annie Robinson, IIDA along with the studio support that came from DLR Group, in Overland Park in particular Bob Carlson, AIA; Laura Beth Cochran, AIA; Brian Murch, AIA; and Scott Pashia, AIA. The final products of this adventure are our attempt to grapple with compelling social and political issues that are relevant today. I hope you find them as critical, rigorous and beautiful as we do. Wendy Ornelas, FAIA Manhattan, Kansas

Merriam-Webster.com Dictionary, s.v. “thesis,” accessed May, 2020, https://www.merriam-webster.com/dictionary/thesis. IX

Studio

STUDIO MANIFESTO This task is not one we approach casually It is daunting, complex, and without end We have chosen to generate for society such essential things as unity, identity, nourishment, and empowerment We did not choose the path of least resistance The prestige; the success; the wealth Should be deferential to the service of others Propelled by the steadfast belief that our hands are capable of molding space into art Not ego, but unflinching empathy Our work is an Architecture of Unity To highlight our similarities in the face of division and prejudice And to congregate around the recognition of that which brings us together Our work is an Architecture of Identity To create a physical manifestation of cultural richness And to design deftly for individuals as endlessly unique as oneself Our work is an Architecture of Nourishment To sustain health, in both spirit and body And to provide stability, in both structure and prosperity Our work is an Architecture of Empowerment To give agency to those whom others choose to overlook And to build optimism out of seemingly inadequate materials However, these intrinsic rights are not the output of our own making They are our building materials, existent in abundance What is needed is simply a Place Space that has been conscientiously shaped to cultivate the goodness of its inhabitants We strive to be visionaries, but our task is not to manifest a world weâ&#x20AC;&#x2122;ve envisioned No matter how idyllic it may be Instead, we are called to improve and progress the world in which we are already living This ethical intervention is an Architecture of Change Figure 0.01:

[Left] Studio members with their beloved professor Wendy. Manifesto

THE REMOTE CLASSROOM 0.02

0.04

0.05

Marilina Bedros

Samantha Davies

Jaasiel Duarte-Terrazas

Transitioning to virtual classes was very challenging but it taught me the value of human interactions, our built environments, and how essential they are.

Transitioning from studio to zoom was difficult to adjust to because of the resources and contact with the studio. After time we learned to stay connected and getting back into the groove became easier and more enjoyable given the change of setting.

As I reflect back on my time in quarantine, I find that it actually turned out to be a pleasant experience alongside some of my closest friends. We survived and produced our best work yet!

0.03

Rayan Cheikh Having spent the last three years virtually connecting with my family in Lebanon, I thought Iâ&#x20AC;&#x2122;d be an expert harnessing this shift. However, when push came to shove, I realized I was only able to survive these years of being abroad thanks to the second home that the studio gave me in reality.

XII

Studio

0.06

0.07

0.08

Jacob Frazier

Nataani Garnenez

Tianyi Li

With the onset of the coronavirus pandemic, my work process was turned on its head. The ability to motivate myself and work through adversity are lessons taken from this experience, but I will forever miss spending more time with my colleagues and studio-mates.

You don’t realize how important it is to be surrounded by the ambient sounds of your best friend’s clicking mice, crunching trace paper, or screams of frustration until you’re left alone with the quiet hum of your apartment’s refrigerator.

Change from studio face to face to online zoom call is a double-edged sword. In one way, it saves time to get up and be prepared for a normal class and provide convenience when you need to talk to someone just for a short period of time. However, working from home is hard for me because I needed to adapt to my house that is not only for rest and leisure anymore, but also to work and to finish your regular task on time.

The Remote Classroom

XIII

0.09

0.10

0.11

Alan Lovekamp

Katlyn Lovekamp

Erin Murphy

The success of this studio through a changing landscape and embracing of zoom has shown the resiliency of each individual and the resolve of the group. Despite a convenient scapegoat for relaxed work, everyone continued to produce and push our projects to become the best they could be.

When we all left for Spring Break, no one expected that to be our last goodbye. Every day from then on was ever changing and eventually it became the new normal. I missed working in studio, but I’m glad we were still able to Zoom often!

This is certainly not how any of us envisioned the end of our academic careers. The prospect of graduating after five years in the Architecture program was surreal to begin with, but working remotely has left these last few months feeling incomplete. Still, this transition has been a testament to our resilience and the dedication we have to our education and to each other. I’m so proud of what we’ve all accomplished— cheers to the end of an era with a truly amazing group of people!

XIV

Studio

0.12

0.13

0.14

Vatsal Patel

Garrett Scott

Yajie Zhao

What we gained in time and ease of zooming our professor and friends, we lost in humane and meaningful interactions. Suddenly the idea of dystopian future that was always distant and fictional became all too real.

There are few things we could have predicted more jarring than a pandemic to our last year in school. Maybe there are no things. But we rallied anyway, persisting and sometimes trudging to the end, confident in the support of our peers, the wisdom of our professor, and hopeful for a future of adventure in a sea of uncertainty. I canâ&#x20AC;&#x2122;t help but beam with pride at the wonderful things my classmates accomplished in spite of it all and express gratitude for being a part of it.

What a privilege it was to work in the same room with all my talented and beloved friends. Even just listening to the funny noises they made.

The Remote Classroom

DESIGN PROPOSALS

XVI

Studio

Figure 0.15:

[Full Spread] Collage of the entire studioâ&#x20AC;&#x2122;s work. Design Proposals

XVII

Alan Lovekamp

THE FORGOTTEN MOTHER Alan Lovekamp Single mothers battle many daily challenges. Not only do they constitute the primary support for their child, they continually face societal stigmas surrounding being unmarried. For single moms within Northeast Kansas City, these factors are amplified by financial stressors and instability. Combined, these issues pose a threat to the social connectivity and emotional well-being of these women. The following project is focused on connecting these mothers and supporting their growth both as an individual and as a group. It is an organization run not by government or religious institution, but by the participants themselves. The result is a group of trust, not dependence â&#x20AC;&#x201C; representing a resource that is available when and where it is needed most. The goal of the proposed program is to employ a social capital framework to foster relationships that are lacking through conventional aid, thereby creating a place for connecting mothers with others that face similar struggles. The resulting interactions will allow single mothers to create deep, reliant bonds with each other, from which they can gain knowledge and support. By reframing traditional methods of social resiliency for single mothers in the Northeast community, The Forgotten Mother can use the strengths of each individual to create a more robust and successful whole.

The Forgotten Mother

Research THE ISSUE

Stress acts as a major challenge for single mothers to overcome daily. Acting as the sole provider of the family, these women must contend with the need to generate income to sustain a level of life for their child. To make ends meet, these mothers can often have multiple job shifts on any given day, causing strain on their family. The need to balance their work and home life becomes even more difficult if they face non-flexible hours. Confronted with both the need to earn money and care for their child, they must rely on childcare in the area â&#x20AC;&#x201C; something that can be particularly hard to find within the Northeast. Ultimately, the conjunction of these stressors can create feelings of anxiety or depression in these mothers. Constantly worrying about money and childcare can become draining, and the continuous feeling that they need to sacrifice their life for that of their child can be deflating.

Figure 01.01:

[Top, Left] Photo of mother working while holding child.

Figure 01.02:

[Top, Right] Photo of children at United Inner City Services within Northeast Kansas City.

Figure 01.03:

[Bottom] Photo of anxious woman. 3

Alan Lovekamp

Social Support These stresses can become magnified and overwhelming with a lack of a social support network. Without a backbone to lean on and learn from, daily challenges become daunting and destructive. As single mothers, these women must face modern prejudice along with unfortunate social trends. The reality is that they often do not have the opportunities to interact with others in their situation, leaving them socially isolated.

Anxiety/Depression Job Retention

Work/Life Balance

LACK OF SOCIAL SUPPORT

Quality Child Care

Financial Support

Unfortunately, women within the Northeast are at a further disadvantage due to their low income. As modern social activities often necessitate financial expenditure, single mothers in these neighborhoods can find it impossible to balance what appears as a social luxury to that of an everyday necessity. The result is a group of individuals who cannot â&#x20AC;&#x2DC;pay their wayâ&#x20AC;&#x2122; out of isolation. Figure 01.04:

[Top] Diagram showing some of the stresses facing single mothers. Magnifying all is the lack of social support for these women.

Figure 01.05:

[Bottom] Graph showing median household income within the Northeast neighborhoods versus Kansas City as a whole.

Median Household Income

Kansas City

$59.3K

Pendleton Heights

$21.2K $23.6K

Independence Plaza

$29.8K

Scarritt Renaissance

$23.9K

Lykins

$33.6K

North Indian Mound

$31.3K

South Indian Mound

The Forgotten Mother

THE SOLUTION

At the core of this proposal is the goal of developing resiliency by connecting these single mothers and supporting their growth. This network is then able to share knowledge, combining each individualâ&#x20AC;&#x2122;s skills. This notion is not new. Not only has it been pointed to as a solution to disaster preparedness1, but also functions within countless Mother Centers internationally. These centers are particularly strong within Germany, where they exist as organizations that foster not only growth through workshops, but also societal change through initiatives.2

CONNECT & SUPPORT

SINGLE MOTHERS

OF NORTHEAST KANSAS CITY

Figure 01.06:

[Bottom, Left] Photo from conference for German Mother Centers.

Figure 01.07:

[Bottom, Right] Photo from an international conference for single mothers. 5

Alan Lovekamp

Likewise, within the overall Kansas City region there are several organizations dedicated to helping single parents. However, due to the sprawled nature of the area, as well as the Northeastâ&#x20AC;&#x2122;s economic isolation, these groups are unable to fulfill a more daily core function. Providing a space meant for everyday use, centered around a neighborhood, enables greater integration for the women within the Northeast neighborhoods.

Community Single Parents Childcare & Counseling

Women Community

Figure 01.08:

Single Mothers

[Bottom, Right] Map showing gradient of resources and concentration of single mothers to western part of Northeast. The Forgotten Mother

THE CONTEXT

With an intended focus on the community directly surrounding the project, placing the site within a neighborhood context became key. This notion manifests at the corner of Prospect Ave & 6th St â&#x20AC;&#x201C; a vacant, open field adjacent to dense residential. This locale also provides access to nearby shops and resources, as well as Kansas Cityâ&#x20AC;&#x2122;s Ride KC bus routes. The combination of these elements provides walkability and mass transit alike. The site itself bridges commercial and residential typologies while providing sections for both public and private functions. The diagram below helps to break down these notions, showing the activity along Prospect Ave and the disjointed corner caused by 6th St. This analysis helps define the orientation and placement of program throughout the process.

6TH STREET

PROSPECT AVENUE

PROPOSED SITE 47,492 sf

7TH STREET

Alan Lovekamp

Figure 01.09:

[Left] Diagram showing site conditions. Sixth Street intersection and surrounding amenities give favor to the corner.

Blue dots reference commercial businesses relevant to mothers. Figure 01.10:

[Right] Map showing resources within a 1/2 mile radius from the site. The Forgotten Mother

Schematic Design THE CONCEPT

As design began, the heart of the concept became centering elements around the place for connecting, with the overall footprint creating a sheltered space within. Iterations focused on opening up the entrance to become more inviting and permeable, while still retaining the sheltered courtyard nature developed earlier in the project. The various programmed spaces became solid elements that are interspersed with the more permeable construction of the connection space. This in part helped break down the overall elements while also creating a difference in the experience of space.

Figure 01.11:

[Top, Left] Early plan sketch relating forms together.

Figure 01.12:

[Bottom, Left] Plan sketch beginning to bridge square and organic forms.

Figure 01.13:

[Top, Right] Schematic collage exploring the relationship of the connecting space with the exterior landscape.

Figure 01.14:

[Bottom, Right] Section looking east showing cut through street, make, and connection spaces.

Alan Lovekamp

The Forgotten Mother

Mid Design SCALE

After the schematic review, the project was re-evaluated to focus on reducing the program to a scale that would be better suited to the neighborhood context. A key precedent throughout this process was the YWCA of the Harbor Area and South Bay in San Pedro, CA. Originally designed by Julia Morgan, the building provides an array of spaces to advance the groupâ&#x20AC;&#x2122;s mission of empowering women. This allows the structure to fulfill the role of a lounge and gathering space as well as a large event space. Spatial qualities in both plan and section retain a tight-knit scale while not infringing on the functionality of the place. The resulting design becomes a home for the community of women who rely on it daily. Additionally, a conversation with the co-founder of Single MOM KC, Misty Honnold, further helped refine the direction of the project. Her insight working with single mothers as the head of her organization lead to many take-aways from our meeting; among them being a focus on the wide age range of children, safety, and general feel. A design notion that stuck through the project was aligning the connection space to that of a coffee shop. The variety of seating types and open/community feel helped further anchor the design moving forward.

Figure 01.15:

[Top, Left] Exterior photo of YWCA in San Pedro, designed by Julia Morgan.

Figure 01.16:

[Bottom, Left] Interior view of lounge at YWCA in San Pedro.

Figure 01.17:

[Right] Section diagram explorations of the various spaces within the project. 11

Alan Lovekamp

Development continued by exploring the spaces through section simultaneously with the plan. These diagrams became a key anchor for the further iteration of form and spatial qualities. Office and infant spaces rely on low slope ceilings to provide a cozy and comfortable environment, while the primary gathering space opens up to allow for both seating and standing. Kid play areas combine both of these qualities to give a dynamic environment for both horizontal and vertical play. The lounge then fits in through the connecting canopy space, distinguishing its importance and informality. Although they differ in character, the various spatial types retain a sense of domestic scale, avoiding the notion of the building as an institution.

Older Kid Play • Young Kid Play - 1620 SF • Teen Area - 815 SF • Restrooms - 110 SF • Storage - 120 SF

Infant Area • Sleeping Space - 310 SF • Activity Space - 440 SF

Community Kitchen • Open Kitchen - 600 SF • Community Pantry - 250 SF • Storage - 130 SF

Counseling/Office • Visiting Counselor Office - 250 SF • Director/Volunteer Office - 310 SF

Gathering/Learning/Creation Space • Multipurpose Space - 1290 SF • Storage - 90 SF

Healing Lounge • Couch Seating

• Group Support • Individual Respite

• Cafe Seating

The Forgotten Mother

VILLAGE OF MOTHERS

Form development after schematic reviews was driven by the concept of a traditional village model. This strategy developed from the idea of single mothers as a community within the Northeast itself, thus the architecture became an exemplifier of the purpose of the place. A desire for informal conversation and encounters further gave credence to developing the project as a congregation of dwelling-scaled structures housing the various programmatic functions. This approach continued a formal move explored before schematic reviews: utilizing programmed spaces as solid elements that shelter the lounge and conversation space. Comparing this project to a village helps show their similarities. As a majority of the programmatic spaces relate architecturally, they become akin to solid â&#x20AC;&#x2DC;dwelling unitsâ&#x20AC;&#x2122; within a town. These structures, in turn, surround the informal village gathering area that is more public along with the community green that provides a place for get-togethers. The healing space marks itself in stark contrast, elevating its significance for the mothers; while traditionally this is religiously linked, here it represents group support.

Figure 01.18:

[Left] Image showing a small village. You can see dwellings, a healing space, and a public green.

Alan Lovekamp

ect

p Pros

Ave

h 6t St

Figure 01.19:

[Right] Diagram showing solid â&#x20AC;&#x2DC;dwelling unitsâ&#x20AC;&#x2122; highlighted. The Forgotten Mother

VILLAGE OF MOTHERS

Figure 01.20:

[Top, Left] Section looking west showing child play area, lounge, and courtyard. Relationship of solid element and canopy can be seen.

Figure 01.21:

[Above] Section looking north showing gathering space and healing area.

Figure 01.22:

[Right] Floor plan. Layout of elements mimics a village, centered around a green.

Alan Lovekamp

6th Street

Outdoor Play

Teen Zone Play

Community Pantry

Infant Area

Kitchen

Lounge

Garden

Director

Counselor

Prospect Avenue

Courtyard

Gather Learn Create

7th Street

Group Support

The Forgotten Mother

Final Design RETHINKING LANDSCAPE

Development post mid-review was dedicated primarily to the refinement of the exterior landscape in the project. As the project relies heavily on the concept of the single mother group as a village, the vegetation tries to support this notion while also providing privacy and a soft barrier from the outside. As nature is an element that often appears chaotic and rarely is subservient to humanity, the placement of foliage is likewise sporadic, with only the overall notion of the edge being retained. Nowhere better can this be seen than in the tree-line south of the courtyard, where the vegetation is utilized as a softer element to augment the solid mass wall that protects the open green. The grouping of trees also aids in helping to blend the new project with the dense and heavily wooded residential blocks to the east. This adds a more intentional appearance to the vacant land rather than seeming like an abandoned field. Future possibilities for this section of the site could include apartments for single mothers, allowing an added support system for those who need it.

Figure 01.23:

[Left] Diagram showing gradient employed through landscape. 17

Alan Lovekamp

6th St

Prospect Ave

6th St

Figure 01.24:

[Top, Right] North elevation showing village buildings sheltered by topography change.

Figure 01.25:

Possible Future Residential

[Middle, Right] West elevation showing the break between solid â&#x20AC;&#x2DC;dwelling units.â&#x20AC;&#x2122;

7th St

Figure 01.26:

[Bottom, Right] Roof plan showing form and material distinction.

The Forgotten Mother

PROGRAM

Place for Connecting • Lounge – 872 sf

Place for Learning • Gather/Learn/Create – 1289 sf • Storage – 87 sf • Counselor’s Office & Waiting – 244 sf

Place for Groups/Silence • Group Healing – 302 sf • Individual Lounge – 310 sf

Place for Creation • Kitchen – 597 sf • Community Pantry – 254 sf

Place for Play • Teen Zone – 859 sf • Play – 1705 sf • Play Storage – 119 sf • Restroom (2) • Infant Room – 791 sf

Administration • Office – 210 sf Grossing Factor (Mechanical/Circulation/Walls) – 36%

Total Building Footprint – 11,489 sf

Alan Lovekamp

6th St

6th St Outdoor Play

Teen Zone Indoor Play

Prospect Ave

Community Pantry Director

Fort

Infant Area Lounge

Kitchen

Garden

Exterior Seating

Individual Lounge

Counselor Outdoor Courtyard

Gather Learn Create

Group Healing

Outdoor Respite

Figure 01.27:

[Right] Floor plan showing the various spaces and their arrangement around the central green.

The Forgotten Mother

Alan Lovekamp

Figure 01.28:

[Above] Section perspective through courtyard, lounge, and play area.

Figure 01.29:

[Above] Section perspective through play area, lounge, courtyard, healing space, and outdoor respite. The Forgotten Mother

TECTONICS

Mass elements throughout this project rely on brick veneer over wood frame construction. This is both an aesthetic and contextual choice, as it better meshes with the surrounding architecture. The durability and quality enabled by this material set the tone for the value placed on this space. The ability to thoroughly wash the material provides greater freedom for mother and child expression through drawing and painting. This hard material is further broken through a pattern to create a dynamic effect. Wood becomes a breaking element, utilized in both trim details around openings as well as the exposed structure of the flat roof. These elements further help to warm and soften the space. A key element of the courtyard landscape is a solid brick wall that aids in the grade change and provides a barrier for the children and mothers. This wall is broken down not just by the surrounding vegetation, but also by the pattern used on the wall. This hard edge matches the pattern of the brick on the solid â&#x20AC;&#x2DC;dwellingâ&#x20AC;&#x2122; units â&#x20AC;&#x201C; a Flemish bond pattern of economy brick type with inset short bricks. However, this landscape wall expands this pattern by removing the short bricks and providing a visual pass through. Ivy is then utilized as a further softening element.

Figure 01.30:

[Left] Image of intended brick pattern.

Figure 01.31:

[Right] Image showing a similar relationship between brick facade and wood trim. 23

Alan Lovekamp

Shingle roof on rigid insulation on 3/4” plywood decking on wood I-joist @ 4’-0” o.c. on 1/2” gyp bd. Hidden gutter

Flemish bond pattern on 3/4” plywood sheathing on 2x6 stud with batt insulation on 1/2” gyp bd. EPDM on rigid insulation on 2x12 joists @ 4’-0” o.c. on 1/2” gyp bd.

1’-8” deep glulam beam 2’-0” deep glulam beam Wood trim at door inset

Figure 01.32:

[Right] Wall section perspective of dwelling type. The brick pattern is used as a method to break down the mass.

The Forgotten Mother

Interior Entry

Group Healing

Alan Lovekamp

Gather/Learn/Create

Child Play

Lounge

Figure 01.33:

[Above] Various views within the spaces of the project. The Forgotten Mother

Alan Lovekamp

Figure 01.34:

[Above] View of the courtyard during an Easter egg hunt. The Forgotten Mother

Garrett Scott

02 NOURISH HOUSE Garrett Scott Every child deserves care in their earliest years that is full of authentic learning experiences and nourishment. At the heart of this programmatic proposal and design are the youngest in northeast Kansas City and a holistic learning space for them. My program calls for a primary early childhood learning space that creates an environment of learning, play, and imagination. Integrated into this will be a robust nourish and growth element that will focus on gardening and farming education with gardens and a greenhouse. The design of Nourish House is meant as a physical manifestation of these intentions; filled with spaces that nurture and support the development of children consistently and experientially.

Nourish House

Research REVISITING THE DATA

“The national average for the care of an infant in a center is well over $1,000, far out of reach of households whose entire monthly income is sometimes less than that.1”

“Studies have shown the difference between at-risk children who were enrolled in a head start program with excellent standards and those who were not.2”

“Early nutrition has been shown to be an indicator of future academic success even when controlling for other household factors.3”

Figure 2.01:

[Left] The diet of American children is largely deficient.

% Percent of children who

Two percent of children consume the USDA consume the USDA recommended food recommended food categories. categories.

Garrett Scott

Percent of children who

Twenty-two percent eat the recommended of children eat the a fruits and vegetables recommended fruits and day. vegetables a day.

How more likely Figure 2.02: children in poverty [Right] Graphs have nutrition showing statistical data found during the related diseases research conducted in such as anemia. the fall semester.

Aver score midd

Figure 2.03:

[Below] Neighborhoods of Northeast Kansas City and demographical data.

Pendleton Heights

Scaritt Renaissance

North Indian Mound

South Indian Mound

Lykins

Independence Plaza

Forgotten Homes

site

Research from the fall semester confirmed the need for early childhood services in the Lykinâ&#x20AC;&#x2122;s neighborhood especially if it could service parts of Independence Plaza by being sited between the two.

600

504 Number of children 0-4

500 400 300

190 Number of preschool enrollees

180 Number of single moms

200 100

G 45%

35k 29.8k Median household income

30k 25k

40% 35% 30%

20k 15k

25%

23.7% Food stamp participation

10k

20%

Nourish House

SITE

Through all phases of design the site selection of the empty tree grove between 9th and 10th streets stayed constant. It afforded several opportunities, first among them being its proximity to Whittier Elementary. The school serves a majority of the southern half of the northeast area of Kansas City. By creating a new pedestrian promenade across the site, the design provides a more direct route for families looking to travel by foot. This nascent path would be able to serve both the school and a new center.

Figure 2.03:

Benton Ave.

[Below] Northeast Kansas City overall site (greyed out) with primary roads of Independence, Benton, 9th and 10th denoted.

Garrett Scott

Figure 2.04:

Indiana

[Right] Site with context showing sketchen-in proposal for a continuous Indiana Ave.

9th

Site

Indiana

10th

Independence Ave.

9th St. 10th St.

Nourish House

Schematic Design INITIAL APPROACH Culling research from early in the semester, early conceptual design focused on integrating a variety of programmatic elements for ample learning, play, and garden spaces into a cohesive whole on an urban, residential site. The initial schematic approach centered on the traversing promenade and its interaction with the public and private portions of the learning and education part of the program. Much of the smaller group learning spaces were stacked into a large building. While overall the design ended up taking a much different approach, there was development in the area of creating quiet spaces and louder, indoor yards as a conceptual framework that would be carried to finals.

Garrett Scott

Figure 2.05:

[Right] Site plan showing the path that intersects the building.

Figure 2.06:

[Below] Sketch and composition photo of the design intentions with public path engaging with the building.

gardens

community space learning

play yard

admin play yard

Figure 2.07:

[Right] Diagrams denoting public and private elements of the design.

public

private

public path

public

secure Nourish House

Figure 2.08:

NEXT STEPS

[Below, Top] A refocusing on â&#x20AC;&#x153;nourishâ&#x20AC;? was a major takeaway from schematics.

From schematics there developed a definite refocusing on the nourish element of Nourish House. If gardens, growing, and good nutrition were going to be grounding parts of the my concept, they certainly needed to be central and designed as part of a cohesive process. Having a firm grasp of the organizational diagram I would use was also important, so I began work on what a pod or suite might look like for any single group of children. There was also work to be done investigating the neighborhood in terms of form and precedent. Any design would have to play nicely with its neighbors without pandering or mimicking.

Figure 2.09:

[Left] Collage of activities of inspiration for the garden and play spaces of Nourish House.

Garrett Scott

Figure 2.10:

[Right] Sketch studies of pod configurations and change in volume of different spaces based on use.

Figure 2.11:

[Below] Houses of Northeast Kansas City and diagram of form.

ATTIC GABLED FORM

MIDDLE BASE

Nourish House

Mid Design

Figure 2.12:

[Below, Top] Diagrammatic site plan for mid critiques.

Mid design saw further development of a garden-centered approach to the concept. I reorganized the pods around communal play and garden spaces with an administrative group on the streetfront of 10th. The move to a symmetrical radial plan was diagrammtically interesting but did create challenges going forward as the further detailing of pods based on the different age groups would require tailoring the spaces. It also made keeping in the bounds of the s ite more difficult.

Figure 2.13:

[Bottom, Right] Render of garden and play yard with gabled indoor play yards.

Figure 2.14:

[Below] Longitudinal section of Nourish House at mid crit showing the central court with surrounding pods.

Garrett Scott

Figure 2.15:

[Below, Right] Pre-K pod plan from mid crit.

Nourish House

Final Design

BALES AVENUE

9TH ST.

INDIANA AVE.

10TH ST.

11TH ST. 41

Garrett Scott

WHITTIER ELEMENTARY

The final iteration of Nourish House brought together much of what was learned in the Schematics and the Mid Review and sought to create a place that was as nourishing in as many aspects as possible. The final site plan recreates Indiana Avenue as a new pedestrian promenade and attaches the U-shaped plan directly to it. This serves the community in a very real way by constructing a more direct path for students and families traversing the neighborhood on foot to Whittier Elementary, but also services Nourish House for those parents looking to drop off in both locations. The buildings literally embraces the courtyard creating the primary level of nourish; one of safety and security. From the roof plan, the gabled spaces can be clearly seen denoting the basic programmatic dichotomy of the indoor yard, louder space from the lower ceilinged quiet learning spaces.

Figure 2.16:

[Left] site plan of Nourish House nestled between 10th street to the south and 9th street to the north.

Figure 2.17:

[Right] parti sketch of â&#x20AC;&#x153;nourishâ&#x20AC;?

Nourish House

PLAN AND SOUTHERN ENTRY ELEVATION

Garrett Scott

BASIC PROGRAM learning as nourishment

8,070 sf

outdoor play as nourishment

6,910 sf

PRE-K garden as nourishment

4,435 sf

TWOS + THREES

administration

1420 sf

INFANTS + ONES

service

grossing factor: total building:

Figure 2.18:

572 sf

25% 15,880 sf

Figure 2.19:

At a basic level, the plan enforces an approachable, public end on the 10th street frontage. This space includes a greenhouse and kitchen with tables for socializing or morning coffee. This area also includes the administrative offices, conference room, check-in desk, and enlarged lobby with views to the garden and room to pass out vegetables or catch up with a friend.

Figure 2.20:

From a quick programmatic perspective (above), one can see three major learning pods (two smaller spaces with a large, indoor yard) with interstitial spaces, outdoor play, and divided garden areas. These demarcations are not meant to be tremendously rigid, but rather cooperative and nourishing from different aspects with blurred lines.

[Top, Left] Main floor plan of Nourish House.

[Bottom, Left] South elevation of Nourish House.

[Left] Program diagram of Nourish House depicting age group zones.

The following spread includes detailed looks at the design elements creating different spatial experience across Nourish House both interior and exterior. Nourish House

OUTDOOR SPACES 1

outdoor learning space

grape vine arbor/shade device

garden dining/learning station

digging boxes

dry creek bed

vegetable wash station

willow house

shading canvas

fence and greenhouse seating

water play

dividing tree line

infant quiet terrace

fort

Garrett Scott

2x8 raised garden bed

INDOOR SPACES 9

craft space

reading corner

window seating

hallway view to outdoor classroom/ play yard

views to trellis and gardens with shade provided by vines in summer

10 kitchen

smaller indoor play spaces

11 greenhouse

hallway wall reading nooks

outdoor window seating

enlarged lobby and reception for vegetable and recipe distribution

preK

twos + threes

infants + ones

Figure 2.21:

[Left] Plan with outdoor spaces of Nourish House.

Figure 2.22:

[Right] Plan with indoor spaces of Nourish House. Nourish House

EXPERIENTIAL VIGNETTES

Figure 2.23:

[Left] Hall to preK pod including views to indoor play yard, outdoor play spaces and grape vine pergola.

Figure 2.24:

[Left] Hallway reading nooks with built in book shelves and windows.

Garrett Scott

Figure 2.25:

[Right] hall to infant and ones with views to the outdoor playards with canvas coverings on pergola.

Figure 2.26:

[Right] Reading ledge in front of greenhouse with views to garden, eating space, and indoor play yards gabled roofs.

Nourish House

MATERIALITY AND COMPOSITION

aluminum concealed gutter 2x10 gable joist 2x6 cedar cladding brick (running bond) air barrier/rigid insulation

batt insulation 1/2 in gypsum board

Figure 2.27:

[Left] wall section of typical wall in gabled roof condition in the indoor yard spaces

4 in veneer, split face limestone

Garrett Scott

indoor play yard form

Figure 2.28:

[Above, Right] basic form of the indoor yard and material palette

When looking at formal considerations in terms of materiality and composition, it became clear that I wanted to carry on the tradition of many homes in the area of a base, middle and attic. Part of this design decision included the detailing on the facade of different materials. Firstly, a larger limestone base that rises to the base of the seat-high windows creates the first layer that is then topped by a running bond blonde brick zone. A cedar cladding begins at the base of the gable roof and is detailed to appear seamless and monolithic in a way.

Nourish House

Figure 2.29:

[Above] Central garden and play areas with learning pods in the background.

Figure 2.30:

Garrett Scott

[Below] Section through the preK indoor yard, garden and play spaces and reception space.

Figure 2.31:

[Above] Indoor play yard.

Figure 2.32:

[Below] Section through two indoor play yards and connecting hall.

Nourish House

Erin Murphy

03 SPEAK UP Erin Murphy This project has been developed in recognition of oneâ&#x20AC;&#x2122;s potential to incite change in their life and the lives of others, if only they could make themselves heard. Northeast Kansas City contains a refreshingly diverse population that adds vibrancy to the city, but their influence is often drowned out by the demands of living in a historically impoverished area. Ideally, this community will experience considerable progress in the coming years in terms of student resources and economic growth. However, that process cannot begin without people who are willing and able to make those ideals a reality. Such crucial and long-standing issues of poverty, racial divide, and the lack of educational opportunities are unlikely to be remedied by a single work of architecture. However, there is real power in the ability to gather, share ideas, and cultivate means of self-expression. Speak Up provides space that is dedicated specifically to this notion.

Speak Up

Research UNDERSTANDING NORTHEAST KANSAS CITY

73% U.S.-born citizen 10% naturalized citizen 17% non-citizen

Figure 3.01

[Above] Diversity map of the greater Kansas City metro in which each green dot represents one person. Green dots represent caucasians, red represent African Americans, and blue dots represent Hispanics.

Figure 3.02

[Left] Photos taken from within NEKC show that their cultural pride is a tangible part of the fabric of the city.

Erin Murphy

Figure 3.03

[Top, Left] Northeast High School, exterior of main entrance.

Figure 3.04

[Top, Right] Northeast Middle School, exterior of main entrance.

Figure 3.05

[Above] Map of Northeast Kansas City highlighting local schools. Unlabeled tagged locations indicate a preschool or elementary school.

The immigrant population of Northeast Kansas City is integral to the cultural fabric of the community and exists in marked contrast to the predominantly white population of surrounding areas. Nearly 30% of the population in each neighborhood is made up of individuals who migrated from over 120 different countries.1 Because of this, the neighborhoods do experience tendencies of tribalism among different ethnic groups, but not due to prejudice or lack of interest in interacting. Rather, residents feel intimidated by language barriers and cultural differences that are especially apparent in the various ethnic shops and markets. It seems the desire to coexist and share across cultures exists in abundance and could provide for an inspiring environment of harmony and diversity if people gain the means to express themselves. This program is especially valuable to the youth of Northeast Kansas City because oneâ&#x20AC;&#x2122;s teen years are formative in a truly meaningful and earnest way. It is during this time that people make an attempt at constructing their identities and evaluating their roles in a society. In addition to social stressors, issues of mental health, and homelife conflicts, young people in these neighborhoods must also contend with the hardships inherent in attending an underresourced public school system.2,3 For Northeast Middle School and High School, hiring and maintaining teachers is a constant battle; and although both programs rank in the top 1% for diversity among Missouri public schools, they are among the lowest for test scores, graduation rates, and overall ability to prepare students for college.4,5 For this reason, the primary focus of this project is youth age 12-18. Speak Up

UNDERSTANDING NORTHEAST KANSAS CITY Independence Avenue & Elmwood Avenue

Figure 3.06

[Above] Site map showing the proposed site, NEKC High School, NEKC Middle School, and a walking path connecting the three (in gray). 57

Erin Murphy

The proposed site is at the corner of Independence Avenue and Elmwood Avenue in the South Indian Mound neighborhood. This lot is conveniently located within a seven-minute walking distance of both public schools. These routes, shown in blue, are contained within quiet residential streets which are all lined with sidewalks and crosswalks. Independence Avenue, along the south edge of this lot, is one of the main roadways that run through NEKC and therefore contains much of the cityâ&#x20AC;&#x2122;s vehicular traffic. Rather than looking towards this roadway, the entry faces north; from which direction students would be walking after school. The Independence Avenue facade, therefore, acts as a blank canvas for teensâ&#x20AC;&#x2122; artwork and messages facing the busy street.

Figure 3.07:

[Left] A collection of photos taken along the walking path from both NEKC schools to the proposed site.

Speak Up

Figure 3.08

THE POWER OF PERSONAL VOICE Conceptual Parti

[Center, Left] Conceptual Parti Diagram: often the circumstances one is born into are seen as insurmountable hindrances to reaching goals.

Support for migrant youth is imperative for neighborhoods as diverse as these. Young immigrants are confronted with arduous civic and legal hurdles along their path to adulthood, and there is an alarming nationwide lack of physical locations where one can go for guidance through these processes.3,4 The ability to live and work legally in the United States is vital to the livelihood of migrants, and the expectation of a teen to maneuver through these procedures is harsh and unrealistic. A portion of the program provides legal and civic guidance through interpreting government forms and applying for work permits, green cards, and citizenship. Because of the prevalence of migrant residents in Northeast Kansas City, this area would be available to adults who are in need of these services as well.

Figure 3.09

[Background] A collection of the type of legal documents available via the United States Immigration Services website.

Erin Murphy

In many ways Speak Up acts as an antithesis to the typical school structure. Uniformity and compliance are discouraged in favor of finding power in individuality. This can be particularly impactful to a student population who may not feel empowered to reach their aspirations or pursue competitive careers. For these teens, autonomy and interpersonal skills should be championed as a means of success beyond the memorized curriculum. Here, they are given the freedom to consider ideas out of curiosity, not obligation; to focus on skills in which they have genuine aptitude and interest, or to explore new ones without fear of failure. The act of being creative often isnâ&#x20AC;&#x2122;t complete until it is shared with others, and by collectively refining that which makes us unique we tend to find similarities in things much more profound than race, gender, or economic status. Figure 3.10

[Center, Right] Conceptual Parti Diagram: shifting the midset and dialogue regarding oneâ&#x20AC;&#x2122;s circumstances has the power to turn hindrances into assets. Speak Up

SERVICES PROVIDED Figure 3.11

[Top, Left] High school students collaborate on an assignment in a non-traditional classroom setting.

Figure 3.12

Communication

Preparing for the Future

Professional Decorum

Foreign language instruction Writing After-School Tutoring Public Speaking Presentation Skills Conflict Resolution Fine Arts as Communication

Post-Graduation Planning College Applications Scholarship Applications Part-Time & Full-Time Job Applications Resume Review Mock Interviews

Creating a Resume Interview Strategies Professional Correspondence Contract Negotiation Social Media Ethics Addressing Abuses of Power in the Workplace

[Top, Center] A diverse group of students graduate high school.

Figure 3.13

[Top, Right] A young woman confidently presents her resume at a job interview.

Figure 3.14

[Bottom, Left] A mentor assists a young migrant on filling out government paperwork to become a citizen.

Figure 3.15

Services for Migrant Youth

Unifying

Applying for Citizenship Applying for Green Cards Applying for Work Permits Interpreting Government Forms Developing a Financial Plan

Student-Operated Cafe Flexible Indoor Gathering Outdoor Recreation & Celebrations Formation of CommunityEngagement Groups Auditorium for Guest Speakers & Student Exhibitions

Erin Murphy

[Bottom, Right] A group of teens and their coach play recreational soccer.

Figure 3.16

[Above] Experiential sketch of atrium social learning space.

Acting as a community center and after-school program for students age 12-18, Speak Up provides residents of Northeast Kansas City with space to congregate and develop advocacy skills that can catalyze positive changes in their lives. Studies include writing, public speaking, constructive debate strategies, fine arts as self-expression, and foreign language classes. Courses in professional decorum assist students in creating a resume, interview strategies, professional correspondence, contract negotiation, and consultation on post-graduation planning. In addition, the program provides migrant youth with legal and civic guidance through interpreting government forms and applying for work permits, green cards, and citizenship. Aside from its service to teens, the program can be opened to adults in the area who are also interested in honing these skills or for the formation of community engagement groups.

Speak Up

Schematic Design DESIGN PROPOSAL

Erin Murphy

Figure 3.17

[Below] Chosen massing configuration.

Figure 3.18

[Top, Left] Massing study 1.

Figure 3.19

[Top, Right] Massing study 2.

Figure 3.20 [Center] Floor plan with site context.

Figure 3.21

[Bottom, Left] Building section with site context.

Massings are arranged in such a way that both provides a strong public face on Independence Avenue and protects more delicate parts of the program along the quieter residential side of the lot. A central courtyard configuration encourages outdoor movement throughout the site and gives students a safe space for outdoor recreation. The large corner mass would contain the main gathering atrium for a bustling, social learning environment that drastically contrasts that of a typical classroom model. Break-out classrooms would be available along the south end of this volume for discussions that necessitate quieter space. The large volume to the west, also along Independence Avenue, would serve as auditorium space for student exhibitions and guest speakers. This facade could house student messages and murals they wish to get out to the community. Finally, the volume at the north side of the site contains the most discreet portion of program-- spaces for consultation on migrant services and financial planning. Speak Up

Mid Design DESIGN PROPOSAL

NEKC

Northern Europe

Central Africa

South America

Eastern Africa 65

Erin Murphy

NEKC

Middle East

South America

Figure 3.22

[Top, Left] Existing building near the proposed site in Northeast Kansas City.

Figure 3.23

[Top, Center] Traditional architecture located in Northern Europe.

Figure 3.24

[Top, Right] Existing building near the proposed site in Northeast Kansas City.

Figure 3.25

[Center, Left] Traditional architecture located in Central Africa

The design is intended to facilitate social, collaborative learning in a way that celebrates culture while overcoming ethnic boundaries. A culturallycharged but ethnically-ambiguous aesthetic allows the spaces to feel inclusive without appearing generic. Monolithic architecture with punched openings that utilizes plaster and stone is a common design strategy found among traditional structures from across the globe. These spaces are also often arranged around a courtyard, so Speak Up is configured around a large outdoor space which is evocative of courtyard designs in various cultures around the world.

Figure 3.26

[Center, Right] Traditional architecture located in South America.

Figure 3.27

[Bottom, Left] Traditional architecture located in Eastern Africa.

Figure 3.28

[Bottom, Center] Traditional architecture located in the Middle East.

Figure 3.29

[Bottom, Right] Traditional architecture located in the South America.

Figure 3.30

[Right] Vignette view of the entry sequence as one approaches from the north, along Elmwood Ave. Speak Up

Figure 3.31

[Below, Left] Speak Up first and second floor plan.

DESIGN PROPOSAL

First Floor Plan

Second Floor Plan 67

Erin Murphy

Figure 3.32

[Below, Right] Speak Up building sections A and B.

Section A

Section B Speak Up

DESIGN PROPOSAL Figure 3.33

[Top, Left] Vignette view of a semi-private learning space located on the second floor.

Figure 3.34

[Top, Right] Vignette view of the courtyard as one exits through the pivot doors off the atrium space.

Figure 3.35

[Bottom] Vignette view of the atrium and courtyard as seen from the second floor balcony.

A large atrium acts as a boisterous market for the exchange of ideas, while smaller spaces are divided with varying degrees of privacy to accommodate different discussions and learning models. Furniture and partition walls are moveable so that areas are responsive to groupsâ&#x20AC;&#x2122; needs at any given time. The central courtyard provides a more exuberant gathering place for outdoor games, recreation, and celebrations. The inclusion of a 150-seat auditorium gives guest speakers and students a formal, dignified location for speeches, performances, and film screenings. Exterior materials and overall forms are kept understated to maintain cohesion with the surrounding context.

Erin Murphy

Speak Up

Final Design DESIGN PROPOSAL

680 SF 1015 SF 4250 SF 290 SF 2430 SF 820 SF 3170 SF 850 SF 1340 SF 490 SF 490 SF 500 SF 905 SF 430 SF 200 SF 230 SF 45 SF 15% | 3345 SF

8515 SF

entry migrant services atrium cafe semi-private learning & gathering private learning & gathering creative space drawing & painting studio music studio film & photography studio digital lab artists’ gallery service storage mechanical restrooms custodial grossing factor

enclosure

central courtyard tiered seating community garden grossing factor

5450 SF 1755 SF 1035 SF 48% | 2660 SF

EXTERIOR

INTERIOR 21480 SF

primary form

private migrant courtyard entry plaza independence avenue plaza

1450 SF 650 SF 965 SF

Figure 3.36

[Top] Form-making sequence diagrams.

Figure 3.37

[Above, Right] Conceptual sketches of the form-making process.

Figure 3.38

[Right] Plaster model showing primary “skeleton” form walls 71

Erin Murphy

space-making infill The form was developed by first arranging heavy bearing walls, faced in white plaster, which is evocative of traditional monolithic structures in regions around the world. Large expanses of glass fill gaps to fully enclose the space and add a contrastingly lightweight, modern aesthetic. Finally, partition walls further define space within the building. These walls utilize wood panels to add warmth to the interior material palette. Various zones of flooring and doorways contain colorful, eclectic tiles that show customary patterns from different nations alongside one another.

Speak Up

DESIGN PROPOSAL

Activities are arranged according to their relative need for quiet and privacy. Fluid and social spaces are located on the ground floor where boundaries and circulation are less explicit. This allows for an atmosphere of exuberance and ease of sharing between groups. The second floor contains rooms that can be closed off for courses in writing, creating a resume, interview strategies, professional decorum, post-graduation planning, and the many foreign languages spoken throughout the region.

Erin Murphy

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15.

Public entry Storage Restrooms, unisex Migrant services Migrant service private courtyard Atrium Cafe Art studio Semi-private learning & gathering Custodial Mechanical Gallery Music studio Central courtyard Community garden

6 14 7

15 8 11

Ground Floor Plan

1. Reading space 2. Private learning & gathering 3. Digital design studio 4. Film & photography studio 5. restrooms, unisex 6. Custodial 7. Storage

Figure 3.39

[Top, Left] Program Organization Diagram.

Figure 3.40

[Left] Circulation Diagram.

Second Floor Plan Speak Up

DESIGN PROPOSAL

Figure 3.41

[Top, Left] Building section.

Figure 3.42

[Botom, Left] Building section.

Section A

Section B 75

Erin Murphy

One enters into a large atrium which acts as a boisterous market for the exchange of ideas. Here there is a small cafe which may employ local teens, as well as a large stair that also acts as tiered seating. Beyond the atrium is an amply daylit artistsâ&#x20AC;&#x2122; studio, a gallery wall, and a spacious music room.

Figure 3.43

[Top, Left] Interior view as one enters the atrium.

The second floor also contains bookshelves, reading nooks, a lab for digital design, and a photography and film studio.

The building is arranged around a large outdoor space, reminiscent of courtyard designs that are common in many cultures. This provides a more lively gathering place for outdoor games, recreation, and celebrations. This area is carefully organized but doesnâ&#x20AC;&#x2122;t employ an overly manicured aesthetic. Organic, irregularly textured paving and a large stretch of grass give an organic feel; suggesting a natural landscape within the urban context. This space also contains tiered seating, and pivot doors leading to the interior may be left open so the courtyard becomes an extension of the atrium. These doors are utilized along the music room as well so those in the courtyard may occasionally hear the musicians play. A large wall divides the exterior space along the east-west axis and may be used for murals. Additionally, a projector screen can be lowered to face the outdoor seating for movie screenings and guest speakers. Finally, a small area of planters sits at the southwest end of the courtyard which students may use as a community garden.

Figure 3.44

[Top, Right] Interior view as one walks through the second floor corridor.

Figure 3.45

[Above] Exterior view from within the central courtyard.

Speak Up

DESIGN PROPOSAL

South Elevation

East Elevation

Figure 3.46

[Left] Exterior view of the entry as one approaches from the north, down Elmwood Ave.

Erin Murphy

North Elevation

West Elevation Figure 3.47

[Top, Left] South elevation.

Figure 3.48

[Center, Left] East elevation.

Rather than looking towards the cityâ&#x20AC;&#x2122;s main roadway, Independence Avenue, the entry faces south, from which direction students would be walking after school. The Independence Avenue facade therefore acts as a blank canvas for teensâ&#x20AC;&#x2122; artwork and messages facing the busy street. Exterior materials and overall forms are kept understated in order to maintain cohesion with surrounding context.

Figure 3.49

[Top, Right] North elevation.

Figure 3.50

[Center, Right] West elevation. Speak Up

Vatsal Patel

04 EMPOWER Vatsal Patel Historically, the Northeast Neighborhoods were formed by wealthy households who gradually moved out to the suburbs; this migration left behind a community that has struggled over the years and is looking for ways to bring itself up again. Ethnically diverse and disproportionately high youth populations are strong features in the area, lending themselves as major assets to rejuvenation. In order to redevelop the area into a source of pride for the youth of the neighborhood, a careful, close relationship between designers and citizens is required. By forming this close relationship, the locality has a chance to flourish within an already unique identity and to help its at-risk youth cultivate a sense of place that uplifts their morale and trust in the strength of Northeast Kansas City as a community for all.

Empower

Research EXECUTIVE SUMMARY Today, the Northeast Kansas City neighborhoods can often be associated with a high crime rate and visibly blighted properties, but they can also be associated with racial and ethnic diversity and a sense of conviction to build a more cohesive Kansas City subculture. The role of this proposal is to empower the at-risk youth ages 11-18 through after-school arts education which can give them mastery and confidence to express their unique identity and to help improve the ways in which middle and high school youth think about their surroundings and their place in Northeast Kansas City. By imagining their capabilities, a shift in focus on individuals and situations is created. Doing so, they uplift the hope and resilience of communities of which they are an important part. The proposal will achieve the goal of empowering the at-risk youth through a planning model inspired by research done by Youth ARTS that realizes the different stages of the process.1 The model allows for all the agencies required in different steps of the proposal to be involved and communicate with each other. The model also allows for clear identification of the chief organization that will be in charge for the successful functioning of proposal. The four categories of the planning model are: Condition

Activities

Outcomes

Impacts

The first stage in the process is to define the condition that would a. Necessitate such a program b. Identify the agencies that could take on the core responsibility of continued success Research suggests that youth are likely to develop unhealthy behaviors when they are exposed to risk factors such as the availability of drugs or associations with peers involved in problem behaviors.2 Moreover, youth exposed to more than one risk factor are even more likely to develop unhealthy behaviors.3 The youth of neighborhoods that go to schools at Gladstone Elementary, James Elementary, Holy Cross Catholic, Northeast Middle and Northeast High school are predominantly from lower income, minority families.4 90% of their families live at or below the poverty line, and 100% students qualify for the free and reduced lunch program.5 Limited resources and opportunities at school as well as home contribute to lack of much needed academic attention resulting in higher rate of truancy and lower graduation rates. This knowledge necessitates the proposal. Northeast Arts, a non-profit in Northeast Kansas City is the local chief organization around which the arts program proposal is developed. Their current mission is centered around the idea that when we make art a part of everyday life it has the power to transform our community.6 By supporting performing arts such as music, dance and theatre, as well as visual arts, such as mosaic, pottery, mural and painting the proposal will help amplify their mission and Empower will become the new home for the Northeast Arts KC. They will be responsible for making the administrative decisions about the functioning of the facility such as hiring the local artist to teach youth, inviting outside artists and organizing engagement opportunities such as having art sales, dance, music and theatre performance, etc. so as to ensure the continued success of the proposal. The second stage in the process is to develop activities that relate to: a. Services provided to the youth as it relates to local interest b. Architecture to provide for aforementioned services The proposal will need to incorporate a 12-week introductory program that invites the at-risk youth from Northeast middle and high school. The program will serve as the first step towards empowering the youth by using the Social Development strategy.7 It explains that youth require three conditions to bond with any social unit, which in the case of the proposal is the community of NEKC. First, they need opportunities to make meaningful contributions to the social unit; second, they need the skills to contribute effectively; and third, they need recognition for their contributions by that social unit. By giving the youth of Northeast Kansas City the ability to participate in 12-week introductory program for different art mediums such as painting, mosaic, pottery, ceramics, music â&#x20AC;&#x201C; vocal and instrument, dance and theatre, the youth have the chance to express themselves in their community. The very ability to create an art piece and be able to express their stories is what entices the at risk youth to the program over other unhealthy habits in the neighborhood. 81

Vatsal Patel

Figure 04.01: [Right] Parti

Parďż˝

Architecture serves this proposal by creating a central courtyard around which all the arts studios are arranged. It functions as the safe space for youth to gather and enjoy. On a nice day, they can take their easel and paint or have theatre rehearsals outside. Spaces here are also shielded from the exterior world by the central orientation. Different art spaces have unique light quality best suited to the type of art. This distinction creates a unique atmosphere in each studio. At the end of the introductory program, the youth will transition into a year long arts program of their choice from the various arts offered at the site. During this time, the youth will also be exposed to places of culture and art outside Northeast Kansas City through visiting artists as well as through field trips to places in and around Kansas City. Spaces in proposal that contribute includes the artist residency at 5020 Saint John Ave and studios for visiting artist to teach. Finally, the youth will have the opportunity to make meaningful contribution to the social unit through dance, music, and theatre performances in their black box theatre as well as through exhibition of their art in the gallery, along with art sales conducted there to further empower them by giving them the pride in being able to make meaningful contribution to their family, friends, and the community. The third stage in the process is realization of produced outcomes that the program addresses. Empower will help the youth in the neighborhood see an improvement in art and program related skills- which will serve as a recognition of new competencies, showcasing their abilities, further increasing their engagement in school. The youth will have a renewed sense of place and healthy bonds will develop. The opportunity to share the skills learned with adults will reinforce intergenerational bonds and build a healthier, more stable community. The fourth stage in the process is to realize the long-term impacts of Empower. Over time, due to increase in engagement and joy gained from the programs, increased academic success and decreased truancy is expected. With improved skills and ability to express their individual stories to the community in their medium of choice, youth will feel empowered. Finally, as suggested by the Social Development strategy, being recognized for their talent gives them a lasting sense of pride in themselves.

Empower

SITE SELECTION Looking at the context of NEKC, I found the example of Scarritt Elementary among various others where the local students under the leadership of art professor from Kansas City Art Institute sought out to improve their neighborhood.8 This is one of many concrete examples of how folks are helping students see the light. Wealthier districts have the ability to expose their students to quality artistic experiences in school. But that can be replicated in underserved communities such as NEKC with the help of local masters. The map [Right] shows various places in the neighborhoods where the local masters have their art studios that focus on art specific to NEKC. By learning from these local masters, youth can see more clearly what the arts can offer.

Figure 04.02:

[Top, Left] Economic Growth Building

Figure 04.03:

[Center, Left] West wall of Mayfair Cleaners

Figure 04.04:

[Bottom, Left] Scarritt Elementary 83

Vatsal Patel

St. John Ave.

Independence Ave. Local art studios Site Schools Religious places Budd Park

Figure 04.05:

[Right] Map of schools in Indian Mound neighborhoods and its proximity to site Empower

Schematic Design Building upon the notion of helping the at-risk youth with art, the schematic design focused on the role of how architecture can help improve academic performance as well as civic engagement through spaces to learn, space to be and space to exhibit. The project at this stage was divided into three phases: The place for Art Exploration, Artist Residency and Park Redevelopment.

Students entrance Ceramics

Kiln yard

Service entrance

Workshop-2 Office

Workshop-1 Literary arts

Artist residency

Performing arts

Students entrance

Temporary exhibit

Public Entrance

Ceramics Office

Workshop-1

Performing arts

Kiln yard

Workshop-2 Literary arts

Artist residency Temporary exhibit

Figure 04.06:

[Top, Left] Massing diagram

Figure 04.07:

[Center ,Left] Circulation diagram that dictates the arrangement of spaces

Figure 04.08:

[Bottom, Left] Plan 85

Vatsal Patel

Reflection

The overall scheme needed to be more focused through the understanding for whom specifically the architecture was intended. Another component was to engage the local masters in arts to so as to give a clear organizational strategy of each art studio and its supporting spaces.

Figure 04.09:

[Top, Right] Section

Figure 04.10:

[Bottom, Right] Art exhibition by youth in Budd Park Empower

Mid Design

Figure 04.11:

[Top, Left] Interior view of pottery studio

Figure 04.12:

[Bottom, Left] Process model 87

Vatsal Patel

Massing Diagram

Program Diagram

Visual Arts Literary Arts Performance arts Office Space

Site Diagram

Figure 04.13:

[Top, Right]Massing diagram

Figure 04.14:

[Center, Right] Program diagram

Figure 04.15:

[Bottom, Right] Site diagram Empower

Figure 04.16:

[Top, Left] Second floor plan.

Figure 04.17:

[Bottom, Left] First floor plan. 89

Vatsal Patel

Figure 04.18:

[Top, Right] Building section.

Figure 04.19:

[Center, Right] Site section.

Figure 04.2004.23: [Bottom, Right] Vignettes.

Empower

Final Design PROGRAM RESUME

Public space Lobby

|300 sf

Exhibition gallery

|1,500 sf

Resource center

|1,200 sf

Restrooms

|2 x 170 sf

Front desk storage

|75 sf

Performance arts

Pottery and ceramics

Visual arts

Music studio

|550 sf

Studio

|700 sf

Arts studio - 1

|700 sf

Dance studio

|600 sf

Wet storage

|350 sf

Arts studio - 2

|500 sf

Black box theatre

|1,100 sf

Glazing

|400 sf

Support space

|75 sf

Light booth

|70 sf

Wash area

|80 sf

Storage

|100 sf

Locker room

|2 x 300 sf

Storage

|200 sf

Pre-kiln storage Kiln

|150 sf |350 sf

Vatsal Patel

Figure 04.24:

[Left] Program.

DIAGRAMS

Served vs Servant

Served spaces are supported here by servant spaces which are now moved to the front edge of the building creating the sense of safety for youth in courtyard.

Served Space Servant Space Central Courtyard

Public vs Private

The program strategy allowed Empower to have a public and privates space connected by a central entry that houses the exhibition gallery.

Building entryPublic and private Public spaces Private spaces

Experience of Spaces Ceiling Height The variation in the ceiling height in essence creates the threshold between the major spaces.

Figure 04.2504.27:

[Right] Diagrams.

9’

18’

11’

24’

16’

25’

Empower

FLOOR PLAN

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5 10

Figure 04.28: [Above] Plan.

Empower

SECTIONS

Vatsal Patel

Figure 04.2904.31: [Top to

Bottom] Sections. Empower

PUBLIC SPACES

Exhibition Gallery

Both public and youth who arrive here are greeted with a space where the artwork created by youth is exhibited as well as sold over weekend art sales. The skylights brings in natural light that washes down on the wall of existing structure. Sunlight here creates a dialogue between old and new and allows for the new building to become a part of the existing urban fabric of historic Northeast Kansas City. A distinct light quality can be experienced throughout the day further enhancing different light under which the art can be seen and experienced.

Great Hall

The youth that will be invited to Empower will have the option to come here and study in a space that was inspired by the Great Hall at Hale Library at KSU. With its high ceiling and majority of natural light entering from north, the space evokes a feeling of calm. Warm colored material such as brick wall veneer and wood roof further help create a cozy and comfortable atmosphere.

Figure 04.32 04.33: [Left] Vignettes. 97

Vatsal Patel

VISUAL ARTS

Inspiration

Work Area

Temporary exhibition

Exhibition gallery

Storage

Visual Arts Program Diagram The program diagram helps to inform the arrangement of spaces for successful visual arts activities. Areas are provided that serve the function of studio that is connected to the courtyard with a temporary exhibition nook and the exhibition gallery at the entrance.

Studio

Inspiration

Temporary exhibition nook

Studio Exhibition gallery

Visual Art Studio

The studios brings in the west light from the clerestory windows while connecting to the central courtyard and temporary exhibition nook through wall openings.

Figure 04.34:

[Top, Right] Diagram.

Figure 04.35: [Center, Right] Enlarged plan.

Figure 04.36: [Bottom, Right] Vignette.

Empower

POTTERY AND CERAMICS STUDIO

Wet clay delivery

Wet clay storage

Wedge table

Pottery wheel

Work table

Glazing area

Pre-kiln storage

Kiln

Follow the Clay

Pottery and Ceramics Program Diagram Wet clay delivery Wet clay storage

Pottery Work wheel table Glazing area

Kiln Pre-kiln storage

For the pottery and ceramics studio, the spaces function around the idea of following the clay in its life from wet storage to kiln. The major served area here is the pottery studio which houses the work and rotating table. The studio also contains a pottery exhibition gallery integrated into this north wall.

Pottery and Ceramics Studio

South light washes down the slant wall which enhances the exhibition of the pottery as well elevating the experience of the studio. The thick wall has carved out spaces that can house past works of youth which can be exhibited to inspire future students.

Figure 04.37:

[Top, Left] Diagram.

Figure 04.38: [Center, Left] Enlarged plan.

Figure 04.39: [Bottom, Left] Vignette. 99

Vatsal Patel

PERFORMANCE ARTS

Entry

Support spaces

Locker rooms and dressing rooms

Rehearsal studio

Black box theatre

Performance theatre

Performer

Support spaces

Gathering space

Lobby and ticket sale

Public

Performance Arts Program Diagram In designing space for a performance arts program, it was critical to consider how the performers and audience would interact within a single space-- in this case, a black box theater. To facilitate such program, the exhibition gallery in the entry becomes the gathering spot during a performance at theatre. The corridors can be closed to the public to allow for private space for performers.

Music studio Dance studio Locker & dressing rooms

Gathering space

Black box theatre Support space

Lobby and ticket sale Entry

Black Box Theatre

The black box theatre, where performance and rehearsal will occur, is designed to facilitate different types of arts. The bifold doors here allow for the space to be opened to outside on a nice day and the courtyard becomes the extension of the theatre.

Figure 04.40:

[Top, Right] Diagram.

Figure 04.41: [Center, Right] Enlarged plan.

Figure 04.42: [Bottom, Right] Vignette.

Empower

100

Music Studio

The music studio, where the youth can be taught to play instruments as well as vocal music, is oriented towards the courtyard. The portal behind the artist or the teacher connects back to courtyard. Day light coming down from the sky light above washes down the east wall creating a backdrop for the artist.

Dance Studio

The dance studio brings west light from clerestory windows that is behind the presented view. Another skylight brings in sunlight and creates a focus on to the mirror walls so as to direct the gaze towards the mirrors. The space is connected to the courtyard through windows so that youth in the courtyard can experience their friends learning to dance and be inspired to do so as well.

Figure 04.43 - 04.44: [Left] Vignettes.

101 Vatsal Patel

WALL SECTION

Figure 04.45:

[Right] Wall section.

Figure 04.46:

[Next page] Central courtyard view. Empower

102

103 Vatsal Patel

Empower

104

105 Marilina Bedros

CULTURAL HARMONY Marilina Bedros The Northeast used to be a desirable location for affluent Kansas Citians to make their homes and move with their families. Over the years, the region changed. This area currently consists of numerous neighborhoods in various states of rehabilitation. This transformation happened over decades and it was not caused by one factor. Now, migrants from all over the world reside in the Northeast part of the city making it one of the most demographically diverse parts of the metropolitan area. Local initiatives have been helping the community reach its original splendor. However, multiple unsuccessful attempts have left the neighbors hoping for success in the future. This research revealed that the needs of individual households exceed what nonprofit organizations are currently providing. The following pages present the research that was conducted on Northeast Kansas City (NEKC) and the proposed thesis program and the resulting design. Cultural Harmony will provide the neighborhoods with a place to exchange goods, ideas, and human interactions. Locally, the goal is to help the community become food secure and provide them with a place to gather. On a broader scale, this project aims to spark urban revitalization, foster community diversity, and improve public health. With the programâ&#x20AC;&#x2122;s implementation, the existing ethnic and cultural hub will be reinforced, giving the community the opportunity to thrive and reach their full potential.

Cultural Harmony: A Place for Exchange

106

Executive Summary

LACK OF COMMUNITY SPACES FOOD INSECURITY

DIVERSE POPULATION

EXISTING CONDITIONS

With its large international community, historic beauty, and colorful past, Northeast Kansas City (NEKC) is undeniably rich in culture.1 It is home to some of the oldest and most beautiful mansions, views, and parks in the metropolitan region. The area holds rich memories that have slowly shaped and defined Kansas City (KC). Due to a combination of factors, this area has been experiencing social, political, and economic challenges. Food insecurity, limited community spaces, and high diversity are the primary themes that lead to the creation of this proposal. Cultural Harmony is a cross-cultural hub that provides spaces for the exchange of goods, ideas, and human interactions. According to Merriam-Webster, the word exchange is defined as “the act of giving or taking one thing of value in return for another”; or as “talking or a talk between two or more people.”2 Here, different cultures can be celebrated in harmoniously on a common ground. The proposed site for this project is located in the former Scarritt Elementary School. It is an Architecture that combines sounds, smells, tastes, sights, and textures and creates an atmosphere that speaks to one’s senses and memories. In Cultural Harmony, an exchange is not limited to physical items.

EXCHANGE

HUMAN INTERACTIONS

GOODS

PROPOSED SOLUTION

'THING'

IDEAS

BUY & SELL

TEACH & LEARN

SOCIALIZE & ENTERTAIN

PROGRAM

Figure 5.01

107 Marilina Bedros

[Left] Diagram depicting existing conditions and the interventions proposed with the program.

Of all the issues uncovered through research, food insecurity is the most alarming one. Though it is very difficult to pinpoint a specific source for this complex issue, studies identified household attributes that can predict the likelihood of its occurrence. Those include poverty,3 low minimum wage,4 homeownership,5 low education attainment,6 unemployment,7,8 single parenthood,9 health status,10 and lack of transportation.11 Unfortunately, NEKC neighborhoods are affected by all of the aforementioned topics. But these are not the only factors to blame for their poor food security status. Residents do not have many places to acquire fresh produce. In fact, there are only a handful of stores in the region where one can source wholesome ingredients. Without proper nourishment, individuals will suffer short12 and long term13 consequences that make it difficult to reach their potential. To improve public health and means for building up the local economy, it is essential to make fresh foods more easily obtainable. In addition to the lack of nutritional resources, community members do not have many places to gather. Most of the available locations require memberships for one to gain access to goods and services. Existing community centers are scattered, and parks can only be used when environmental conditions allow. All of these places do not have the capacity to serve the different needs of the large population residing there. In NEKC, individuals have expressed their frustrations with the compartmentalized resources available. Some assets are not publicly marketed since there is not a commonplace for them to connect. As a result, different ethnic enclaves are coexisting but not interacting with one another. According to active participants in the local community, universal integration between various groups is highly desired. To strengthen social bonds, reducing this â&#x20AC;&#x153;tribalismâ&#x20AC;? will bring positive change. The incredibly diverse population of NEKC possesses an immeasurable amount of skills and traditions. In fact, 20% of the population is foreign-born and speaks a total of 86 different languages and dialects.3 Fleeing poor living conditions and possible persecution in pursuit of opportunity and safety, migrants are often forced to leave behind cherished friends, family, and belongings. Migration can disturb their sense of belonging and cause economic instability. With its implementation, Cultural Harmony will offer opportunities to strengthen social bonds, better integrate various ethnic groups, give access to amenities and goods residents are currently lacking, and increase their exposure to an array of experiences. With such diverse backgrounds, neighbors can bring different points of view, generate constructive discussions, and learn from each other. In this building and its surroundings, occupants will be offered a venue to socialize and interact with others. Celebrating diversity offers opportunities to integrate newcomers, preserve cultures, and enrich the local economy.14,15 The site suggested for Cultural Harmony is in the former Scarritt Elementary School. Sitting on a plinth, it is a prominent but currently vacant anchor within the Scarritt Renaissance neighborhood of the Northeast. Its closure in 2011 has since seen it eroded away by natural forces, and vandalized by graffiti on multiple occasions. As a result, the building has received considerable attention in recent community development efforts16,17 and was the focus of a mural project by artist Hector Casanova from the Kansas City Art Institute. He developed an art program that adorned panels that boarded up the schoolâ&#x20AC;&#x2122;s doors and windows.18 This mural project gave community members the opportunity to showcase the artistic potential and the history of the Northeast. This is the ideal spot for this proposal because it is a landmark that locals are continuously seeking to preserve. Giving it a new purpose, a function that will offer positive change creates a sustainable and uniquely designed structure that carries historical character. Due to its location to public transportation and a high concentration of residences, this spot can be easily accessible. This project will be accomplished in multiple design phases. The first one focuses primarily on the exchange of goods. Making fresh produce more available will immediately begin remedying the food security issue. Additionally, by having stalls available for merchants to Cultural Harmony: A Place for Exchange

108

come and sell their ethnic foods, arts, and crafts will slowly improve their economic condition over time. In a secondary phase, additional spaces for entertainment and exchange of ideas will be further developed. Areas for people to meet, celebrate, spectate, perform, and interact with each other are essential for them to get to know one another. In a third phase, housing for elders will be available on site. An important group present in NEKC but often neglected are senior citizens. These individuals can lead by example and share their lifelong experiences with younger generations. In most cultures, their responsibility lies in passing down their knowledge and stories so future generations can carry on their cultural heritage. They can choose to hold some responsibilities at Cultural Harmony. They could actively apply their knowledge and skills by working for short shifts at the coffee shop, helping with the community gardens, watching children after school if necessary, or simply playing chess with each other. Giving them the opportunity to live near where activity happens will increase the frequency they interact with the community. This will help them feel included and benefits those with whom they communicate with. Adjacent to the main accessway and visually connected to outdoor spaces, the double height market hall houses various stalls that serve as venues of trade of everyday items, fresh produce, spices, ethnic foods, artisan crafts, and intangible goods like conversation and ideas. It is where vendors converge with the public to exchange goods. West of the hall, an atrium allows for sounds and smells to travel. Certain sensorial elements will be familiar to some of the visitors, and will remind them of home. The unfamiliar stimuli will instill a sense of curiosity and exploration in people. The openess in interior spaces favors visual connectivity, adaptability, and high access. When the weather allows, vendors can move to the outdoor plazas and seasonal market areas. In Missouriâ&#x20AC;&#x2122;s hot climate, during the day, tall trees protect pedestrians who circulate through the site. After the sun falls and heat fades, outdoor spaces come alive with floating light-box looking stalls that showcase the eclectic merchandise and movement underneath them. On special occasions, food trucks can drive up to the plaza and have more options for ethnic foods on site. This program is unique because it exemplifies how Architecture has the potential to empower society. With its diverse community, Northeast Kansas City is a culturally rich area. The only factors stopping residents from reaching self-sufficiency are their social and economic struggles. By introducing Cultural Harmony locals may find opportunities to start healing. Eventually, the exchange of goods will become a steady source of revenue for some. For others, exchanging ideas and human interactions will lead them to be deeply rooted in their communities and enhance their sense of belonging. The power lies not in the architecture itself, but in the impact it will have on its community. Giving residents a platform to exchange goods, ideas, and interactions will not only benefit the immediate neighborhood but also the greater Northeast Kansas City region.

109 Marilina Bedros

PARTI DIAGRAM

The diagram below shows the concept behind Cultural Harmony. The projectâ&#x20AC;&#x2122;s essence can be reduced to one sentence: exchange on a common common ground. The central circle represents the site. Each line, represents a personâ&#x20AC;&#x2122;s path in life. Every time lines cross, there is an exchange that takes place. Inside the circle [the building] the most amount of exchange will happen.

Figure 5.02

[Right] Diagram of the idea of exchange.

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110

FROM CONCEPT TO REALITY - DESIGN RULES

To turn the concept of exchange to reality, design rules were developed. With the program elements in mind, these guidelines ensured that every architectural move is tied back to the notion of ‘exchange’. CONCEPT OF EXCHANGE

OUTDOORS

BUY & SELL

SUPPORT

EXCHANGE

PROGRAM ELEMENTS

SOCIALIZE & ENTERTAIN

TEACH & LEARN

BUILDING • • • • •

BUILDING TYPOLOGY

DESIGN RULES

Welcoming atmosphere Sensorial Connectivity Flexibility, adaptability Scale and Hierarchy Local and familiar materials

Below are listed six building types that inspired the creation of a cruss-cultural market hall and the programmatic elements it may have.

+ food hall + farmer’s market + school + theater + community center + park = cross-cultural market hall

111 Marilina Bedros

Figure 5.03

[Left] Series of diagrams showing how the concept and ideas were transformed into a reality (a building).

PROGRAM Buy & Sell

5200 sf

Socialize & Entertain

1500 sfntertain

Teach & Learn

2300 sfrn

Outdoors

12420 sf

Service

1360 sf

Overall

22780 sf

Grossing Factor (15%)

3417 sf

Total

26197 sf

Vestibule ATM Storage Office Receive Delivery Cofee Shop Main Market Hall Craft Market Hall Communal Dining Info Hub Observation Deck Mezzanine Lounge

Tool Shop Study/Meeting Room Wifi Lounge Demonstration Kitchen Workshop Area

Seasonal Market Plaza Food Truck Plaza Entry Plaza Parking Plaza Mural Alley Drop Off Plaza Outdoor Amphitheater Electrical Closets Break Room Restrooms Mechanical Room Trash and Recycling Office

70 sf 70 sf 650 sf 100 sf 440 sf 300 sf 300 sf 2630 sf 940 sf 700 sf 70 sf 100 sf 630 sf

570 sf 330 sf 380 sf 390 sf 630 sf

3150 sf 1780 sf 980 sf 1420 sf 650 sf 940 sf 3500 sf 40 sf 60 sf 350 sf 730 sf 80 sf 100sf

Cultural Harmony: A Place for Exchange

112

Schematic Design RESPONDING TO THE CONTEXT

After selecting the former Scarritt Renaissance Elementary School to house Cultural Harmony, the options of preserving, renovating, or demolishing the structure were explored. The schematic process began by taking a closer look into the building block and its surroundings. With programmatic and site constraints in mind, respecting the former school building was deemed essential. This decision helped maintain the historical character of the neighborhood whilst creating the opportunity for growth by giving the building a new function. With the hopes of reducing vandalism, community members adorned windows with handpainted murals that depict the history and diversity present in the Northeast. This community beautification project was conducted by the illustration department of the Kansas City Art Institute. It was a process that took them more than two years to finish. Demolishing it would be a loss for residents who have clearly been making efforts to preserve this property.18 Figure 5.04

[Left] Aerial view of Scarritt Elementary adorned with murals.

Figure 5.05

[Left] Some of the numerous murals painted to cover doors and windows of the abandoned Scarritt Elementary School.

THE TOOLS

Since its closure in 2011, walking through the hallways of this former school is no longer an option. With the hopes of better understanding what goes behind the exterior walls, obtaining original drawings was very important at this stage of the process. In addition, photographs, sketches, and models were used to map out and reveal more details about the place. 113 Marilina Bedros

Figure 5.06

[Right] Conceptual Model depicting the notion of 'exchange'

The conceptual idea of ‘exchange’ was also explored during this phase of design. The parti model developed features arches looping over and under one another with a common central point. Modeling ‘exchange’ gave the opportunity for the creation of some design directives to ensure all subsequent design moves are always tied back to the concept. The suggested rules are: maintain visual connection between spaces, high flexibility and adaptability, appropriate scale, hierarchy, and local and familiar building materials.

BUILDING APPROACH

Figure 5.07

One important reason for selecting this site for this market-hub is the fact that it is located in a primarily residential area. Locals will have the ability to walk to Cultural Harmony from their homes. With this in mind, it was important to study their experience approaching the site. The images below show how some architectural features such as the roof and landscape elements could start informing where the building entrances are located.

[Right] Northwest streetview of Cultural Harmony.

Roof and Building Mass

Figure 5.08

Landscape Elements

[Right] Northwest streetview of Cultural Harmony.

The existing topography elevates all activities to the plinth. Terracing the land and creating a path within the landscape will give people the opportunity to increase their engagement with the site. While maintaining some physical separation between the sidewalk and seasonal market, outdoor spaces are visually connected.

Figure 5.09

Street Presence

[Right] Northwest streetview of Cultural Harmony.

To achieve a more walkable site, the building mass was split in two. Pedestrians can penetrate through the site and have greater access. The Western portion (L-shaped) is where the majority of the buy & sell spaces are located and is the primary focus of the first phase of this project.

Streets represent the main public space for people in the outdoor environment. Having a site on a four-sided block increase the exposure pedestrians have with the building. For this, there was a higher focus put on the two main building elevations that serve as the primary paths leading to Cultural Harmony. Cultural Harmony: A Place for Exchange

114

IDEAS AND ORGANIZATION Exchange of Goods

Spaces where one can trade, buy, or sell physical items such as food or crafts. Figure 5.10

[Left] Interior section through market stalls depicting the exchange of goods.

Exchange of Ideas

Spaces where one can teach or learn a skill such as a language or cook a particular dish. Figure 5.11

[Left] Sketch depicting the exchange of ideas that Cultural Harmony can create in the community.

Exchange of Human Interactions

As humans, the relationships we form with other people are vital to our mental and emotional wellbeing.19 Research has proven that social interaction offers countless benefits, especially for seniors who lose some relations with family and friends as they age.20 In Cultural Harmony, making available spaces for people to have the opportunity to interact with one another will benefit them.

115 Marilina Bedros

Figure 5.12

[Left] Sketch depicting the exchange of human interactions that Cultural Harmony can create in its site.

SITE ACCESS AND FIGURE GROUND

Figure 5.13

[Right] Figure ground site plan.

Figure 5.14

[Bottom] Cultural Harmonyâ&#x20AC;&#x2122;s avenue of cultures.

The figure ground drawing [Figure 5.13] shows the massing of the existing Scarritt Elementary School and the houses around it. The blue lines show the main accessways that one can take to come to the building. Primarily, traffic comes from the North (St. John Avenue) and from the South (Independence Avenue). The avenues surrounding the site are Anderson (North), Lexington (South), Askew (East), and Bales (West).

SCHEMATIC DESIGN REFLECTION

At this stage in the process, Cultural Harmonyâ&#x20AC;&#x2122;s potential was positively perceived. However, the scope of work was too broad. To focus more, some programmatic elements will have to be shifted to subsequent project phases. Moving forward, community members, organizations, and experts in the topic will be contacted to help fill in some of the gaps in the research.

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Mid Design SITE ANALYSIS KEY FINDINGS

After conducting an analysis of the site, the neighborhood, and the region, three main findings stood out: the high richness in culture present in Northeast Kansas City (NEKC), the lack of spaces for the community to come together, and the low food security among residents. Figure 5.15

HIGHLY DIVERSE POPULATION

LACK OF COMMUNITY SPACES

LOW FOOD SECURITY

PHASES

Due to the scope of work, the project will be subdivided into three phases. The first one is to mediate the more alarming issues - having a place for people to gather and source fresh produce. Subsequently, more areas for the visitors to come, learn, and share their heritage will be implemented in addition to housing for elders. Venues of entertainment will be opened during the last phase.

PROJECT GOALS

The main objectives to be accomplished within the first phase of this project include: • Celebrate culture in the region (ethnic and cultural hub), • Increase food security, • Provide places for the community to gather.

CONSULTANTS

To obtain additional information on the research and design a range of professionals were consulted. The following list of names includes those who have been contacted and helped: • Vicki L. Noteis - Urban Planner • Hector Casanova - Assistant Professor at Kansas City Art Institute • Shannon Jaax - Director, Planning & Real Estate Services KC Public Schools • Larry Englebrick - Kansas City Public Schools • Bobbi Baker, and Lonnie Clark - NEKC Chamber of Commerce • Katie Kingery-Page - Landscape Architecture Professor at Kansas State University • Kimberly Kramer - Structural Engneering Professor at Kansas State University From DLR Group: • Collin Wheeler - Electrical Engineer • Jonathan Draheim - Mechanical Engineer • Reid Lundin - Structural Engineer • Jackie Kolpek - Landscape Architect • Bob Carlson - Architect • Laura Beth Cochran - Architect • Brian Murch - Architect • Scott Pashia - Architect 117 Marilina Bedros

[Left] Three main insights revealed durign site analysis and that were chosen to be mediated/celebrated in this proposal.

AREAS OF INTEREST West Market Hall - Atrium

The section below depicts the seasonal craft market, info hub, and the community meeting spaces on the mezzanine. By cutting the floor plates and creating an atrium space, visitors can have a greater sensorial experience. Sounds, smells, sights travel faster through the volumes freely.

Figure 5.16

[Right] East-West Section through West Market Hall showing the atrium and info hub. S M

L DN

DN 20' - 0" UP

M L L

16'

Level 2 Copy 1 1/8" = 1'-0"

Level 1 Copy 1 1/8" = 1'-0"

32'

Demonstration Kitchen

The section perspective below highlights the demonstrating kitchen located on the ground floor. In this space, people can come and teach community members how to cook an ethnic dish or learn basic cooking skills. Figure 5.17

[Right] East-West Section showing the Demonstration Kitchen on the Ground Floor.

S M

L DN

DN 20' - 0" UP

M L L

16'

Level 2 Copy 1 1/8" = 1'-0"

Level 1 Copy 1 1/8" = 1'-0"

32'

Cultural Harmony: A Place for Exchange

118

Info Hub

Figure 5.18

Locals have expressed their desire to have a central location where they could find job listings, share information about local events, and other announcements. The info hub is the place for it. It is located on the ground floor of the building.

[Left] East-West section through Info Hub on the Ground Floor.

S M

L DN

DN 20' - 0" UP

M L L

16'

Level 2 Copy 1 1/8" = 1'-0"

Level 1 Copy 1 1/8" = 1'-0"

32'

Mezzanine Lounge

On the mezzanine, community members can hold more private meetings and access study spaces. The area overlooks the main market hall. Figure 5.19

[Left] North-South section through mezzanine lounge space S M

L DN DN

DN 20' - 0"

20' - 0" UP

119 Marilina Bedros

16'

32'

M L

16'

Level 2 Copy 1 1/8" = 1'-0"

Level 1 Copy 1 1/8" = 1'-0"

32'

MARKET STALLS

Thinking about the various types of vendors three different stalls were designed. Merchants can pick the stall size that best suits their needs.

Stall Type I - Small (4’x5’)

Small booths are perfect for vendors that do not need a lot of space to sell their products and goods. The stall is simple in nature. It provides them with a surface to display and area for storage. If desired, vendors could occupy two small stalls that are adjacent - elongating their available surfaces.

Figure 5.20

[Right] Stall Type I Small (4’x5’)

Stall Type II - Medium (6’x7’)

Figure 5.21

Medium stalls provide more amenities to vendors. They have a back shelf, better artificial lighting, signage, more storage, and more counter space to display their products.

[Right] Stall Type II Medium (6’x7’)

Stall Type III - Large (10’x10’)

Figure 5.22

Large stalls are the anchors of the market. Vendors who utilize them will be permanent. They are located closer to the entrances. This large set up allows for water/plumbing, has a canopy, larger signage, and much more counter and storage space.

[Right] Stall Type III Large (10’x10’)

REFLECTION

The feedback received in Mid Reviews was very positive. Some of the main suggestions for design considerations include reviewing the design of the market’s spill out locations; celebrate the atrium including vertical circulation; drop off areas; landscaping and embracing the topography; restroom locations; vendor’s needs including storage and stall amenities. Most importantly, understanding how a human fits within each space and design accordingly. Cultural Harmony: A Place for Exchange

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Final Design THE BUILDING BLOCK

As seen in the image below, all surounding buildings are residences.

ANDERSON AVENUE

Figure 5.23

[Top, Left] Building block with the surrounding context.

ANDERSON AVENUE

Figure 5.24

[Bottom, Left] Site plan of building block.

BALES AVENUE

ASKEW AVENUE

Figure 5.25

[Top, Right 1] Driveway approach to Cultural Harmony.

LEXINGTON AVENUE

SITE PLAN

Figure 5.26

[Top, Right 2] Parking lot approach to Cultural Harmony.

1 2

Figure 5.24

12 5

[Right, Middle] Pedestrian approach from Northwes street intersectionof Cultural Harmony.

11 4

7 9

121 Marilina Bedros

1 2 3 4 5 6 7 8 9 10 11 12

Main entry plaza Mural alley Seasonal market Picnic area Seasonal craft market community gardens Food truck plaza Open lawn Accessible parking parking plaza General public parking Drop off area

APPROACH

Being cognizant that people might be taking several means of transportation to the site, the following three images show the first experiences one can get from being dropped off, driving to, or walking to the site.

DIAGRAMS

Figure 5.25-27

1. Program 2. Interior Circulation 3. Spatial Organization

[Bottom, Right] Spatial organization, program, and circulation diagrams.

Food Market Hall Volume: light blue Craft Market Hall Volume: dark blue

Buy & Sell Teach & Learn Socialize & Entertain Service Cultural Harmony: A Place for Exchange

122

FLOOR PLANS Lower Level ANDERSON AVENUE

15 14

PHASE II AND III 13

1 11 12 10 6 9

2 3

BALES AVENUE

1 2 3 4 5 6 7 8 9

123 Marilina Bedros

Craft market plaza Receive drop off Recycling and trash Electrical closet admin office Receive area Break room Restroom Storage

10 11 12 13 14 15 16 17 18

Dry storage Wifi lounge Craft market hall Public restrooms Individual study room Storage atm Mechanical room Craft and tool shop

Figure 5.28

[Top, Left] Basement plan of Cultural Harmony.

Ground Floor ANDERSON AVENUE

20 25

PHASE II AND III

24 22 29 26

BALES AVENUE

Figure 5.29

[Top, Right] Ground floor plan of Cultural Harmony.

33 37

19 20 21 22 23 24 25 26 27 28

Entry plaza Vestibule Admin office Main market hall Permanent vendor #1 Permament vendor #2 Permanent vendor #3 Temporary vendor stalls Atrium lounge Coffee shop

29 30 31 32 33 34 35 36 37

Public restroom Info hub Community dining room Demonstration kitchen Picnic area Seasonal market plaza Info map Drop off Parking plaza

Cultural Harmony: A Place for Exchange

124

Mezzanine ANDERSON AVENUE

PHASE II AND III

38 39 40

BALES AVENUE

38 39 40 41

Quiet lounge Meeting booths Public restroom Conference room

Figure 5.30

[Top, Left] Mezzanine Floor Plan of Cultural Harmony.

125 Marilina Bedros

MAIN MARKET HALL

Figure 5.31

[Top, Right] Enlarged Plan of Cultural Harmonyâ&#x20AC;&#x2122;s main market hall and seasonal market plaza.

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126

Permanent Stalls Figure 5.32

1 2 3

Fresh produce Prepared food Sweet, treats, and beverages

[Left] Permanent stalls located on the ground floor serving as anchors for the market hall.

Figure 5.33

[Top, Right] Seasonal market viewed from the interior of Cultural Harmonyâ&#x20AC;&#x2122;s main hall.

Seasonal Stalls Figure 5.34

[Left] Movable stalls allow for vendors to roll out their merchandise into the seasonal market plaza.

Figure 5.35

[Bottom, Right] Mobile stalls with prepared ethnic food anchor stalls in the back.

127 Marilina Bedros

AREAS OF INTEREST Seasonal Market Hall Stalls - Exterior

Seasonal Market Stalls - Interior

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128

Produce Permanent Stall Figure 5.36

[Left] Visitors are now able to source fresh and local produce at the permanent stall. It is one of the anchors of the market and will have fruits and vegetables available year-round. It is the largest vendor structure available in the building.

Community Dining Figure 5.37

[Left] The community dining overlooks the seasonal market hall and is adjacent to the demonstration kitchen. Here, visitors are invited to sit and eat on communal tables. These furniture pieces, afford a greater chance of interaction between those who sit in this location.

Info Hub Figure 5.38

[Left] Info hub located on the ground floor. In this location, people can come together and see job postings on the pin board, grab a cup of coffee, or sit and enjoy the view of the seasonal and craft market halls.

129 Marilina Bedros

Section Through Market Hall Figure 5.39

[Right] North-South section through mezzanine lounge space.

Section Through West Atrium Figure 5.40

[Right] North-South section through mezzanine lounge space.

Section Through Main Concourse Figure 5.41

[Right] North-South section through mezzanine lounge space.

Cultural Harmony: A Place for Exchange

130

Mural Alley

Cultural Harmony is a place where the people can come together to celebrate the rich cultures present in Northeast Kansas City. Through the exchange of goods, ideas, and human interactions locals will gain the opportunity to grow.

â&#x20AC;&#x153;Divided we vanish. Together we grow.â&#x20AC;?

131 Marilina Bedros

Seasonal Market

Together, NEKC residents can have a common place to source fresh produce, eat ethnic foods, learn or teach a skill, sell their arts and crafts, meet new people, gather after school, study, live, work, and learn about their heritage, etc. Figure 5.42

[Left] The mural that reads “Divided we vanish. Together we grow” was created by locals and is currently mounted on one of the East windows of Scarritt Elementary School. In this proposal, the art piece has its own spot on the Mural Alley.

Figure 5.43

[Top, Right] Seasonal Market.

Figure 5.44

[Bottom, Right] Night celebrations on the main building driveway.

With the implementation of Cultural Harmony, the existing ethnic and cultural hub will be strengthened, food security will be mediated, and neighborhood members will be provided with places to gather. As the mural painted by students in NEKC that reads “divided we vanish, together we grow,” the aim is to unite people and give them this platform to help them reach their potential.

Night Celebrations on Driveway

Cultural Harmony: A Place for Exchange

132

133 Jaasiel Duarte-Terrazas

AMBIGUITY’S PLACE Jaasiel Duarte-Terrazas A Northeast Bazaar. Cultural transitions are understood to be as much a psychological process as they are a sociological one, wherein the lives of migrants are fraught with economic, social, and political instability that can weigh heavily on one’s sense of self-preservation. This is true in Northeast Kansas City where these communities are a substantial population group. Increasingly, the economic prospects of migrants in the Northeast are wavering in comparison to their more affluent neighbors. The implications of this only multiply when we consider the various factors that shape one’s mood, behaviors, and feelings of belonging. The economic disparities alone can detrimentally predispose people to strife. By focusing in and emphasizing the need for sustainable economic growth, a latent architecture focuses on supporting the growth potential of immigrants in this part of Kansas City through resilient, appropriate, and empowering spaces of social cohesion and trust. This is manifested in a Bazaar for the Northeast neighborhoods; seemingly foreign to the majority, yet comforting to our new neighbors.

Ambiguity’s Place: A Northeast Bazaar

134

Research EXECUTIVE SUMMARY: A LATENT ARCHITECTURE Ambiguity’s Place: A Northeast Bazaar aims to study the relationship between people in areas of economic disparity and the atmospheric qualities of a middle eastern typological invention, bazaar, in order to ascertain a latency we seldom experience in our contemporary age. This is a latency that allows one to slow down and affirm the sensorial, visceral, and profound characteristics of our environment to engage with positive economic modalities more closely associated with emerging economies across the world. The emphasis is not on the exchange of the dollar to bring people together but rather the intimate relationships that occur between them. The intent is to propose an adapted model that supports real people in the Northeast neighborhoods, affording them an opportunity to experience place beyond mere habitation; beyond the static and more towards ephemeral encounters that remind us of who and where we are. In this way, the general welfare of the people will be promoted in the Northeast all the while improving their economic and social prospects and resilience. Consequently, Ambiguity’s Place will serve a cultural and social function that supersedes it as merely a venue of commerce, addressing the economic instability of the area in a different and meaningful way. Space, therefore, becomes an extension of the very people that inhabit it.1 They are, after all, the Northeast’s greatest asset and yet they remain the most vulnerable to unstable and fluctuating social, economic, and political spheres.2 This can have a negative impact on a population’s self-esteem and sense of belonging. The physical manifestation of a bazaar for Northeast Kansas City arose out of an understanding of a program that asserted that much of bazaar life can happen irrespective of any architectural intervention. Understanding this began to compliment a more critical look at just what would provide a constant presence on site so that economic activity and interpersonal dialogue can thrive. What resulted was a scaled-down program consisting of a dipartite architectural salvage, a visitor center with a bulletin room and mail depository, and lastly a communal gathering lounge for large events. These elements not only provide the presence of an architecture in the form of separate pavilion-like buildings in service of bazaar life but also give more consequence to the space outside and in between. Their presence on the site subtly implies actionable sequences as ones moves in, through, and around them or by orienting one towards a view or passageway; here, an invitation to explore is extended by the architecture itself. Through these gestures, the breadth of movement that the site affords can be fully understood. Tactile perceptions from the roughness of concrete and stone walls to the water and trees that line walkways make residents creative participants in the bazaar as they move and engage with one another.3 The corollary effects of theses spaces translate to autonomy and the freedom of interpretation of one’s desires through movement and imagination of spatial potential deeper into the bazaar. This is further accentuated by the manipulation of makeshift shelters and vendor stalls that populate the open space in the bazaar proper. Their assembly, comprised of lightweight columnar U channels and hanging canvas, engages resident’s imaginative power in defining the spaces they need to fit the whims of a particular experience or situation, resulting in the changing of atmospheric conditions across the site over time. Furthermore, the consequence of this ever-changing exterior space amplifies the significance of moving through it over the course of many months. In this sense, the vast liminal space of versatility and ambiguity is prescriptive to our desire to “cause effects, rather than merely by affected” by our environment.4 Overall, it may be said that the capacity for architecture to move people, moreover, move them together is characteristic of the types of spaces that enhance one’s quality of life. Intimate participation 135 Jaasiel Duarte-Terrazas

with space and those around us results in experiences of common welfare and generosity. The success of Ambiguity’s Place is not measured by quantitative means or the exchange of dollars but rather by the experiences of a more visceral and profound nature afforded by the versatility of space to adapt to the people that need it most.

Ba·zaar

A definitional analysis between ‘markets’ and ‘bazaars’ clearly articulates the atmospheric charge and forward thinking vision that the latter affords. In this sense it could be said that the subtler dimensions of culture and space are not adequately promoted by traditional market models in the Northeast. Although their intentions are fair, they insufficiently address and deal with the ingrained issues that characterize these neighborhoods. [Figure 06.01] Whereas markets express sameness, mono-culture and mono-function5; a bazaar is peculiarly endowed with beneficially emotional and atmospheric dimensions that afford a meaningful exchange beyond that of just goods.6 A unique program for Northeast Kansas City would evolve from this understanding. [Figure 06.02]

Figure 06.01:

[Right] Definitional argument.

Multi - (functional; cultural)

Mono - (functional; cultural)

mar·ket

ba·zaar

noun:

(1): a public place where a market is held especially : a

(1): a permanently enclosed marketplace or street

place where provisions are sold at

wholesale; a farmers’ market

(2): a retail establishment usually

Figure 06.02:

kind; a fish market

of a specified

[Right] Initial concept sketch. Essential elements of a bazaar. Amble

where goods and services are exchanged or sold : originates from the Persian word bāzār.

network of merchants, bankers, and craftsman who work in that area

(2): the

Debate, orate, inform Gather Buy, sell, trade

Parti

The introduction of the bazaar to the site accentuates and transforms the existing assets of the neighborhood into a place to be admired and experienced. [Figure 06.03] These connections are made stronger by being in close proximity to one’s neighbors both indoors and outdoors. Program elements serve instead of dominate the bazaar proper and engage with residents in a meaningful way through their purposeful site locations and amenities housed within. Figure 06.03:

[Right] Parti Diagram.

Ambiguity’s Place: A Northeast Bazaar

136

PROGRAM Figure 06.04:

[Left] Key programmatic elements and activities.

Buy, sell, trade

Distilled into four (4) categories: spaces to trade; spaces to gather; spaces to debate, orate, and inform; and spaces to amble. As the program matured, it was understood that these activities occur most in flexible spaces, indoors and outdoors.

Gather

Debate, orate, inform

Amble

Bazaar Proper: Outdoor and Covered Vending Space

The multitude of events, scenarios, and atmospheres that enlighten oneâ&#x20AC;&#x2122;s experience of space can occur both outdoors and indoors. Northeast residents will find in the bazaar a breadth of space to move and find new meaning alongside their neighbors. As a mechanism of change, it will adapt to their desires as the space evolves over time.

Outdoor Space (open) = 13,260 sq. ft. Outdoor Space (covered) = 4,300 sq. ft.

Architectural Salvage (East)

Space to house reclaimed building material such as wood, stone, and metals of varying sizes. Display/ Sales Floor Checkout Mechanical Room Employee Lounge Material Warehouse Sorting Room Restroom (x2)

= 1,179 sq. ft. = 100 sq. ft. = 66 sq. ft. = 107 sq. ft. = 903 sq. ft. = 278 sq. ft. = 101 sq. ft.

Total

= 2,734 sq. ft.

137 Jaasiel Duarte-Terrazas

Architectural Salvage (West)

For the retrofitting and reutilization of acquired textiles, ceramics, furniture, and fixtures across the Kansas City Metropolitan Area. A dedicated workshop affords not only the refurbishment of goods to be sold but also any assets belonging to the bazaar proper that need to be serviced or modified. Display/ Sales Floor Checkout Storage (sales) Mechanical Room Employee Lounge Storage (BOH) Sorting Room Product Workshop Restroom (x2)

= 1,516 sq. ft. = 83 sq. ft. = 70 sq. ft. = 87 sq. ft. = 148 sq. ft. = 74 sq. ft. = 160 sq. ft. = 425 sq. ft. = 100 sq. ft.

Total

= 2,663 sq. ft.

Community Lounge

A communal space to hold various events and celebrations to bridge cultural barriers around a shared asset. Lobby Lounge/ Dining Kitchen Mechanical Room Telecom Room Storage Restroom (x2)

= 139 sq. ft. = 1,062 sq. ft. = 452 sq. ft. = 97 sq. ft. = 20 sq. ft. = 162 sq. ft. = 86 sq. ft.

Total Outdoor Extension

= 2,018 sq. ft. = 992 sq. ft.

Visitor Center

A place that provides cursory information concerning the bazaar as well as educational/ social programs in and around site. Dedicated mailboxes provide an address and means of communication for those who need it. Front Desk Lobby Bulletin Room Office Storage Closet

= 153 sq. ft. = 391 sq. ft. = 198 sq. ft. = 84 sq. ft. = 15 sq. ft.

Total

= 841 sq. ft. Ambiguityâ&#x20AC;&#x2122;s Place: A Northeast Bazaar

138

Schematic Design WHAT IS THE ATMOSPHERIC AND SOCIAL POTENTIAL OF A BAÂˇZAAR ? Figure 06.05:

[Left] Conceptual section across the site. Note the change in elevation as one moves eastward.

Figure 06.06:

[Left] Schematic plans overlay.

Figure 06.07:

[Left] Process models and conceptual planning sketches.

Process

The schematic phase was characterized by a critical study of a new commerce district interweaving into existing residential neighborhoods. To identify an essence and character was critical. The linearity of the site is explored and its potential demonstrated in model. These ideas sparked many of the moves and considerations moving forward. 139 Jaasiel Duarte-Terrazas

Figure 06.08:

[Right] Bazaar rendering demonstrative of the atmospheric and spiritual nature to be found in the bazaar for NEKC.

Figure 06.09:

[Right] Bazaars around the world were essential in understanding the atmospheric potential of these types of spaces and how they would translate to NEKC.

Space Spirit

During the schematic phase, a certain level of density was sought architecturally. A major realization was that the density necessitated by bazaar life could happen irrespective of any architectural intervention. This was critical in understanding just how the site could begin to have presence and a sense of temporality supported by minimal architecture. This marked a departure from a hyperdense rationale. Ambiguityâ&#x20AC;&#x2122;s Place: A Northeast Bazaar

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Mid Design WHAT IS ESSENTIAL? Figure 06.10:

[Left] Scale and form studies using model.

Figure 06.11:

[Left] Process models and conceptual planning sketches.

Model Studies

Ascertaining the essential elements that could be in support of daily bazaar life was critical in defining the quality of outdoor space. An architectural salvage, a community lounge, and lastly, a visitor center are in service to the bazaar proper. They provide a level of support and permanence required to sustain bazaar life. Outdoor space was conceptualized as an entity that could ebb and flow depending on the needs of residents. 141 Jaasiel Duarte-Terrazas

Figure 06.12:

[Right] Plans overlay.

Figure 06.13: [Right] Sketched sections.

Plan and Section

Further development of plans and sections helped in defining each space more clearly. The pavilions and their composition were consequential in shaping the outdoor space. The beginnings of a landscape design were conceptualized as seeking to provide shelter and places to rest accented and guided by shallow pools of water and ecological elements such as trees and planter beds. Ambiguityâ&#x20AC;&#x2122;s Place: A Northeast Bazaar

142

Final Design TOWARDS A LATENT ARCHITECTURE FOR NORTHEAST KANSAS CITY Program

Composing of spaces to allow for a variety of experiences. The major elements of space are in the form of a dipartite architectural salvage, a visitor center with mail depository and bulletin room, and a community lounge. Note the three vertical circulation access points.

Architectural Salvage (west) 2,663 sq. ft.

Visitor Center 841 sq. ft.

Architectural Salvage (east) 2,734 sq. ft. Community Lounge 2,018 sq. ft.

Figure 06.14:

Built Intervention Outdoor (open)

[Left] Programmatic layout.

Moments of Respite Outdoor (covered)

Density

Initial preconceptions about density, although useful in understanding the nature of bazaar space across the world, were not adequate or appropriate in the Northeast. Further study and iterations resulted in a scaled-back program more specific to this area. Figure 06.15:

[Left] Density evolution through iteration.

Density Over Time 143 Jaasiel Duarte-Terrazas

Circulation

The architecture provides orientation at key points of entry and their adjacency to edges subtly implies directionality and movement toward outdoor bazaar spaces.

Figure 06.16:

[Right] Major circulation paths; note the yellow “portals” defining major entry points.

Figure 06.17:

[Right] Exterior Perspective: Areas of refuge and respite in

the bazaar between building, nature, and reflecting pools.

Ambiguity’s Place: A Northeast Bazaar

144

3 1

Colorado Avenue

5 4

8 9

Proposed Alley Entrance

First Floor Plan

Special attention was given to points of entry into the bazaar at each end and at the intersection of Hardesty Avenue. To ease the harshness of these urban edges, architecture was pulled back to provide a more gentle transition from the street moving inward. Of utmost importance was a gentle movement as one traverses through the bazaar. Natural features were used to direct and imply these gestures. 145 Jaasiel Duarte-Terrazas

Figure 06.18:

First floor plan. Architectural salvage; visitor center; outdoor space.

Smart Avenue

15 14

Drury Avenue

Hardesty Avenue

Outdoor Space 1 Outdoor vending 2 Moments of respite 3 Outdoor restrooms 16 Mail depository 17 Grand Stair 18 Reflecting pool and terrace

Proposed Alley Entrance

Architectural Salvage (west) 4 Checkout 5 Display/ Sales Floor 6 Restroom (x2) 7 Mechanical Room 8 Sorting Room 9 Storage (BOH) 10 Product Workshop 11 Employee Lounge

Visitor Center 12 Lobby 13 Bulletin Room 14 Office 15 Front Desk

Ambiguityâ&#x20AC;&#x2122;s Place: A Northeast Bazaar

146

A 19 18

Drury Avenue

16 14 6

10 11

12 8 9

Outdoor Space 1 Outdoor vending 2 Moments of respite 3 Outdoor restrooms 4 Outdoor vending (covered) 18 Storage 19 Security office

Ground Floor Plan

Architectural Salvage (east) 5 Employee Lounge 6 Checkout 7 Display/ Sales Floor 8 Mechanical Room 9 Restrooms (x2) 10 Material Warehouse 11 Sorting

Proposed Alley Entrance

Visitor Center 11 Lobby 12 Lounge/ Dining 13 Kitchen 14 Mechanical Room 15 Storage 16 Restrooms (x2) 17 Outdoor extension

Entry from the eastern half of the proposed site is accentuated by a passageway defined by a portal. Lined with a water channel and a high wall this experience directs and builds up anticipation as one enters the bazaar proper.

147 Jaasiel Duarte-Terrazas

Figure 06.19:

[Top] Ground floor plan. Architectural salvage; community lounge; abundance of exterior space.

Figure 06.20:

[Opposite, Top] Open bazaar space (red dot in Figure 6.28).

Figure 06.21:

[Above] Adaptable vendor stalls and shelters.

Kit of Parts

Informed by nominal units of measure common in trade, the outdoor vending stalls and shelters provide a unique flexibility to residents and visitors to the bazaar. Composed of thin metal U-channels with spacers, they can be bridged and supported by light-gauge metal tubes to create a variety of modules. Different accessory components could be utilized some of which residents could craft themselves to fit their needs. Ambiguityâ&#x20AC;&#x2122;s Place: A Northeast Bazaar

148

Section A-A

(from left to right) Through the architectural salvage east and the open bazaar space. Looking beyond toward the covered vending space and visitor center above.

Section B-B

(from left to right) Through the covered vending space with a skylight, open bazaar space, and part of the community lounge cantilever. Beyond is the second covered vending area with monumental metal doors and the visitor center above.

149 Jaasiel Duarte-Terrazas

Figure 06.22:

[Above] Sections.

Ambiguityâ&#x20AC;&#x2122;s Place: A Northeast Bazaar

150

Section C-C (west)

Through the architectural salvage west. A place for the refurbishment of fixtures and reclaimed furniture. Small workshop services these goods but also the bazaar proper.

Section C-C (east)

(From left to right) Through grand stair. Various levels along its descent orients and sets the stage for the open bazaar space. This descent culminates on a bas-relief of the bazaar in its entirety. The main passageway into the outdoor space is shown bordered by a high wall and a channel of water. This culminates on a portal highlighting a sculpture to be produced by a Northeast resident. 151 Jaasiel Duarte-Terrazas

Figure 06.23:

[Above] Sections.

Ambiguityâ&#x20AC;&#x2122;s Place: A Northeast Bazaar

152

Section D-D (west)

(From left to right) Western entrance is characterized by an overhead plane defining the entry into the bazaar proper and the vast amount of flexible outdoor space. Trees line circulation paths and direct movement.

Section D-D (east)

(From left to right) Visitor center atop the northern covered vending area. Outdoor vending space is shown against the monumental defining wall of the bazaar proper. The end of the path leading into the bazaar is also shown.

153 Jaasiel Duarte-Terrazas

Figure 06.24:

[Above] Sections.

Ambiguityâ&#x20AC;&#x2122;s Place: A Northeast Bazaar

154

Figure 06.25:

Exterior Elevation

[Left] Exterior elevation: community lounge.

In-Situ concrete with large limestone aggregate gives the architecture a constant presence on the site to provide confidence to the community. This material strategy is common through the bazaar.

Figure 06.26:

[Left] Interior perspective: community lounge.

Interior Perspective

A communal space for all residents.

Figure 06.27:

[Left] Interior elevation with wall section call out: community lounge.

Interior Elevation

Design of the interior spaces promotes intimate interaction between residents and the architecture as well as adequate space for storage. 155 Jaasiel Duarte-Terrazas

Wall Section

Windows provide moments of respite and social interaction by allowing for more intimate seating arrangements.

1. Roof assembly

Metal roof cover Wood battens - air space Rigid insulation Vapor barrier 5” concrete metal deck 16” wide flange beams

2. Wall Assembly

In situ reinforced concrete Rigid insulation

3. Ceiling

Dropped ceiling Gypsum board suspended by heavy duty all-thread

4. Window system

Duratherm | custom wood head and sill

5. 5/8” Custom window seating. Lacquered finish to match windows

6. Floor Assembly

Wood flooring. Concrete slab on grade Vapor barrier Gravel Earth

7. Exterior paving 8. Octavio Paz

Figure 06.28:

[Right] Wall section: at window seat.

Ambiguity’s Place: A Northeast Bazaar

156

157 Jacob Frazier

REGENERATIVE CULTIVATION Jacob Frazier

At the core of this proposal lies the word regenerate: “restored to a better, higher, or more worthy state.”1 Architecture is the act of improving an environment through design, yet the term ‘sustainability’ is the principal term used to describe the ‘ideal.’ We need to be reminded: to sustain is not to improve. As architects, it is our obligation to improve the environment in all of our designs. The Regenerative Cultivation Center(RCC) is a proposal for a prototype urban farming hub and public park scape that will research and develop ways of revitalizing a site that has laid dormant for years. The targeted brownfield–a property with the presence of hazardous substances or pollutants2–is the old Hardesty Federal Complex in the neighborhood of Lykins, Kansas City. Common remediation efforts require the use of heavy machinery and remove the ability to open the process to the public. Because of its relatively cheap and efficient use of plants instead of industrial methods, phytoremediation3 invites the possibility of exposing brownfield cleanup efforts to the general public–giving the community ownership of the site through shared labor. Simultaneously, the process of phytoremediation will promote the build-up of local biodiversity through a public park scape and should also have the ability to support the cultivation of fresh, wholesome food. The RCC will provide nourishment in every sense of the word: better local air and water quality, improved health through fresh food, and the connection between different cultures as community members begin to act cooperatively.4 5 6 At its heart, this design will become a cultural hub that will act as a catalyst for a brownfield and the area as a whole–providing fresh food and public park to an ‘at risk’ population.7 Regenerative Cultivation Center

158

Schematic Design HARDESTY SITE MASTERPLAN Figure 7.01-7.03:

[From Left to Right] First master plan sketch to final master plan sketch.

Moving into the design of the Regenerative Cultivation Center it was necessary to first design a conceptual master plan of the Hardesty Federal Site. This process began with the research done in the previous fall semester and with the small thumbnail sketches depicted above. The overall goal of this exercise was to further understand the immediate site context and larger scale design goals to design a center (the Regenerative Cultivation Center) that could heal the site slowly, while simultaneously understanding what crops would grow the best within the micro-climate. The final master plan outlined below, and on the top of the next page, would become a public park for the community to enjoy while also serving as an urban farming and food hub. This site, once seen to completion, would distribute fresh, wholesome foods primarily to the Northeast Kansas City community as well as the greater metropolitan area.

159 Jacob Frazier

Figure 7.04:

[Bottom] Final schematic development of the master plan.

Figure 7.05:

[Top] Final axonometric sketch of master plan with building programs.

REGENERATIVE CULTIVATION CENTER DESIGN

Figure 7.06:

[Center, Right] Ground level of RCC.

Figure 7.07:

[Bottom] Final RCC sketch looking south from Indpendence Avenue.

This version of the RCC acts as a miniturized version of the master plan. Within its walls would be a community kitchen, hydroponics/ aquaponics center, public cafe, and vertical farming lab. Each of these programs would allow the community to test growing crops in various environments and find what could be most effectively cultivated on the micro-climate of the site. Residents would be able to test growing foods from their countries of origin in the controlled environments of the interior gardensâ&#x20AC;&#x201C;providing wholesome ingredients for local businesses and the center to utilize in cooking or preparing meals. Food is a big driver of the Northeastâ&#x20AC;&#x2122;s cultural identity, and this center would only prove to emphasize this community strength by providing fresher, localized ingredients.

Regenerative Cultivation Center

160

Mid Design

Figure 7.08:

[Left] Center concept image. Share, Cultivate, Prepare.

A REFINED DESIGN PROPOSITION

The mid review design of the Regenerative Cultivation Center still acted as a miniturized version of the master plan, but dove deeper into the ideas of cultivating, sharing, and preparing cuisine. Within this scheme the northern-most area of the center would become a community cafe and worksharing space centered around a showcase kitchen. The centralization of this program would emphasize the preparation of foods and allow the community to see what typically happens behind closed doors– breaking down the barrier between cook and customer and providing an open environment for group learning workshops. The organization of program in this scheme took precedence from what crops need to grow. Access to sunlight (for greenhouses) and a controlled environment (vertical farming) defined the program’s three layers–urban farm/greenhouse on the upper levels, black box/vertical farm residing in-between, and the public realm lying on the ground floor. Knowing that vertical farming wants to be located in a black-box and completely climate controlled,8 this intermediate layer became the flexible ‘puzzle piece’ that would be carved to allow light to penetrate through the building and create large, open spaces that would emphasize views to the cultivation spaces. 161 Jacob Frazier

Figure 7.09:

[Left] Introductory diagram. urban farm on roof, vertical farm second floor, and public on floor one.

2 8 1 3 4

1.) Public Cafe 2.) Community Room 3.) Showcase Kitchen 4.) Pantry 5.) Community Kitchen 6.) Community Bodegas 7.) Test Garden 8.) Test Vertical Farming 9.) Covered Parking 10.) Worksharing Space 11.) Community Gardens

5 9

Figure 7.10:

[Right] RCC ground floor plan.

Figure 7.11:

[Right] RCC west elevation.

Figure 7.12:

[Bottom] RCC section perspective.

West Elevation

Section A Regenerative Cultivation Center

162

Final Design REFLECTING ON PAST DESIGN ITERATIONS

Moving from the schematic and mid designs, it became apparent that the adaptive reuse of the existing site’s building was a major constraint on the center’s potential. In this final design iteration, I moved back to the essence of what I wanted to create. This proposal is about connecting the local community, providing fresh food, and reinforcing the revitalization of contaminated brownfields. Internalizing this information and breaking out of the existing building’s footprint proved to clarify and significantly improve the design for the Regenerative Cultivation Center. The concept became less about re-utilizing the existing, and more about the community and local context.

Figure 7.13:

[Left] RCC parti diagram depicting improvement over time. 163 Jacob Frazier

DESIGNING THROUGH DEEP QUESTIONING

This targeted remediation that the RCC embodies seeks to re-examine how we think about the redevelopment of brownfields everywhere by addressing the following questions in the design:

1. How can brownfield remediation be activated and owned by a surrounding community rather than sitting dormant awaiting a development and developer? 2. How can small, focused efforts be instituted in order to improve the conditions of a site without taking on the financial burden of remediating an entire site all at once? 3. How can a very serious issue of cleaning up pollution become a playful, engaging experience for community members of all ages? 4. How does ownership of the issue on a community level affect the attitudes/behavior of local citizens and their relationship to this site? 5. How can this focused development embody the historical significance of the region while also pushing for improvement and redevelopment? 6. How does the production of food, cultivation of crops, and increase in biodiversity inspire nourishment and health for the local community? 7. How can the culturally diverse population of the Northeast Kansas City neighborhoods be showcased to the greater Kansas City area and become a cultural hub?

CONCEPT: ARCHITECTURE AS LANDSCAPE

Following the questions outlined above, the concept of Architecture as Landscape was quickly determined. No longer would this structure attempt to relate to the other existing buildings on the 20acre site, but rather to the ground itself. Remediation is all about redeveloping sites from pollution to purification. Taking this idea, what shows purification better than a vibrant, biodiverse landscape that epitomizes health and well-being? Nothing. The activation of this site through the landscape will create a public park scape that showcases local flora and provides the local community access to natural ecosystems far from reach. These environments would include the Kansas City Bluffs, Kansas Flint Hills and prairies, and Missouri Ozark Highlands. The concept also reinforces impromptu interactions with local community members as one would find themselves meandering through the landscape or sitting enjoying the natural environment.

Landscape Community Learning

Figure 7.14:

Community Meeting

[Right] Architecture as landscape. Program is embodied and connected through landscape.

Regenerative Cultivation Center

164

Why Landscape?

Landscape was chosen for multiple reasons. Plants have an amazing ability to break down and filter waste, pollution, and contaminants within soils–making it an ideal solution to brownfield remediation.9 By promoting local biodiversity through this process, the benefits are twofold: (1) remediation efforts will be cheaper and can be opened to community cooperation,10 and (2) the urban environment, which often lacks appropriate amounts of green space,11 will be supplemented with a natural environment for locals to enjoy.

Figure 7.15:

[Left] Phytoremediation vs. typical remediation efforts.

Figure 7.16:

[Right] Phytoremediation through hemp (1 of many crops that are highly efficient at filtering contaminants/polluiton).

Landscape Precedents

Taking precedence primarily from the local region and Kansas City’s bluffs, secondary means of inspiration was taken from pop-up urban farms, vertical green landscapes, and twisting paths that instill a sense of exploration and discovery. All of these pieces are prevalent within the final design iteration and conceptual premise of ‘Architecture as Landscape.’

Figure 7.17:

[Left] Kansas City bluff sedimentary layers of stone, or building concept of Architecture as Landscape.

Figure 7.18-7.20: [Left] Urban Coffee Bar.

[Center] MFO Park. [Right] Winding Landscape path. 165 Jacob Frazier

Figure 7.21:

[Right] RCC final rendering depicting overview of community plaza, or the ‘community stage.’

RCC AS A COMMUNITY STAGE

This facility will become a stage showcasing performers within the community. These cast members may be anyone: a grandmother who makes the best homemade enchiladas; a muralist who wishes to improve his/her craft; a father whose desire is to farm and prepare food to nourish his family; a child who needs a place to learn and play safely; a local restaurant who wants a platform to promote their food; the possibilities are endless in such a diverse community. Within this neverending cycle of performances, both the performer and audience constantly change—building upon this landscape as an ‘eventscape,’ or destination for the greater audience of Kansas City. This center won’t simply be a prototype urban farming hub situated on a remediated brownfield; it will become a cultural hub that catalyzes the value that this community has within the region.

Figure 7.22:

[Right] RCC final section cutting through primary public spaces–’stages.’

Figure 7.23:

[Right] RCC final rendering depicting ‘community stage’ from the ground level. Regenerative Cultivation Center

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MASTERPLAN REFINEMENT

After mid reviews, it was clear that the masterplan needed to be developed further to better understand the siteâ&#x20AC;&#x2122;s context and how the RCC will serve to be a prototype for all other building functions. This new development looked at creating a public park through a centralized plaza. The plaza would serve as the front door to community-oriented shops, restaurants, and/or craft spaces. On the back end and roofs of each building, a greenhouse/aquaponics lab would allow all of these facilities to act as farm-totable or farm-to-craft programs. Lastly, phase three would become a vertical farming-centered building containing some housing, a museum oriented towards the cultures in the Northeast, and a brewery. This would allow this site to function as a food hub, cultural hub, and destination for all of Kansas City to enjoy.

Figure 7.24:

[Left] Architecture as landscape. Program is embodied and connected through landscape. 167 Jacob Frazier

Public Park Terrace, Aquaponics & Vertical Farm

Public Park Terrace, Community Lofts, Vertical Farming, Aquaponics

Commercial Offices, Parking, Vertical Farming, Rooftop Aquaponics

NEKC Cultural Museum Parking, Community Storefronts, Aquaponics, Compost & Brewery

Figure 7.25:

[Right] Architecture as landscape. Program is embodied and connected through landscape. Regenerative Cultivation Center

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First Floorplan

Interior Program

1.) Cafe B.O.H. 2.) Cafe and Worksharing 3.) Community Meeting 4.) Furniture Storage Area 5.) Central Mechanical 6.) Covered Parking 7.) Classroom 8.) Flexible Learning 9.) Building Core 10.) Teaching Kitchen 11.) Teaching Kitchen Support 12.) Enclosed Dumpster

Landscape Program

a.) Site Approach b.) Public Promenade c.) Public Plaza d.) Community Gardens e.) Community Meet Plaza f.) ‘Play’ g.) ‘Entertain’ Branch h.) ‘Cultivate’ Branch i.) ‘Art’ Branch

Figure 7.26:

[Above] RCC L1 floorplan.

Figure 7.27:

[Below] RCC L2 floorplan.

Second Floorplan Interior Program

1.) Landing Space 2.) Community Aquaponics 3.) Community Vertical Farm 4.) Semi-Public Vertical Farm 5.) Semi-Public Aquaponics 6.) Climate Control Mechanical 7.) Research Laboratory

Landscape Program

a.) ‘Entertain’ Branch b.) Community Event Space c.) Prairie d.) ‘Art’ Branch e.) ‘Observe’ Walkway

169 Jacob Frazier

FINAL RCC DESIGN SCHEME

The final design scheme seeks to be a resource for the community; a place for the exchange of ideas through common labor or common goals to improve the local area. It will be a place for farmerâ&#x20AC;&#x2122;s markets, car shows, community meetings, and any other impromptu events the community wishes to hold. The walls will become canvases for artists. The gardens an oasis for local urban farmers. And the food preparation areas sources of community nourishment. All of this tied together by the simple concept of Architecture as Landscape.

Public Education

Classroom Teaching Kitchen Common Area/Flexible Learning Directorâ&#x20AC;&#x2122;s Desk Misc/Accessory Spaces

Public Gathering

Eventscape Cafe Eventscape Cafe Kitchen & Counter Community Meeting Misc/Accessory Spaces

Public Cultivation

Public Aquaponics Public Vertical Farming Rooftop Farming

Semi-Public Cultivation

Semi-Public Aquaponics Semi-Public Vertical Farming Laboratory

Private Spaces Mechanical

Building Areas 190 s.f. 660 s.f. 2,240 s.f. 160 s.f. Building Areas 2,695 s.f. 1,180 s.f. 2,375 s.f. Building Areas 2,040 s.f. 1,380 s.f. 3,670 s.f. Building Areas 3,895 s.f. 2,290 s.f. 1,195 s.f. Building Areas 3,895 s.f.

Total Square Footage:

3,965 s.f.

Total Square Footage:

8,165 s.f. Total Square Footage:

11,560 s.f. Total Square Footage:

7,800 s.f. Total Square Footage:

3,895 s.f.

Building Total Square Footage:

35,385 s.f.

Figure 7.28:

[Right] RCC Site Plan

Regenerative Cultivation Center

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Program Diagrams

Figure 7.29:

[Top, Left] Ground level program.

Figure 7.30:

[Top, Right] L2 program.

SITE_LANDSCAPE_DIAGRAM SITE_LANDSCAPE_DIAGRAM SITE_LANDSCAPE_DIAGRAM

HVAC LAYOUT

HVAC LAYOUT HVAC LAYOUT

PROMENADE

OBSERVE PROMENADE PROMENADE

RELAX

OBSERVE

RCC PLAZA

OBSERVE

RELAX RELAX

RCC PLAZA RCC PLAZA

CAFE PLAZA CAFE PLAZA

CAFE PLAZA PRAIRIE

COMMUNITY

PLAY PLAZA

ENTERTAIN

PRAIRIE

COMMUNITY

PRAIRIE COMMUNITY

Figure 7.31:

PLAY PLAZA

ENTERTAIN

PLAY PLAZA

ENTERTAIN

CULTIVATE

[Center, Upper Left] Exterior VRF Unit Ground level zoning.

CULTIVATE

Exterior VRF Unit Exterior VRF Unit

CULTIVATE

Interior VRF Subunit Interior VRF Subunit

Interior VRF Su

Figure 7.32:

[Center, Upper Right] L2 zoning. STRUCTURAL_DIAGRAM

ENCLOSURE STRUCTURAL_DIAGRAM_L1

ENCLOSURE ENCLOSURE

STRUCTURAL_DIAGRAM STRUCTURAL_DIAGRAM

Figure 7.33:

[Center, Lower Left] L1 & L2 structural wireframe diagram.

Figure 7.34:

[Center, Lower Right] Primary Column Secondary Column L2 zoning.

STRUCTURAL_DIAGRAM_L2

Primary Column

Primary Column Primary Column Secondary Beam Secondary Beam

Secondary Column Primary Girder Secondary Beam

CIRCULATION_DIAGRAM_L1 CIRCULATION_DIAGRAM_L1 INDIAN MOUND STREETCAR TERMINUS LYKINS COMMUNITY

STREETCAR TERMINUS

CIRCULATION_DIAGRAM_L1

INDEPENDENCE AVE BUS STOP

LYKINS COMMUNITY

Figure 7.33:

[Bottom, Left] Ground level circulation.

UNITY

M S COM LYKIN Y MUNIT S COM LYKIN

171 Jacob Frazier

MUNIT

S COM

LYKIN

Prim

Load

CIRCULATION_DIAGRAM_L

CIRCULATION_DIAGRAM_L2 CIRCULATION_DIAGRAM_L2 STREETCAR TERMINUS

INDEPENDENCE AVE BUS STOP INDEPENDENCE AVE BUS STOP

Primary Girder Primary Girder Load Bearing & Foundation Walls Load Bearing & Foundation Walls

Tertiary Joists

INDIAN MOUND COMMUNITIES

Tertiary Joists

COMMUNITIES INDIAN MOUND COMMUNITIES

Secondary Column Secondary Column Tertiary Joists Tertiary Joists

Secondary Beam

Figure 7.34:

[Bottom, Right] L2 circulation.

Architecture As Landscape Axonometric

Figure 7.35:

[Right] Exploded axon depicting building as landscape. Regenerative Cultivation Center

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Existing Site Conditions The existing site is in poor condition. Shrubs and trees are growing on the existing roof and the roof membrane can be seen as peeling apart. The buildingâ&#x20AC;&#x2122;s facades are no better. Metal panels are falling into disrepair and likely the only thing that can be salvaged is the existing structural membrane that is zoned for industrial use. Because of this, the structural frame contains members larger than the typical commercial building that become a piece of the final design.

Figure 7.36:

[Left] Snapshot of existing building and site conditions.

Post-Interaction Site Conditions

The final conditions of the site will be robust and full of greenery. Whether a tree planted by a child years ago or the community gardens tended each season, the area is an urban oasis for the community to enjoy. Paths spur outward from Independence Avenue and beckon visitors to explore the many corners of the landscape. At every turn there is a new sight to see; from the prairie similar to the Konza to the vertical green walls, this park scape instills exploration.

173 Jacob Frazier

Figure 7.37:

[Center, Left] Snapshot of final site conditions after the interaction of the Regenerative Cultivation Center.

Figure 7.38:

[Bottom] North elevation from Independence Ave.

Figure 7.39:

[Top] RCCâ&#x20AC;&#x2122;s primary approach.

Figure 7.40:

[Center] Entry looking back to Independence Ave.

Figure 7.41:

[Bottom] Entry promenade from west side of site. Regenerative Cultivation Center

174

Figure 7.42:

[Left] Building wall section depicting horizontal â&#x20AC;&#x2DC;layers of the Earth.â&#x20AC;&#x2122; 175 Jacob Frazier

Figure 7.43:

[Right] Building wall elevation depicting horizontal â&#x20AC;&#x2DC;layers of the Earth.â&#x20AC;&#x2122; Regenerative Cultivation Center

176

Site Sections

Figure 7.44:

[Top] Primary learning environment section.

177 Jacob Frazier

Figure 7.45:

[Bottom] Primary meeting environment section.

Regenerative Cultivation Center

178

179

Figure 7.46:

[Full Page] Collage of renderings depicting the various spaces and areas within the landscape.

If you want to effectively adapt to and influence economic, social, cultural and environmental change, start with smallscale experiments that give you quick feedback as to what works and what doesnâ&#x20AC;&#x2122;t. -Daniel Christian Wahl12 Regenerative Cultivation Center

180

181 Yajie Zhao

HARDESTY REVIVAL Yajie Zhao

The former Hardesty Federal Complex brownfield site was the economic heart and soul of the historic Northeast district of Kansas City. It served as the primary commodity market for four states, helping to pull the region out of the Great Depression. During World War II, it employed over 10,000 people and fueled an industrial district. In 1954, the site was closed. Its economic impact was eliminated overnight and the surrounding neighborhoods have been struggling ever since.1 This proposed master plan seeks to refill the economic void in Northeast Kansas City and transform the brownfield site into an equitable green communal economic development project. The Hardesty Revival will empower the local community through job creation, education, access to affordable and healthy produce. It also remediates the site to become a community asset that serves as the local economic anchor and engine to NEKC. The Community Farming Center, as one crucial puzzle of the Hardesty Revival master plan, acting as a symbol of solidarity. The program confronts the stereotypes of the typical community center by combining public services with vertical farming and agricultural education. The farming center will introduce a variety of urban farming technologies and invite residents to participate in urban agriculture. It provides a sense of belonging and ownership that brings the local community together. Hardesty Revival

182

Schematic Design MASTER PLAN DEVELOPMENT The master plan seeks to refill the economic void in the northeast community, transform the Hardesty Complex brownfield site into a green sustainable communal economic development project that serves as the local economic anchor and engine it once was. The complex will create quality jobs, provide the neighborhood with access to locally-grown, affordable, fresh, healthy food, and social services they need. In addition, it is remediating the Hardesty site that it will no longer pose any potential negative effects for the Northeast residents. It will potentially provide significant health, welfare, environmental, and economic benefits to the Northeast community.

Vertical Farming Center

Business Incubator

1,500,000 sf

500,000 sf

Distribution Center

Food market & restaurants

150,000 sf

100,000 sf

Figure 8.07:

Agriculture Education Center

[Left] Master plan proposal. Community Farming Center

115,000 sf

80,000 sf

Figure 8.08: Public Vehicular Circulation

183 Yajie Zhao

Industrial Vehicular Circulation

Pedestrian Circulation

[Left] Site diagrams.

Harvesting

Post-Harvesting

Processing

Warehouse

Distributors

Retailers

Consumers

Traditional Farm

Harvesting

Processing

Consumers

Urban farming

Time

Figure 8.09:

[Right] Farming production comparison.

Food Miles Nutrients Lost

1–3 Days 1–50

0–5 %

7–10 Days 1,000–2,500 Miles 25–40%

Figure 8.10:

[Right] Production calculation.

Hardesty Revival

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CONCEPT DEVELOPMENT The concept aims to confront the stereotypes and conventions of the typical community center by combining innovative urban farming and community services. The Community Farming Center not only provides essential social services, but also introduces a variety of urban farming technologies, producing affordable fresh food, and provides essential social services to brings the Northeast community together.

LEARN

Space to learn urban farming techniques. Space to learn heathly cooking methods. Space to learn heathly diet and lifestyle. 24,000 SF 30%

CULTIVATE

Space to showcase urban farming methods. Space to grow fresh, healthy food. Space to increases food accessibility. 32,000 SF 40%

GATHER

Space to housing volunteer activities. Space to housing private family function. Space to host community events. 24,000 SF 30%

185 Yajie Zhao

Figure 8.11:

[Left] Schematic program axon diagram.

Figure 8.12:

[Right] Approaching Community Farming Center.

Figure 8.13:

[Right] Building section. Hardesty Revival

186

Mid Design PROGRAM DEVELPOMENT

After schematic reviews, the project focused on rearranging the interior layout that would be better suited to the master plan context and pedestrian circulation. Careful distribution of the exterior plinth and the concrete core demarcates the various functions while maintaining an appropriate scale. The ground floor provides an open and welcoming space for flexible usage that gathers people in varied activities, such as hosting events every week to engage residents in farming, cooking, and healthy diets. The second-floor function as a farming platform produces varieties of vegetables, fruits, herbs, and flowers. The farm can provide over 15,000 pounds of produce each year to the community. These fresh foods will be used to help local businesses, low-income families, and the homeless population. The Community Farming Center not only provides food but also serves as an educational facility for members of the community to learn about urban farming practices. It will also house a laboratory where students, faculty, and the community test ideas about social and environmental aspects of farming and urban agriculture. Working, learning, and playing in the Community Farming Center can motivate and enable a healthy and sustainable lifestyle.

Approach from Independence Avenue

Park

Plaza Community Garden

Approach from other facilities

Research Lab

Figure 8.14:

187 Yajie Zhao

[Left] Relation between building and site.

Office & Amenity 2,000 SF

Food Vender 1,700 SF

Community Gather 2,500 SF

Library

1,200 SF

Community Kitchen 1,500 SF

Figure 8.15:

[Top] Ground floor program.

Office & Amenity 2,000 SF

Early Education Space 2,000 SF

Hydroponic Farming 18,500 SF

Lecture Space 2,000 SF

Aeroponic Farming

Figure 8.16:

[Bottom] Second floor program.

10,000 SF

Hardesty Revival

188

PROGRAM DEVELPOMENT

Figure 8.17:

[Left] Building section, transverse.

Figure 8.18:

[Left] Building section longitudinal.

189 Yajie Zhao

Figure 8.19: [Right] Lobby.

Figure 8.20:

[Right] Aquaponic farm.

Figure 8.21:

[Right] Community kitchen.

Hardesty Revival

190

Final Design LANDSCAPE REFINEMENT In the final iteration, the landscape design aims to create visual and psychological connection between neighbors and the urban agriculture. The plaza and parks brings agriculture back into the urban environment and into peopleâ&#x20AC;&#x2122;s daily lives. Typologies of the original buildings are reconceived in a new way, inspiring a unique urban morphology that weaves architecture with agriculture throughout the site. The master plan now includes an industrial vertical farming center, distribution center, business incubator, manufacturing center, food market, and Community Farming Center.

Figure 8.22:

City surrounded by traditional farm land

Urban farming surrounded by City

[Left] Parti diagram.

Figure 8.23:

[Left] Refined master plan. 191 Yajie Zhao

Pedestrian Circulation

Industrial Circulation Pedestrian Circulation Vehicular Circulation

Industrial Circulation

Figure 8.24:

[Right] Site circulation.

The complex opens to the public from Hardesty Avenue and Independence Avenue. The Community Farming Center defines the main attraction and brings the community together.

Revival Fields Park Seasonal Crops

Urban Ranch Park Community Garden

Figure 8.25:

Landscape diagram.

The landscape design utilizes different methods to clean contaminated soil, suh as using special hyperaccumulator plants to extract heavy metals from contaminated soil. Hardesty Revival

192

LANDSCAPE REFINEMENT

Business Incubator

Landscape Monument Abandoned Smokestack

Exterior Exhibition Abandoned Warehouse

Fruit Garden

Former Shooting Range

The abandoned smokestack and warehouse have been preserved and renovated into the complex monument and exhibition space to introduce the history of the site. The former shooting range has become a fruit garden that can produce fruit products without absorbing any heavy metals contained in the soil. The revival fields use hyperaccumulator plants and seasonal crops to extract chemical substances from the contaminated soil. In this way, the Hardesty Complex becomes a monument to the fall and the new rise of the Northeast industry, a moment in the collective consciousness of Northeast Kansas City. 193 Yajie Zhao

Revival Fields

Former Waste Incineration

Figure 8.26:

[Above] Site section.

Seasonal Crops

Vertical Garden

Manufacturer Center

Having visual connections from both Independence and Hardesty Avenue, the Community Farming Center engages the public and invites people in. A large elevated plaza adjacent to the Community Farming Center will be a catalyst for flexible usage and varied activities, such as farmers markets, swap shops, festivals, celebrations, etc. The vertical garden, supported by existing columns and reinforced beams, is connected to the plaza, provides shades and forestlike environment, and invites people to learn, harvest, and explore. Hardesty Revival

194

PROGRAM REFINEMENT Space Food Vendor Office

Meeting Room x 2 Computer Lab

Conferences Room

Community Kitchen Electrical Room x 2

Mechanical Room x 2 Compost Room

Square Footage 1,743 SF 1,125 SF 225 SF

1,344 SF 367 SF 960 SF 212 SF 635 SF 173 SF

Cooking Classroom

1,100 SF

WorkShop

1,620 SF

Community Room

Water Treatment Room Filtration Room

Aeroponic Seedling Room Hydroponic Farming Aquaponic Farming Storage Lobby

1,481 SF 325 SF 298 SF

1,083 SF

18,792 SF 8,470 SF 2,490 SF 5,191 SF Total Occupancy: 434 Grossing Factor: 1.22 Total Square Footage: 47,634 SF

Occupancy Type: Assembly Group A-3 Community Halls, Lecture Halls, Libraries Construction Type: TYPE II-B Unprotected Non-Combustible Zoning: UR, Urban Redevelopment District ICO, Independence Corridor Overlay 195 Yajie Zhao

Community Farm

Amenity

Main Staircase

Food Vendor Computer Lab

Vertical Garden

Community Kitchen

Future Expansion

[Right] Program axon diagram.

Figure 8.27:

Hardesty Revival

196

TECTONICS The facade solution was to replace the existing concrete wall and roof with ETFE films. Ethylene Tetrafluoroethylene (ETFE) is a fluorine-based plastic polymer that offers a creative and lightweight alternative to glass. Developed over 40 years ago by DuPont, ETFE has similar light transmission to glass, but at just 1% of the weight. With a lifespan of over 30 years and excellent weathering properties, ETFE film is perfect material choice for indoor farming space in a variety of climates.7 By placing four layers of ETFE alongside each other and adjusting the width between layers, The facade system can modulate the insulative capacity. The layers created two air chambers that inflate and deflate depending on the weather. With the right sensors and controls, it can respond to the weather in real time.

Winter time

Summer time

Layer A

Layer B

Figure 8.28:

[Left] Wall section

Figure 8.29:

[Top, Right] Solar control system.

Figure 8.30: Closed 197 Yajie Zhao

[Bottom, Right] ETFE layer diagram.

The existing sturcture is constructed with two way concrete flat slab with drop panels system. Comparing the maximum load capacity of the two way flat slab system against the calculated weight of the hydroponic and aquaponic systems confirms that these systems can be supported. Unnecessary portions of floorplates are removed after the surrounding columns and beams are reinforced by steel frames. Maximum load capacity = 18,946kg / 20 ft x 20 ft Hydroponic System = 3,919kg of food and equipment + 733.32kg of water = 4,652 kg / 20 ft x 20 ft Aquaponic System = 2449kg of food and equipment + 6804 kg of water = 9,253 kg / 20 ft x 20 ft

Figure 8.31: [Top] Structure Diagram.

Figure 8.32:

[Bottom] Case Study: Ponce City Market. Hardesty Revival

198

Office

Food Vender

Community Room

Computer Lab

Community Kitchen

The interior layout explores different possibilities of spatial organization within the original column grids, creating a refreshing and playful spatial experience. A retail space located at the entrance of the building provides affordable fresh vegetables right on the vertical grow beds for visitors to harvest. A community room holds various gatherings and lectures to introduce the vertical farming concept and create opportunities for new visitors to interact with community members. A community kitchen will host dinner gatherings to teach cooking methods of different cuisines while introducing healthy diets. 199 Yajie Zhao

Figure 8.33:

[Top, Left] Ground floor plan.

Figure 8.34:

[Top, Right] Food vendor.

Figure 8.35:

[Bottom, Right] Lobby view.

Hardesty Revival

200

LED Grow Room

Hydroponic Workshop

Germination Chamber Aquaponics Workshop

The second floor functions as a farming platform with the capability to produce varieties of vegetables, fruits, herbs, and flowers. Different mechanical systems such as electrical, plumbing, filtration, and water treatment are separated and carefully orientated throughout the space while being visible to the public. Each mechanical room pair with lecture space creates learning opportunities on a variety of topics. Working, learning, and playing in the Community Farming Center can motivate and enable a healthy and sustainable lifestyle. 201 Yajie Zhao

Figure 8.36:

[Top, Left] Second floor plan.

Figure 8.37:

[Top, Right] Aquaponic farm.

Figure 8.38:

[Bottom, Right] Hydroponic farm.

Hardesty Revival

202

Fruit Garden

203 Yajie Zhao

Hydroponic Farm

Food Vender

LED Grow Room

Computer Lab

Germination Chamber

Aquaponic Farm

Parking

Figure 8.39:

[Above] Building section, longitudinal. Hardesty Revival

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205 Nataani Garnenez

LYKINS YOUTH ACADEMY Nataani Garnenez

Allegory, Adolescence, Architecture, & Academy. an advocation.

Manâ&#x20AC;&#x2122;s maturity: to have regained the seriousness that he had as a child at play. -Friedrich Nietzche At the heart of the philosophy and architecture of Lykins Youth Academy, is an advocation for individual transcendence and community self-actualization through play, the design process, and youth development. Designed to accommodate the playful and exploratory propensities of human nature and based on the philosophy that everyone can learn and everyone can teach, the Academy looks to the collective knowledge of the community for expertise and mastery as an offering to the youth of Northeast Kansas City. The Academy focuses on the personal and academic development of middle school and high school students (11-17 year olds) living in the neighborhood of Lykins. Here lies the initial development of a model of education that expands on the knowledge and information acquired through the United Statesâ&#x20AC;&#x2122; challenging Common Core Curriculum in a community learning setting. By introducing a complimentary educational method that embraces the whole being, the Academy actively improves the unique skills and intellect of each student in a individualized, yet multidisciplinary setting. Herein, the Academy can effectively prepare young adolescent students of a disadvantaged community for a life in the 21st century.

Lykins Youth Academy

206

207 Rayan Cheikh

10 SYMBIOSIS Rayan Cheikh Caught between her individual struggles and the quest for belonging, Kalia London finds herself alienated from her home in Kansas City.1 The innate desire to form a symbiotic relationship in one’s neighborhood took a back seat among the youth of Northeast Kansas City. Even though the area was once perceived through the lens of promising economic and social stability, much of its contemporary values are buried beneath a darker surface, infusing the neighborhoods with several underlying issues.2 Brought together in the form of a Social Condenser, my proposal aims to promote public engagement and build a stronger sense of community among the teens (ages 12-18) of Northeast Kansas City. The program centers on three main spaces – the natural, interactive, and protected – to help create a design focused on placemaking. The notion of a front porch finds a surprising echo in the search for interactive environments. This spatial asset is more than a quaint architectural bauble annexed to the façade of a house. Its intermediary nature enables people to seek out social networks based on spatial configuration rather than choice or interest.3 For this reason, inheriting the front porch mindset into the project became the guiding path to my thought process. The intent is not to replicate architectural styles or historical patterns, but to provide the teens of modern-day communities with what they seek for in attaining a sense of belonging.

Symbiosis

208

Research A SENSE OF BELONGING

Figure 10.01:

[Left] Street view of Quindaro Boulevard where Kalia lives.

209 Rayan Cheikh

Figure 10.02:

[Right] Kalia London believes that the negative perception on her community hurts more than the violence itself.

“If I’m going to start a new section of my life, this isn’t where I want to do it.” Kalia (14 year old)

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TRACES OF THE PAST The comprehensive framework guided by the Truman Plaza Plan represents the collective vision and road map for the area. Several neighborhoods make up the region, and they are as diverse in character as they are in hardship.4 The neighborhoodsâ&#x20AC;&#x2122; classification was determined by the socioeconomic indicators existing on-site, including but not limited to: median income, crime, poverty rate, and dangerous buildings.5

TRUMAN PLAZA AREA PLAN NORTHEAST KANSAS CITY

211 Rayan Cheikh

Figure 10.03:

[Left] Truman Plaza Area Plan with respect to Kansas City.

TYPOLOGY OF NORTHEAST KANSAS CITY Figure 10.04:

[Right] Profile of Northeast Kansas City.

The map below reveals an analysis of the above factors that resulted in classifying parts of Lykins, Independence Plaza, and Scarritt Renaissance neighborhoods as transitional. This indicates that attention is needed in these areas to ensure stability so they donâ&#x20AC;&#x2122;t fall prey to blighting influences. Besides these conditions, Lykins neighborhood scored as one of the highest crime rates in Jackson county in 2017.6 Building upon the Truman Plaza vision, Lykins reveals a need for promoting a safe and clean environment while decreasing the crime rate.

INS LYK

Religious Buildings Mental Health Services Schools

EP IND

CE DEN

ZA PLA

Community Centers Public Parks Transitional Neighborhoods

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RESOURCE SCARCITY Figure 10.05:

[Left] Natural Environment.

Religious Buildings

Schools

Library

Community Center

Museum

Figure 10.06:

[Left] Interactive Environment.

Mental Health and Behavioral Services

Figure 10.07:

[Left] Protected Environment.

Religious buildings

213 Rayan Cheikh

Schools

Library

Community Center

Museum

Mental Health Services

SITE POTENTIAL The site for this proposal sits in one of the many vacant lots in the Lykins neighborhood – a place that was classified as “transitional” by the Truman Plaza Area Plan. Besides the strong racial and cultural diversity evident in this area, the strategic location of the site allows for the ease of vehicular and pedestrian flow from two of the neighboring schools and multiple bus stops which already line the block. Drawing upon the existing infrastructure, the adjacency of the site to Lykins Square Park serves as a magnetic force to attract people into this place.

Figure 10.08:

[Right] Site strategic location.

Northeast Middle School & High School 16mins walk

Site

Guadalupe Center's Elementary School 29mins walk 16mins bus ride

Lykins Square Park

Whittier Elementary School 13mins walk

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Schematic Design FRONT PORCH AS A THRESHOLD Figure 10.09:

[Left] Community garden featuring the teaching kitchen.

Figure 10.10:

[Left] Sketch showing the design intervention on site.

The quest for architectural identity is accompanied by incorporating the conceptual idea into the interactive, natural, and protected spaces. Turning the kitchen into a transitional zone â&#x20AC;&#x201C; front porch â&#x20AC;&#x201C; that lives between the learning spaces and community gardens was one approach. Another suggestion was to reverse the equation and think of extending the park into the project. Both possibilities introduced a new line of thought moving forward. 215 Rayan Cheikh

PARTI DIAGRAM Figure 10.11:

[Right] Front porch process diagram. 01 01 Front porch as the transitional Front porch as the transitional zone between inside and zone outside between inside and outside

02 02 Layer spaces both in section Layerand spaces plan both in section and plan

01 01 Front porch as the transitional Front porch as the transitional zone between inside and zone outside between inside and outside

02 02 Layer spaces both in section Layerand spaces plan both in section and plan

Learning Spaces

Learning

Interactive Spaces

Interacti

Protected Spaces Learning Spaces Outdoor Space Interactive Spaces

Protected Learning Outdoor Interacti

Protected Spaces

Protected

Outdoor Space

Outdoor

03 03 Fold the layers to create opportunities Fold the layers to create opportunities for porches and indoor spaces for porches and indoor spaces

04 04 Divide the program basedDivide on thethe program based on the interactive and protectedinteractive environments and protected environments

03 03 Fold the layers to create opportunities Fold the layers to create opportunities for porches and indoor spaces for porches and indoor spaces

04 04 Divide the program basedDivide on thethe program based on the interactive and protectedinteractive environments and protected environments

2500 sf Library Reading Spaces Counselling

Figure 10.12: [Right] Massing diagram.

3500 sf Language learning Classrooms Administration Offices

4700 sf Lobby Assembly Hall Infomation Discovery

5000 sf Art Studio Maker Space Exhibition Space

4200 sf Dance Studio Fitness & Wellness Studio

2200 sf Community Kitchen Cafe

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Mid Design FRONT PORCH AS AN EXTENSION OF LIVING QUARTERS Figure 10.13:

[Left] Front porch perspective view from the park.

Figure 10.14:

[Left] Teaching kitchen interior view.

Looking back at the discussions that emerged during my review, I came across a multitude of possibilities that could guide my project in several ways. Although my argument effectively showcased the concept of “porchness” and “parkness” lending itself to the design, it also contradicted itself with the compact quality of a traditional porch. This is when testing the validity of my idea was necessary to transcend the prevailing limitations of what the diagram holds. Allowing myself to see beyond the restrictive barriers of my plan promoted clarity. Thinking of the porch as an extension of living quarters and then defining this act by bleeding the spaces into one another was one way to look at it. 217 Rayan Cheikh

Figure 10.15:

E 7 ST

[Top] Study models of two different schemes on the site at 1’-0” = 1/32.

4 2 26 1 +8'-0" 8

Figure 10.16:

MYRTLE AVE

[Right] Ground floor plan.

25 +4'-0"

+12'-0"

+0'-0"

18 9 10

10 11

19 16

24 12

Figure 10.17:

[Bottom] West-East building section.

10'

20'

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Final Design FRONT PORCH AS SPATIAL ASSET

FRONT PORCH

WRAP AROUND PORCH

PORCH + BALCONY

LOGGIA

SCHEME ON SITE

SIDE PORCH

ELEVATED PORCH

PROJECTED PORCH

SLEEPING PORCH

Figure 10.18:

[Top, Left] Porch typologies.

Figure 10.19:

PROGRAM

PORCH

PARK

Revisiting my work from schematics and mid reviews helped me acknowledge that treating the porch as a tangential thought rather than a driving scheme was a misstep. The simple exercise of developing porch typologies revealed that they all share a common quality of compactness. Therefore, rather than distributing the program all over the site, a central piece in charge of the subordinate functions becomes hierarchically valuable.

219 Rayan Cheikh

[Left] Parti diagram.

CONTEXTUAL FEATURES Figure 10.20:

[Right] Site circulation diagram.

Figure 10.21:

[Right] Porches figure ground diagram.

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STUDY MODELS

Figure 10.22:

[Top, Left] Study model at 1’-0”= 1/32 understanding the porch scheme with respect to the site topography.

Figure 10.23:

[Top, Right] Study model at 1’-0”= 1/16 understanding sectional quality of each space.

Figure 10.24:

[Bottom, Left] Program zoning diagram.

PRIVATE 221 Rayan Cheikh

SEMI PUBLIC PRIVATE

PUBLIC

PROGRAM 01 Interactive Environment

12410 sf

The Front Porch 2225 sf Teaching Kitchen 1325 sf Assembly Hall 1390 sf Singing & Band Practice Classrooms 300 sf Language Learning Classrooms 330 sf Lobby 1100 sf Ceramics Studio 1400 sf Glazing Room 150 sf Kiln Room 150 sf Art Studio 1600 sf Exhibition Gallery 770 sf Metal & Wood Workshop 1000 sf Fabrication Lab 670 sf

02 Natural Environment Outdoor Central Courtyard Outdoor Exhibition Space

03 Protected Environment

5600 sf 4500 sf 1100 sf

2000 sf

Administration Offices 330 sf Conference Room 180 sf Waiting Area 290 sf Counseling Services 440 sf Reading Room 460 sf Information Discovery Space 300 sf

04 Services 1250 sf Restrooms 550 sf Custodial Closet 100 sf Mechanical Room 250 sf Electrical Room 90 sf Storage Rooms 260 sf Overall 21260 sf Grossing Factor (15%) 3190 sf Total 24450 sf Symbiosis

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SITE PLAN

223 Rayan Cheikh

Figure 10.25:

[Top] Intention of the site plan is to embrace the park and bring some of its qualities to the overall design.

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FLOOR PLANS

1. Teaching Kitchen 2. Assembly Space 3. Singing & Practice Classroom 4. Language Learning Classroom 5. Lobby 6. Ceramics Studio 7. Kiln Room 8. Glazing Room 9. Exhibition Gallery

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10. Art Studio 11. Wood Workshop 12. Fabrication Lab 13. Metal Workshop 14. Administration Offices 15. Conference Room 16. Waiting Area 17. Counseling Services 18. Reading Room

19. Custodial 20. Closet 21. Electrical Room 22. Mechanical Room 23. Storage 24. Pantry 25. Front Porch 26. Inner Courtyard 27. Outdoor Exhibition Space

Figure 10.26:

[Top, Left] Ground Floor Plan.

Figure 10.27:

[Top, Right] Inverse Plan.

One of the critical components of adopting the “porchness” mindset as my parti is designing the outdoor pocket parks in my program. Creating a reversed plan drawing that highlights the exterior gems of the landscape while toning down the interior spaces becomes an essential part of the narrative. The sequence of spaces arranged in the plan follows a certain pattern that embodies prospectrefuge characteristics. That is, both the teaching kitchen and the assembly hall float in the public zone, while the rest of the learning spaces engulf the inner courtyard. This leaves the offices, counseling services, and reading room tucked away in their private realm. Thus, the participant remains palpably ‘out there’ and enwrapped by the varying environments as they overlook the panoramic view to Lykins Square Park.

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THE APPROACH

Striving to incorporate the park into my project while accentuating the implication of the front porch led me to begin carving at the landscape. In this way, the Social Condenser becomes a network of interactive learning spaces connected at different levels. This act not only disburdens the challenges of the building height and scale with respect to the residential neighborhood but also appropriates the spaces to the peculiarities of the sloping site. As one takes a stroll in the park, across the grassy landscape, glimpses of the teaching kitchen unravel behind the busy front porch: a liminal space where boundaries are blurred, offering a simultaneous sense of inside and outside, envelopment and detachment, as well as prospect and refuge. A flight of steps is designed to transition from the paved crosswalk on Myrtle Avenue to the elevated porch in front of the teaching kitchen. Along the side, an ADA accessible ramp slices the stairs and winds up between the planted gardens to stop at different platforms before arriving at the semi-public courtyard.

227 Rayan Cheikh

Figure 10.28:

[Top, Left] Myrtle Avenue Street Elevation. [Bottom, Left] E 7th Street Elevation.

Figure 10.29:

[Right] The approach to the site from the park.

Figure 10.30:

[Right] The main circulation showing the front porch.

Figure 10.31:

[Right] ADA ramp winding up between the community gardens.

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228

Figure 10.32:

[Top] Sectional perspective showing the transition from park, to front porch, teaching kitchen, and assembly hall.

229 Rayan Cheikh

It may be true that the front porch has escaped our modern-day structures; however, it is certain that this median space has emerged somewhere else. The notion of a front porch finds a surprising echo in the search for interactive environments. This spatial asset is more than a quaint architectural bauble annexed to the faรงade of a house. Its intermediary nature enables people to experience more natural social networks based on spatial configuration rather than targeted effort. Symbiosis

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MATERIALS AND COMPOSITION Figure 10.33:

[Left] Interior perspective of teaching kitchen.

Figure 10.34:

[Left] Interior elevations.

East Elevation

West Elevation

To enhance the atmospheric quality in the spaces various slits and light wells puncture the art studios, hallways, and makerâ&#x20AC;&#x2122;s space to filter natural light into the interior. A tangible aspect that complements the human experience in space is the quality of surface patterns and textures. Heavy timber along with masonry shear walls are the materials of both outside and inside. Stone has deeply raked horizontal joints, giving the wall surfaces a sense of mass and texture; while the exposed wood structure gives a warm ambiance to the room and an overall sense of richness and tactility. 231 Rayan Cheikh

TEACHING KITCHEN DETAILS CLERESTORY SECTION

3 4 5

1. METAL CAP 2. 2X10 WOOD FASCIA 3. METAL FLASHING 4. ELASTOMERIC ROOF COATING 5. 5/8” PLYWOOD 6. 2X4 @ 16” O.C. 7. 5/8” PLYWOOD 8. 2X6 TONGUE AND GROOVE SOFFIT 9. BATT INSULATION 11. WINDOW SILL METAL FLASHING 12. CANT STRIP

Figure 10.35:

[Right] Details at clerestory and ground condition.

6 7 8 10

TEACHING KITCHEN DETAILS 3 4 5

INTERIOR

EXTERIOR

11 12

6 7 8 10

INTERIOR

CLERESTORY SECTION 1. METAL CAP 2. 2X10 WOOD FASCIA 3. METAL FLASHING 4. ELASTOMERIC ROOF COATING 5. 5/8” PLYWOOD 6. 2X4 @ 16” O.C. 7. 5/8” PLYWOOD 8. 2X6 TONGUE AND GROOVE SOFFIT 9. BATT INSULATION 11. WINDOW SILL METAL FLASHING 12. CANT STRIP

EXTERIOR

11 12

CLERESTORY SECTION

EXTERIOR

1. METAL CAP 2. 2X10 WOOD FASCIA 3. METAL FLASHING 4. ELASTOMERIC ROOF COATING 5. 5/8” PLYWOOD 6. 2X4 @ 16” O.C. GROUND SECTION 7. 5/8” PLYWOOD 8. 2X6 TONGUE AND GROOVE SOFFIT 9. BATT INSULATION 11. WINDOW SILL METAL FLASHING1. STOREFRONT WINDOW ASSEMBLY 12. CANT STRIP 2. TILE

INTERIOR 1 2

GROUND SECTIO

1. STOREFRONT WIND 2. TILE 3. 6” CONCRETE SLA 4. TILE SILL 5. EXTERIOR PAVING

3. 6” CONCRETE SLAB ON GRADE 4. TILE SILL 5. EXTERIOR PAVING Symbiosis

232

BUILDING SECTIONS AND INTERIOR SPACES Figure 10.36:

[Left] North-South section.

233 Rayan Cheikh

WRAP AROUND PORCH

PORCH + BALCONY

LOGGIA

SCHEME ON SITE

Figure 10.37:

[Right] East-West section.

ELEVATED PORCH

PROJECTED PORCH

SLEEPING PORCH

Figure 10.38:

[Left] Inner courtyard.

Figure 10.39:

[Right] Series of vignettes showing the reading room being designed at the scale of an individual.

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234

235 Samantha Davies

BUILDING THE CRAFTSMAN Samantha Davies Architecture should aim to provide a place to inspire action. It is not new ideals that result in positive change, but the enhancement of what already exists. By focusing on what is, architecture is the tool to create what could be. This idea is exceptionally relevant for the historically rich nature of Northeast Kansas City. This area has been a place of diversity and change. Over the past few centuries, many groups of people have migrated to the area, filling it with strong compositions of ethnicity, tradition, and skill. The identity of the region, shaped by the hands of its residents, continues to change in terms of demographic, occupation, and architecture. In many ways, this transformation has benefitted the neighborhoods in the development of a profoundly unique culture within Kansas City. However, ongoing economic decline has left places devoid of life and buildings abandoned without purpose. In correlation with the Northeast infrastructure, locals are without sufficient jobs, income, and education. These uncertain futures play a critical role in determining their trajectory toward success. Building the Craftsman will provide a place to inspire confidence in struggling residents of Northeast Kansas City (NEKC) by encouraging personal and professional identities through craft.

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236

Research HISTORY OF NORTHEAST The economic state of NEKC has not always been declining like it currently is. In the late 1800s, its vibrant ecology had lead to thriving economic success in the area. People were expanding, earning money, and had the luxury of doing so. With over 120 countries represented in the area, people were migrating from all over the world and continue to today.1 These new residents sought work while the wealthy white people had begun expanding and moving on in the urban sprawl. A diverse population was left behind in a high-density core of NEKC.2 This lead to segregation among groups with similar backgrounds and values.

Figure 11.01:

[Top, Left] Shop activity in the neighborhoods (turn of the century).

Figure 11.02:

[Top, Left] Activity of the Truman Street area (turn of the century).

CURRENT ECONOMIC CONDITIONS The neighborhood conditions today are drastically different. As the residents separated themselves, neighborhoods became ghostly and buildings and districts left behind. Shops were locked and residents were left without sufficient jobs to support themselves and their families. This left a dense urban core with impoverished families who were left behind to slowly segregate themselves into their territories.3 This, combined with the lack of funding and capable employed residents, has led to scenarios where buildings and homes are abandoned and closed, further turning away any possible vibrant life that was once there.

Figure 11.03:

[Bottom, Above] Flag murals of country representation in NEKC.

Figure 11.04:

[Bottom, Left] Shops devoid of life in current NEKC. situations.

Figure 11.05:

[Bottom, Right] Closed businesses left behind in current NEKC. 237 Samantha Davies

SITE CONDITIONS The primary issues found in NEKC consist of lack of employment opportunities,4 income,5 and education5. This became the main focus for Building the Craftsman-to offer a program to lend help to struggling residents of the neighborhood in these areas. While determining where to implement this program, part of the research involved discovering which resources would be in the area which can pertain to such a program. Construction-related fields dominate this portion of the Kansas City area and were seen as an opportunity in informing the program.

Critical Issues

LOWEST EDUCATIONAL ATTAINMENT

HIGHEST UNEMPLOYMENT RATES

LOWEST MEDIAN HOUSEHOLD INCOME

Figure 11.06:

9TH STREET

BELLAFON TAINE AVE

[Right] Critical issues site map showing prominent region.

GLADSTON E AVE

INDEPENDENCE A VE.

Related Fields CONSTRUCTION LUMBER METAL SITE

Figure 11.07:

[Right] Related field resources in context of the greater Kansas City area.

N Building the Craftsman

238

SITE CONDITIONS The site for this program is located on the corner of 9th Street and Gladstone Avenue, just a few blocks south of NEKCâ&#x20AC;&#x2122;s main thoroughfare, Independence Avenue. The location was chosen based upon proximity to existing construction resources overlayed with areas of the neighborhoods which experience the most financial, educational, and employment struggle. The change in topography is subtle on both North/South and East/West axes, dipping slightly lower in elevation at the intersection of the streets. With the material context of a small strip of older business buildings, this intersection stands out in its residential context. This area requires revival and is the perfect place to reactivate this layer of the neighborhood context. site existing

Figure 11.08:

[Left] Graphic depicting street context on site.

Figure 11.09:

[Left] Graphic depicting street context across from site. 239 Samantha Davies

As an analogy of celebrating the existing to transform for the future, the program uses two existing building shells on this corner site combined with new construction to tie the structures together and extend to activate the corner. While approaching the site on foot either from home or on-street parking, residents can glance into the activities showcased through transparent materials to understand the intentions of this place. One enters through the central building block to find a variety of intimate crafting spaces found in one core atrium space.

ING XIST

NEW0 SF 0

11,0

0 SF

TING EXIS 00 SF 3,0

7,00

NEW

0 SF

1,40

DEM

BENT

ON B

LVD.

EA VE

LLE

REET

9TH ST

NT AIN

EA VE

Figure 11.10:

BENTON BLVD.

GLADSTONE AVE.

[Right] View of massing of existing buildings in context.

Figure 11.11:

[Right] Site highlight with surrounding context.

10TH STREET

BELLEFONTAINE AVE.

9TH STREET

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240

Schematic Design PROGRAM ITERATION 1 - EDUCATE | SUPPORT | CONNECT During the schematic phase of design, the program was far more complicated in attempting to encompass all forms of education. Originally, it was broken into two branches-educate and support. Throughout the process, these programmatic branches were narrowed into a more specified and concise list of activities that occur in this space. Figure 11.12:

EDUCATE Home Skills

[Left] Ink and watercolor illustration of home skills.

Figure 11.13:

Labor Skills

Academic Skills

[Left] Ink and watercolor illustration of labor skills.

Figure 11.14:

[Left] Ink and watercolor illustration of academic skills.

SUPPORT

Figure 11.15:

Emotional

[Left] Ink and watercolor illustration of emotional support.

Physical

[Left] Ink and watercolor illustration of physical support.

Figure 11.16:

Financial

Figure 11.18:

CONNECT Social 241 Samantha Davies

Figure 11.17:

[Left] Ink and watercolor illustration of financial support.

[Left] Illustration of connections due to program in NEKC.

CONCEPTUAL SITE AND DIAGRAMS The focus of the schematic design proposal involved visualizing the big picture first. The process began with conceptualizing the corner site and how it could become activated through this program implementation. By exploring various ways to change the vehicular and pedestrian traffic, this could become far more vibrant in street life.

Street Conceptualization

Figure 11.19:

[Right] Sketch conceptualization of street activity.

Approach Studies

Figure 11.20:

[Right] Sketch studying various forms of traffic on/near the site. Building the Craftsman

242

Mid Design PROGRAM ITERATION 2 - THE CRAFTSPERSON | THE BUSINESS PERSON The program then became narrowed into two pieces. The primary focus is on the craftsperson and the secondary on the business person. In the crafts portion, scales of the large, medium, and small craft will be taught and practiced. This ranges anything from construction skills such as drywall, roofing, or framing to the refurbishment of architectural salvage such as windows, doors, or furniture. In the business portion, residents must learn certifications for various crafts skills as well as be educated on those topics. As part of being a successful business person, they must also learn personal and financial skills to help develop their strengths. This portion of education acts as the translator between the personal and professional lives of the residents.

CRAFTSPEOPLE LARGE SCALE MEDIUM SCALE SMALL SCALE

BUSINESS PEOPLE

SOCIAL

EDUCATION PERSONAL FINANCIAL

Figure 11.21:

[Left] Graphic depicting the relationships between portions of the program.

A PLACE FOR THE CRAFTSMAN By providing residents a place to learn a specialized craft, people will be able to achieve their educational, employment, and income goals. When envisioning a place for the craftsman, spaces should include various environments to stimulate creativity, skills, and human interaction.

Figure 11.22:

[Left] This graphic depicts a vision board for the various spaces needed in Building a Craftsman. 243 Samantha Davies

FIRST AND SECOND FLOOR PLAN The first floor was originally home to both the crafts and business entry, employee space, and the craftsman workshop spaces.

SECOND FLOOR PLAN

The second floor housed the educational portions of the program which require study and classroom areas. An overhead walkway connects the two wings of the second level over a core atrium space.

Figure 11.23:

[Right] Second floor plan.

CRAFTS CLASSROOM 450 SF

OPEN TO BELOW

BUSINESS CLASSROOM 300 SF

CRAFTS CLASSROOM 450 SF STUDY / OBSERVE

FIRST FLOOR PLAN

BUSINESS CLASSROOM 450 SF

STUDY / RESOURCES 1,800 SF 0

5’

15’

50’

MATERIAL STORAGE 1,400 SF

LOADING DOCK WELDING 400 SF FINISHING 440 SF DISPLAY YARD / LG. SCALE 3,600 SF

MED/LG WORKSHOP 2,500 SF

EMPLOYEE LOUNGE 300 SF

Figure 11.24:

[Right] First floor plan. ENTRY / COLLAB. 1,000 SF

SM / MED WORKSHOP 2,000 SF

ENTRY / COLLAB. 1,260 SF 0

5’

15’

50’

Building the Craftsman

244

IMAGERY Craft Exterior Workshop [1]

Residents have flexible indoor and outdoor building space which transforms depending on the projects. Locals are invited to view the action along Gladstone Avenueâ&#x20AC;&#x2122;s street front.

Craft Core Workshop [2]

This indoor space is the core of the first floor. Residents have various forms of workspaces that are on display for visitors and potential participants to view their work. Figure 11.25:

[Top, Left] Ink and watercolor depiction of the craft workyard.

Figure 11.26:

[Top, Right] Ink and watercolor depiction of the craft core space.

Craft Large Scale Workshop [3]

This indoor space is the main workshop for large scale projects requiring machinery. Garage doors open to the work yard to provide flexible spaces for various projects.

Resource Center [4]

This space on the second floor holds a small library and computer resource center for the residents. Figure 11.27:

[Center, Left] Ink and watercolor depiction of workshop space.

Figure 11.28:

[Center, Right] Ink and watercolor depiction of study space.

Conceptual Craft Core [5]

This indoor space is the main workshop for hands-on small scale projects.

Conceptual Front Entry [6]

Figure 11.29:

[Bottom, Left] Ink and watercolor depiction of core space and interactions.

Figure 11.30:

[Bottom,Right] Ink and watercolor depiction exterior.

5 245 Samantha Davies

SECTIONS Section A

This section cuts through the three main blocks of space in the program. From west to east, one can begin to see the relationships of the educational components all surrounding the core intent of the building: the hands-on craft spaces.

Section B

Cutting through the workshop spaces, both hands-on and machine-based, Section B begins to explore the relationships found between all three blockings of space-education, small scale craft, and large scale.

Figure 11.31:

[Right] Transverse Section A showing craft class and business class spaces.

Figure 11.32:

[Right] Long Section B showing craft workspaces. Building the Craftsman

246

Final Design PROGRAM ITERATION 3 - THE CRAFTSPERSON | THE BUSINESS PERSON A place for crafting is offered through architecture and activated by the existing identity of the Northeast residents. The programmatic drive is already present, but architecture has the power to provide a place for this. Building the Craftsman addresses the improvement of three criteriaâ&#x20AC;&#x201C;education, occupation, and incomeâ&#x20AC;&#x201C;as solutions to revive local economics and activate individual and community potential of NEKC. By beginning at the human scale in rousing those who desire a change of lifestyle, tools are presented to establish a successful way of living and working, encouraging transformative growth. By targeting the significant existing presence of the construction industry, residents will gain education and skill as craftsmen to better themselves and their community. Building the Craftsman will challenge individuals through hands-on learning methods, which will have exponential effects on families, local businesses, and the overall infrastructure of NEKC. They will begin to rediscover their purpose in embracing the crafts which showcase the existing neighborhood identity. The program focuses on training prospective craftsmen through personal and professional development. Individuals will be able to receive education regarding basic home and job skills in a discreet and comfortable manner. In coordination with this, participants will begin to work with established local business owners in related fields to begin to apply their skill, earn money, and receive mentorship from other community members. By providing a place to extend these resources, residents uncover their talents and skills while building relationships with the community.

Program Diagram

craftspeople

business people

skills

skills business financial certification

machine construction wood / metal

large scale

educational social

small scale wood / metal furniture refurbishment

247 Samantha Davies

personal employment networking intrapersonal

Figure 11.33:

[Left] Diagram of program components and descriptions.

First Floor Program small / medium craft workspaces large craft workshop finishing room welding craft display craft administration / offices business administration / offices indoor event / social small project storage large material storage loading mechanical electrical / storage

1680 SF 2025 SF 445 SF 220 SF 1200 SF 540 SF 590 SF 395 SF 200 SF 650 SF 385 SF 155 SF 190 SF 8675 SF

Second Floor Program large business classroom one-on-one classrooms craft classrooms large craft classroom study resources - electronics resources - materials

800 SF 95 SF 910 SF 600 SF 900 SF 370 SF 460 SF 4135 SF

TOTAL INTERIOR SF GROSSING FACTOR ( 22% ) TOTAL BUILDING SF

12810 SF 3690 SF 16500 SF

Exterior Program

Figure 11.34:

[Right] Graphic depicting the total square footages of program components.

exterior project yard exterior storage cover employee parking service - loading / maintenance event space - social

2735 SF 515 SF 3895 SF 1440 SF 500 SF 9085 SF

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248

DIAGRAMS Parti

By beginning with the bones of a project, one can craft their own final version. This idea is true and relevent both figuratively and literally for the residents of NEKC.

Figure 11.35:

[Left] Parti Diagram representing the main idea of Building the Craftsman

Organization

The organization of the building creates a simplistic method of wayfinding between program elements which are massed out separately yet integrate well with one another. The program is broken into hands-on learning and flexible but more traditional learning environments at various scales.

hands-on learning traditional learning

Figure 11.36:

N 249 Samantha Davies

[Left] Building organization based on learning styles.

Circulation

By entering into the most important space of the building, the workshops, occupants can orient themselves and gain a glance into new possibilities through those demonstrating craft. Main circulation is a ramp to guide people through all primary programmatic spaces to disperse. primary disperse

Figure 11.37: [Right] Building circulation.

Mechanical Systems

The mechanical systems were planned to provide clusterings of machinery so that the Camfil Dust Collection System could effectively reach the neccesary equipment in this space.

Figure 11.38:

[Right] Systems sketch.

CNC METAL

DRILL P

BAND SAW CNC CONTROL

STAMP SHEAR

JOINTER LG SCALE FLEX WS

CNC WOOD

PLANER DN

Figure 11.39:

LG SCALE FLEX WS

[Right] Systems diagrams.

TABLE SAW ROUTER TBL

DRILL P CAMFIL SAND (2)

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250

Structural

The structural and mechanical systems were important in discovering realities and restrictions of adaptive reuse. The load bearing existing walls remained while the steel bow truss system over the workshop space was raised to create a clerestory for natrual light in workspaces. Figure 11.40:

new structure

[Left] Parti diagram representing the main idea of Building the Craftsman.

existing structure

ad s

Structural Legend

ton

eA ve.

e re

wooden floor truss system (3’ depth)

existing structural system

steel beam

existing load bearing wall

steel column

existing steel bow truss (5’ depth)

wooden roof truss system (3’ depth)

First Floor Structure

Second Floor Structure

Figure 11.41:

[Left] Structural diagram.

251 Samantha Davies

Wall Section

The primary wall system is the existing concrete masonry unit (CMU) wall with a new wood framing wall to support new loads due to the raised truss system. The existing metal bow trusses have been raised five feet to allow light into the spaces through the clerestory. The roof is supported by 2x10 exposed wood joists which sit in a beam seat on top of the truss.

BEAM SEAT PLYWOOD PANELS TPO ROOFING SYSTEM METAL FLASHING WITH DRAINAGE SYSTEM PARAPET CONDITION 2X10 EXPOSED JOISTS EXISTING STEEL BOW TRUSS (RAISED PER DESIGN MODIFICATIONS) BLOCKING CLERESTORY FLASHING STONE SILL CAP BLOCKING INTERIOR GYP. WALLBOARD WOOD FRAMED STUD WALL INSULATION

STONE VENEER W/ 1” AIR GAP TIE BACK EXISTING CMU LOAD BEARING WALL

EXISTING CONCRETE SLAB / FOOTING

Figure 11.42:

[Right] Wall section.

Building the Craftsman

252

IMAGERY Exterior Corner View

Exterior Workyard View

Figure 11.43-44: [Above] Exterior ink and watercolor rendering.

FLOOR PLANS

Figure 11.45:

[Below] First floor plan.

program key entry small craft workspaces craft administration indoor event / social restroom craft employee office locker area exterior craft work yard covered exterior storage large craft workshop finishing room small project storage welding room loading / material storage business admin. business employee office employee restroom support / storage

GLADSTONE AVE.

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18

9 11

CNC METAL

DRILL P

BAND SAW CNC CONTROL

STAMP SHEAR

JOINTER LG SCALE FLEX WS

CNC WOOD

PLANER

LG SCALE FLEX WS

TABLE SAW ROUTER TBL

DRILL P CAMFIL SAND (2)

6 5

18 16

DISPLAY

9TH STREET

first floor plan 0 5’

253 Samantha Davies

15’

50’

IMAGERY Flexible Learning Spaces

Workshop Craft Space

Figure 11.46-47: [Above] Interior ink and watercolor rendering.

Figure 11.48:

[Below] Second floor plan.

program key 1-on-1 workspace business classroom / test study / observe resources / study resources / electronics open classroom craft classroom / test restroom

CNC METAL

DRILL P

BAND SAW CNC CONTROL

STAMP SHEAR

JOINTER LG SCALE FLEX WS

CNC WOOD

PLANER DN

GLADSTONE AVE.

20 21 22 23 24 25 26 27

LG SCALE FLEX WS

DRILL P CAMFIL SAND (2)

26 26 25

DISPLAY

9TH STREET

TABLE SAW ROUTER TBL

DISPLAY

second floor plan 0 5’

15’

50’

Building the Craftsman

254

SECTION PERSPECTIVES

[C wa

255 Samantha Davies

[C an

Figure 11.49:

Center, Top] Ink and atercolor section.

Figure 11.50:

Center, Bottom] Ink nd watercolor section.

Building the Craftsman

256

BUILDING THE CRAFTSMAN The people of the northeast neighborhoods are capable of possessing and experiencing positive lifestyle changes to enhance their way of life. The solution is not to force outside influences on the individuals, but to recognize and inspire the already existing gifts inherently present in the diverse community. By providing a place for the northeast resident as a catalyst for their own lives, architecture offers opportunities for these changes to take place. Through craft, residents gain pride and confidence in their skills and can create a well-rounded, wholesome lifestyle to support themselves and their families. By offering education through craft, NEKC can engage and celebrate its rich compositions of skill to showcase individual and community identity.

F 257 Samantha Davies

[A wa

Craftsmanship entails learning to do one thing really well, while the ideal of the new economy is to be able to learn new things, celebrating potential rather than achievement. -Matthew B. Crawford

Figure 11.51:

Above] Ink and atercolor perspective.

Building the Craftsman

258

259 Tianyi Li

GATHER AND CREATE Tianyi Li Northeast Kansas City (NEKC) is a place filled with cultural diversity and historic beauty. Nevertheless, the neighborhoods are in a transitional phase, having issues with social identity, community engagement, and economic redevelopment. The research conducted revealed that over twenty percent of the population in most neighborhoods in NEKC are children, but the schools in NEKC do not provide after school programs. The children need to have a place to develop their skills after the end of the academic day. What can be a profound and lasting solution to these issues? The potential answer lies in an Art & Culture Center, which applies art education as a stimulus to inspire children from age eight to fourteen to develop their creativity and collaborative skills. These characteristics will help them discover their uniqueness and form cultural values. Each individual can then become a social amplifier to influence the neighborhoods, encourage community engagement, and promote economic development.

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Research THE WHY

The location of the Gather and Create is in the Lykins neighborhood, next to Lykins Square Park. Geographically, Lykins is at the heart of NEKC and relatively close to the downtown area. The Lykins Square Park is near Independence Ave and 9th Street, two major roads that are commercially zoned. Socially, Lykins is a typical case that reflects the issues in the NEKC area. Over 65 percent of the population is children and young adults, but the neighborhood lacks space for children to access art and cultural resources.

Figure 12.01:

[Center, Left] Girl looking outside.

Figure 12.02:

[Center, Right] Park filled with old tires.

Figure 12.03:

[Left] Teen looks frustrated at home.

261 Tianyi Li

Parti Children need a space to develop their creativity and collaboration skills, the parti drawing below illustrates the concept of this program, Gather and Create: The social amplifiers the central gathering cell become the birthplace of other branches, similar to children developing different perspectives and interests, they connect and form their own branches to attract other social group and form their own networks.

Figure 12.04:

[Right] Parti diagram.

A Place to Gather

A Place to Create

Figure 12.05:

[Right] Diagram of two vital components.

Meeting

Activity

Cafe

Painting

Sculpture

Dance

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THE HOW

Gather and Create has three phases. Stage oneâ&#x20AC;&#x2122;s program focuses on gathering children and neighborhood members by creating spaces for art education and community engagement. Stage two will start to reactivate Lykins Square Park, form pocket parks from the existing green space, and connect other neighborhoods in NEKC. Stage three will establish a local art community and expand connections to the rest of Kansas City.

Figure 12.06:

[Left] Connection to the Greater Kansas City area.

NORTHEAST KANSAS CITY DOWNTOWN

263 Tianyi Li

The proposed program focuses on stage one: providing spaces for arts education and community activities to invoke inspiration and build connections with the local neighborhood. Through arts education, children can promote and practice their creativity and collaborative learning skills, which are the most crucial factors for future success. Innovation is not only about design, art, and beauty, but it also allows people to become creative problem solvers. Imagination connects ideas from unrelated fields, challenges conventional wisdom, identifies new ways of doing things, and forms a network with people who have different perspectives.

Figure 12.07:

[Right] NEKC schools connection. The approach.

St. John Ave

Independence Ave 9th St 12th St

Walk / Bike

Vehicle

Vehicle come from Great Kansas City Area

Gather and Create: The social amplifiers

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THE WHAT

In order to gather children and community members, the program will advertise as a possible after-school program center for children. From the youthâ&#x20AC;&#x2122;s perspective, they need space to develop their creativity and collaboration skills; from the parentâ&#x20AC;&#x2122;s point of view, they need someone to look after their children before they finish their daily work. Since there are no after school curriculums in NEKC schools, Gather and Create could advertise to fill in this void.

Community Gathering

Art Education

Figure 12.08:

[Left] Concept Diagram 2. Project elements.

265 Tianyi Li

Independence Ave

9th St

12th St

Figure 12.09:

[Right] Program Site Analysis: Overall Mapping diagram.

Commercial

Food

Church

Park

School

Project Site

Recycling

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Schematic Design THE CONCEPT The design is focused on two significant aspects: gather and create. For the gathering part, an exterior courtyard will become a significant space for the children to interact with different groups and perform their skills and talents. For the creation part, various studios are provided in the project, such as dance, music, and painting studios.

Figure 12.10:

[Left] Plan and elevation sketch.

Figure 12.11:

[Left] Schematic site plan.

267 Tianyi Li

100

Gallery

Meeting

Open Kitchen

Studio

Artist Residence

Figure 12.12:

[Right] Schematics exploded axon diagram.

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THE EXPERIENCE An Art & Culture Center can create a significant impact on individuals in the neighborhood and the community as a whole. For the individual, the program not only builds on the strengths and potential of the youth but also creates an avenue for personal and interpersonal development. For the neighborhood, the program encourages community engagement, establishes cultural values, and promotes economic growth for the local regions.

Figure 12.13:

[Left] Court Gathering

Figure 12.14:

[Left] West Section

269 Tianyi Li

Figure 12.15:

[Right] Open Kitchen

Figure 12.16:

[Right] East Section

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Mid Design THE IDEA

After schematic reviews, the project began to be focused more on applied art education as a stimulus to help children develop their creativity and collaborative skills. There are two key target audiences for this proposal. The art education program is for children from ages eight to fourteen. The open kitchen and gallery space are intended for visitors, local artists, and families.

Figure 12.17:

[Left] Concept diagram 2 shows the relation between gather and create secitons.

Gather

Create

271 Tianyi Li

100

Interaction

In addition to advertising, when the community members bring their children to the program, the project would provide meeting space to encourage community involvement by creating an area to discuss and communicate with each other. The open kitchen also serves as a creative food hub, which breaks the language barrier, allows people to learn how to cook dishes from different countries, connect various race groups, and unite the neighborhoods in NEKC.

Figure 12.18:

[Right] Mid Design Exposed diagram.

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THE VARIATION

Figure 12.19:

[Left] Mid design Site Plan.

100

Figure 12.20:

[Left] Mid design Floor Plan.

Myrtle Ave

E 7th St

Gather Studio Storage Adminstration 273 Tianyi Li

Mechanical Park Open Theatre Parking

100

The site has a 15 ft. difference from Myrtle Ave to the high ground of the E 7th St. The design respond to that notion and program the building to sit on each individual tiers. By utilizing the tiers, the project creates hierarchy for all the studio space. Each studio space sit on their own tiers and create a visual connection to the central exterior space as well. For the visitors who will use the entrance from E7th St, immediately they will have the view to the central courtyard, and create eye contact with various studio spaces.

Figure 12.21:

[Right] Building Floor plan, first tier - Ground Level.

hen

Kitc

Maker Space

n Ope

100

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THE VARIATION Figure 12.22:

[Left] Building Floor plan, Second tier Studios Level. Gall

er y

tudio

io tud ce S Dan 0

Music Studio

ng S

ti Pain

100

Gallery Adm

Mech

anic

Figure 12.23:

[Left] Building Floor plan, Third tier Gallery Level.

275 Tianyi Li

100

Figure 12.24:

[Right] Overall Site Perspective.

Figure 12.25:

[Right] Entrance Perspective Drawing.

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Final Design PROGRAM

Gather Multi-purpose Cafe Outdoor space

1,654 sf 3,250 sf

Open Theater

3,154 sf

Gallery Coffee shop Reception (Studio)

3,112 sf 300 sf 450 sf

Reception (Gallery)

294 sf

Subtotal

12,214 sf

Subtotal

5,671 sf

Subtotal

1,198 sf

Create Dance Studio Painting Studio

1,216 sf 1,520 sf

Music Studio

1,515 sf

Maker Space

1,420 sf

Administration Admin Office

912 nsf

Staff Room

286 nsf

Grossing Factor (Circulation,Walls, Mechanical) - 40%

277 Tianyi Li

26,716 sf

Multi Purpose Space Figure 12.26:

[Right] Final design massing diagram.

Central Gathering Create Space Gathering Space

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PLANS After mid review, the project began to be focused only on art education, and the community engagement will be presented through various performances from childrenâ&#x20AC;&#x2122;s projects and activities. For the gathering part, an open amphitheater will become a significant space for the children to interact with different groups and perform their skills and talents. For families, the theater provides a place not only to support their children but also gives a chance for different households to connect and learn about various cultures. For the local members, this outdoor space encourages community engagement and strengthen neighborhood identity. Another part of the gathering is to provide a space for children and local artists to present their work. The gallery will not only encourage children and local artists to display their individual work but also set up a platform for visitors from other areas to appreciate the diverse cultural value in NEKC and attract more economic development. The second major component of the project is to create, various studios are provided in the project, such as dance, music, and painting studios. The teacher of each studio will be a local artist from Pendleton Arts Block, which offers affordable housing for artists in NEKC. This act will not only help children to develop their creativity and collaboration skills but also provide studio space for the artists to work and start forming the local art community in NEKC.

Figure 12.27:

[Left] Final design Site Plan. 0

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100

1 1. Dance Studio 2. Dressing Room 3. Storage 4. Restroom 5. Mechanical Room 6. Painting Studio 7. ADA Restroom 8. Individual Practice 9. Group Rehersal 10. Maker Space 11. Gallery 12. Admin Office 13. Reception 14. Multi-Purpose Cafe 15. Coffee Shop 16. Staff Room 17. Bike Rack 18. Open Theatre 19. Exterior Space 20. Locker Room

11 19 3 22 4

18 11

5 11

6 3

7 5

100

Figure 12.28:

[Right] Final designGround Floor Plan

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DIAGRAMS

Gather

Figure 12.29:

[Left] Gather vs Create diagram.

Create

Served Service

281 Tianyi Li

Figure 12.30:

[Left] Served vs Service diagram.

Figure 12.31:

[Right] Wall Sections

SUMMER

WINTER

Figure 12.32:

[Right] East facade shading

SUMMER

WINTER

Figure 12.33:

[Right] South facade shading

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THE EXPERIENCE

Figure 12.34:

[Left] Myrtle Ave. Entrance.

Figure 12.35:

[Left] Dance Studio.

283 Tianyi Li

Figure 12.36:

[Above] Central exterior gathering space.

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285 Katlyn N. M. Lovekamp

AGENCY FOR THE HOMELESS Katlyn N. M. Lovekamp Within Northeast Kansas City, people experiencing homelessness have few places they are allowed to be. Many are unsure of where they can legally stay during the day.1 Such uncertainty leads to illegal camping and loitering â&#x20AC;&#x201C; harmless crimes for which the police harass them.2 Additionally, fifty percent of homeless individuals are struggling with mental illness or substance abuse; being constantly told to move is an added stressor for them.3 Unfortunately, not every shelter in the area is as welcoming as one might assume, which causes many to refuse their services.4 Those who receive housing assistance sometimes end up back on the streets because they feel isolated in their new environment.5 What the homeless population needs are spaces where they can stay, without restrictions or judgment, and learn the skills necessary to build agency in their lives. They need a place to be. The proposed program offers people experiencing homelessness a variety of resources to build agency in their lives. ReNew is a safe environment that educates the homeless on their rights and how to improve their livelihood. RePlenish is a Coffee Shop/Laundromat that offers free services to those in need. Partnering with ReDiscover, a nearby mental health and substance abuse center, allows individuals leaving triage an opportunity to receive long term services by walking next door. Having proximity to vital resources including free meals and public transportation will integrate the proposed program into a homeless personâ&#x20AC;&#x2122;s daily routine. Establishing this intervention in Northeast Kansas City has the potential to develop agency in both the transient and chronically homeless communities - giving them a place to be.

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Research IDENTIFICATION

No two people are the same, even when both are experiencing homelessness. One might be seeking a way to get into permanent housing, while the other is content with their life as it is. Regardless of how society views these two individuals, both need assistance to grow and find satisfaction in their lives. Agency for the Homeless focuses on helping this socially stigmatized population by providing resources for each person to utilize at their comfort level, without restrictions, so that skills of self-resilience and confidence can be formed.

The Transient Homeless People experience homelessness for a variety of reasons. Some lose their jobs, get a divorce, or even run away from abusive relationships.6 These individuals can be seen as transient homeless because most do not wish to stay in this state permanently.

The Chronically Homeless However, not every person sleeping outside is unhappy with their living situation. Having been on the streets for more than two years the chronically homeless are often comfortable with their lifestyle.7 In Northeast Kansas City, several of these individuals reside in Kessler Park along the Missouri River. Their homeless camps are often pictured in news articles for being raided by the police. Even though this community is constantly displaced they continue to take residence illegally.8 Ed, pictured on the bottom right, is a chronically homeless man who has been living along the Missouri River for over seven years. When asked about the rising water levels potentially flooding his camp, he did not seem concerned. Nothing would convince him to seek shelter elsewhere.9 It was clear that this had become his home and he refused to abandon it.

Its gonna be me against the water. Ed Northeast News. March 21st, 2019.

Figure 13.01:

[Top, Right] Transient homeless man in Kansas City, Missouri.

Figure 13.02:

[Bottom, Right] Ed, a chronically homeless man in Northeast Kansas City, Missouri. 287 Katlyn N. M. Lovekamp

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DESIGN INTENT Program Partner ReDiscover is a nonprofit community mental health triage center that provides comprehensive programs and services for men, women, and children whose lives have been affected by mental illness and/or substance use disorders. This organization helps a broad range of individuals and families, including those with limited financial means or without insurance, by connecting them to long term solutions.10 Partnering with ReDiscover, the proposed program aims to help new individuals after they leave triage to receive the services they need â&#x20AC;&#x201C; offering resources for both the transient and chronically homeless to utilize.

Conversations Concerning Homelessness To get a better understanding of the homeless population in Northeast Kansas City, the Program Manager at ReDiscover Triage Center, Wendy Tschirhart, was interviewed. When working with her staff, Tschirhart focuses their training on realism and connection to the patients. Caseworkers must understand that the homeless are being resourceful and enacting their survival skills at all times. These individuals should not be seen as thieves who are distrusting, but rather resilient. The staff at the triage center must practice empathy because there is always an underlying reason for someoneâ&#x20AC;&#x2122;s actions. For example, Tschirhart mentioned that often homeless people who are on methamphetamines take it to stay awake because they are afraid of what might happen to them in their sleep. Trauma often leads people to coping mechanisms such as drugs and alcohol, especially when they lack the resources to receive any other type of help. Tschirhart spoke of mental illness as something that can be activated at any point, especially when that person feels vulnerable or trapped. This principle can be applied to body language and the built environment. The design of Agency for the Homeless must consider safety and security for both the people it serves and the staff providing services. Tschirhart also spoke of the transient communityâ&#x20AC;&#x2122;s need for privacy and their tendency to carry all their belongings. Finally, Tschirhart emphasized the importance of self-reliance. She always tells her staff that they are not helping the homeless, but rather allowing the homeless to help themselves. Our conversation led to developments in the programmatic goals to include safety, security, and privacy as well as dignity and empowerment.

289 Katlyn N. M. Lovekamp

You never know when mental illness is going to strike - Wendy Tschirhart Program Manager ReDiscover Kansas City Assessment and Triage Center

Initial Programmatic Goals Provide:

Privacy

Security

Stability

Allow for:

Individuals to build agency

Strong social network to form

Final Programmatic Goals Safety + Security + Privacy Dignity + Empowerment Figure 13.03:

[Right] The development of programmatic goals. Agency for the Homeless

290

Schematic Design PROGRAM PROPOSAL A Master Plan Without a mode of transportation, the transient community relies on walking to their every destination. After looking at the conditions of the sidewalks in the neighborhood, it became clear that major infrastructure improvements are necessary. The Master Plan below illustrates the proposed sidewalk improvements to all the local resources. As part of the Agency for the Homeless Master Plan, housing is provided for those who choose to utilize it. The proposed residences are to be scattered in the vacant lots around the neighborhood to revitalize the area.

Existing Resources Proposed Sidewalk Improvements Proposed Site Proposed Housing

291 Katlyn N. M. Lovekamp

Figure 13.04:

[Left] Site chosen for the proposed program and associated housing.

Programmatic Breakdown ReNew

11,950 sf

Proposed Resource • Offices

2640 sf

• Lounge

4,000 sf

• Classrooms

1,300 sf

• Service/Restrooms (Grossing Factor)

33%

RePlenish

5,290 sf

Proposed Resource • Laundry/Coffee

4,000 sf

• Kitchen

400 sf

• Service/Restrooms (Grossing Factor)

17%

Total Square Footage

17,240 sf

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AGENCY FOR THE HOMELESS Site Plan

ReDiscover

ReNew

RePlenish

Figure 13.05:

[Above] Site plan illustrating the two program components ReNew and RePlenish with adjacency to ReDiscover

293 Katlyn N. M. Lovekamp

ReNew and RePlenish Floor Plan

Figure 13.06:

[Above] Sketches illustrating various site plan layouts

Figure 13.07:

[Right] RePlenish and ReNewâ&#x20AC;&#x2122;s floor plan.

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Mid Design DESIGN STRATEGY ReNew For the transient homeless, ReNew has advisement offices and classrooms geared toward long term solutions. Here they can start weekly counseling sessions, enroll in classes focused on self-improvement, or meet with advisors on financial management. In ReNew’s lounge, the chronically homeless can relax in a variety of environments, meet with others, or browse the internet.

Figure 13.08:

[Left] Schematic Design render of ReNew’s open computer and lounge area.

Figure 13.09:

[Center, Left] Mid Design render of ReNew’s open computer and lounge area.

Figure 13.10:

[Below] Final Design render of ReNew’s open computer and lounge area.

295 Katlyn N. M. Lovekamp

RePlenish Figure 13.11:

[Right] Schematic Design render of RePlenish’s seating area in front of the laundry services.

Figure 13.12:

[Center, Right] Mid Design render of RePlenish’s seating area in front of the laundry services.

For the chronically homeless who want a place to be during the day, they can go to RePlenish. In this space, those in need can launder their clothes for free and receive a complimentary beverage. This allows for the opportunity to socialize while waiting for the laundry to finish. Both the lounge and RePlenish are designed for the chronically homeless to stay as long as they are comfortable without any hidden agendas.

Figure 13.13:

[Below] Final Design render of RePlenish’s seating area in front of the laundry services.

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Figure 13.14:

Final Design TRANSIENT HOMELESS

[Top, Left] Transient vs. Chronically Homeless diagram

ReNew - Advising Offices

[Top, Right] ReNewâ&#x20AC;&#x2122;s advising office blown up plan with key.

3 2 3

Transient Homeless

Chronically Homeless Floor Plan Key 1. Open Offices 2. Breakroom 3. Locker Storage 4. Restrooms 5. Storage

Figure 13.15:

[Below] ReNew building section.

297 Katlyn N. M. Lovekamp

Figure 13.16:

[Right] Mid Design render of ReNewâ&#x20AC;&#x2122;s advising office.

Figure 13.17:

[Below] Final Design render of ReNewâ&#x20AC;&#x2122;s advising office.

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Figure 13.18:

TRANSIENT HOMELESS

[Top, Left] Transient vs. Chronically Homeless diagram

ReNew - Classrooms

[Top, Right] ReNewâ&#x20AC;&#x2122;s classroom blown up plan with key.

5 1 1 Transient Homeless

Chronically Homeless Floor Plan Key 1. Classrooms 2. Check-in 3. Mechanical 4. Restrooms 5. Locker Storage

Figure 13.19:

[Below] ReNew building section.

299 Katlyn N. M. Lovekamp

Figure 13.20:

[Right] Mid Design render of ReNewâ&#x20AC;&#x2122;s classroom.

Figure 13.21:

[Below] Final Design render of ReNewâ&#x20AC;&#x2122;s classroom.

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CHRONICALLY HOMELESS ReNew - Lounge

Transient Homeless

Chronically Homeless Floor Plan Key 1. Computers 2. Private Booths 3. Wall Seating 4. Restrooms

3 4

Figure 13.22:

[Top, Left] Transient vs. Chronically Homeless diagram [Top, Right] ReNew’s lounge blown up plan with key.

Figure 13.23:

[Below] RePlenish and ReNew’s section.

301 Katlyn N. M. Lovekamp

Figure 13.24:

[Right] Final Design render of ReNewâ&#x20AC;&#x2122;s pergola entry on the north.

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CHRONICALLY HOMELESS ReNew - Lounge The lounge area in ReNew is a space designed for the transient and chronically homeless populations to come together. Understanding that these individuals have differing comfort levels, areas for private, semi-private and public seating were designed to meet their needs. Providing options for inhabitants to choose from puts the decision in their hands, allowing them to have dignity instead of forcing them into one situation. Giving power to the individual is a crucial first step for their personal growth. Figure 13.25:

[Left] Sketches of private, semi-private, and public seating.

Figure 13.26:

[Center, Left] Mid Design render of ReNew’s lounge showing opportunities for public seating.

Figure 13.27:

[Center, Right] Mid Design render of ReNew’s lounge showing opportunities for semi-private seating.

Figure 13.28:

[Bottom, Left] Mid Design render of ReNew’s lounge showing opportunities for private seating.

303 Katlyn N. M. Lovekamp

Figure 13.29:

[Top, Right] Final Design render of ReNew’s lounge showing opportunities for public seating.

Figure 13.30:

[Center, Right] Final Design render of ReNew’s lounge showing opportunities for semi-private seating.

Figure 13.31:

[Right] Final Design render of ReNew’s lounge showing opportunities for private seating.

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CHRONICALLY HOMELESS Exterior Streets and Storage Figure 13.32:

[Far Left] Diagram illustrating locker storage along exterior streets

Figure 13.33:

[Top, Right] Sketch of locker storage construction.

Figure 13.34:

[Center, Right] Sketch of locker storage orientation.

Private Locker Storage Exterior Street

305 Katlyn N. M. Lovekamp

Figure 13.35:

[Right] Final Design render of ReNewâ&#x20AC;&#x2122;s private locker storage for the chronically homeless to utilize.

Figure 13.36:

[Below] Elevation showing the entry of the site and view from 12th street.

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CHRONICALLY HOMELESS RePlenish 9 7 4

Transient Homeless Chronically Homeless Floor Plan Key 1. Coffee Counter 2. Seating 3. Laundry 4. Private Washroom 5. Restrooms

1 6. Mechanical 7. Kitchen 8. Outdoor Gated Mechanical Area 9. Gated Dumpster Area

3 5

Figure 13.37:

[Top, Left] Transient vs. Chronically Homeless diagram [Top, Right] RePlenishâ&#x20AC;&#x2122;s blown up plan with key

307 Katlyn N. M. Lovekamp

Figure 13.38:

[Right] Final Design render of RePlenish’s laundry area.

Figure 13.39:

[Below] RePlenish and ReNew’s section.

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AGENCY FOR THE HOMELESS Structure

Figure 13.40:

[Left] 3D axon illustrating RePlenish and ReNewâ&#x20AC;&#x2122;s structure. Flat Roof on Tongue and Groove Roof Decking

Heavy Timber Column and Beam Construction

2 x 6 Wood Stud Walls

309 Katlyn N. M. Lovekamp

Figure 13.41:

[Right] Sketch of wall section through ReNew’s north wall.

Wall Section Key 1. 2 x 8 Wood Joists on 3 1/8” x 18” Glu-lam Beams on 6 x 6 Wood Columns 2. EPDM Roof Membrane on 5/8” Plywood on 2 x 4 Treated Wood Framing on 5/8” Plywood on 2 x 6 Tongue and Groove Wood Decking 3. 5 1/8” x 30” Glu-lam Beam 4. 1 x 4 Dynamic Wood Ceiling on Ceiling Hanger 5. Wood Cladding with Air Barrier on 3” Rigid Insulationon 3/4” Plywood sheathing on 2 x 6 Wood Studson 1/2” Gypsum Wall Board 6. Private Booth 7. 2” Cork Flooring on Bearing Pads on 6” Concrete Building Padwith Rigid Insulation on Gravel 8. 3’ - 0” Concrete Retaining Wall on 12” x 12” Footing with Gravel and Drainage Pipe

Figure 13.42:

[Bottom, Right] Wall section through ReNew’s north wall and pergola.

Figure 13.43:

[Next Page] Agency for the Homeless collage.

3 4 5 6 7 2% Slope

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311 Katlyn N. M. Lovekamp

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00 PREFACE FIGURE CITATION Figure 00.01: Illustration by Jacob Frazier. Figures 00.02-00.14: Individual photographs by authors. Figure 00.15: Illustration by authors.

01 The Forgotten Mother ENDNOTES 1. Betty Pfefferbaum, Richard L. Van Horn, & Rose L. Pfefferbaum, “A Conceptual Framework to Enhance Community Resilience Using Social Capital,” Clinical Social Work Journal 45, no. 2 (2017): 107. 2. “Home,” Bundesverband der Muetterzentren. Accessed May 15, 2020. https://www.muetterzentren-bv.de/.

FIGURE CITATION Figure 01.00: Illustration by author. Figure 01.01: Image from https://www.babyandcompany.com/wpcontent/uploads/2017/01/iStock-514777729-e1484321485282.jpg. Figure 01.02: Image from https://uicskc.org/wp-content/ uploads/2019/05/IMG_1337.jpg. Figure 01.03: Image from https://cdn.kqed.org/wp-content/uploads/ sites/13/2017/10/depression-e1507755095260.jpg. Figure 01.04: Illustration by author. Figure 01.05: Illustration by Yajie Zhao. Data from statiscalatlas.com. Figure 01.06: Image by Bundesverband der Muetterzentren. https:// www.facebook.com/BundesverbandderMuetterzentren/photos/a.1433308 75741642/2311841805557194/?type=3&theater. Figure 01.07: Image from conference for Mother Centers International Network for empowerment. Retrieved from minemothercenters.org. Figure 01.08: Various logos of surrounding organizations. Figure 01.09 - 01.14: Illustrations by author. Figure 01.15: Image from https://www.e-architect.co.uk/wp-content/ uploads/2019/07/housing-in-ywca-harbor-area-and-south-bayspfa280619-2.jpg. Figure 01.16: Image from https://www.laconservancy.org/sites/default/ files/styles/teaser-block/public/images/DSC_6806.JPG?itok=HBkC5IF0. Figure 01.17: Illustrations by author. Figure 01.18: Image from https://i.pinimg.com/originals/87/31/72/8731 720ae31ee06532f0813af8d28bab.jpg. Figure 01.19 - 01.29: Illustrations by author. Figure 01.30: Image from https://images.adsttc.com/media/images/5c07/ d846/08a5/e5e6/c000/0519/slideshow/014.jpg?1544017961. Figure 01.31: Image from https://images.adsttc.com/media/ images/5dcd/1d20/3312/fdf3/3700/003c/large_jpg/asif_salman.jpg_2. 313 NEKC: Designs in Positive Social Interactions

jpg?1573723416.

Figure 01.32-34: Illustrations by author.

02 Nourish House ENDNOTES 1. Workman, Simon, and Steven Jessen-Howard. “Understanding the True Cost of Child Care for Infants and Toddlers.” Center for American Progress. Accessed November 11, 2019. https://www. americanprogress.org/issues/earlychildhood/reports/2018/11/15/460970/ understanding-true-cost-child-care-infants-toddlers/. 2. Hillemeier, Marianne M., Paul L. Morgan, George Farkas, and Steven A. Maczuga. “Quality Disparities in Child Care for AtRisk Children: Comparing Head Start and Non-Head Start Settings.” Maternal and Child Health Journal 17, no. 1 (April 2012): 180–88. https://doi.org/10.1007/s10995-012-0961. 3. Glewwe, Paul, Hanan G Jacob y, and Elizabeth M King. “Early Childhood Nutrition and Academic Achievement: a Longitudinal Analysis.” Journal of Public Economics 81, no. 3 (2001): 345–68. https://doi.org/10.1016/s0047-2727(00)00118-3.

FIGURE CITATION Figure 02.00: Illustration by author. Figure 02.01: Illustration by author with select images from images.google. com. Figure 02.02: Illustration by author with data from “Child Nutrition Fact Sheet.” Children’s Defense Fund. July 2010. Figure 02.03: Illustration by author with data from https://statisticalatlas. com/county-subdivision/Missouri/Jackson-County/Kaw-Township/Overview. Figure 02.04 - 02.05: Illustrations by author and studio. Figure 02.06 - 02.09: Illustrations by author. Figure 02.10: Illustration by author with photo imagery from: https:// esynola.org/stories-impact/stories/ http://neatoday.org/new-educators/waysto-engage-the-village/volunteer-teacher-reading-to-a-class-of-preschoolkids/. Figure 02:11: Illustration by author by author. Figure 02:12: Illustration by author and house imagery from https://www. google.com/streetview. Figure 02:13 – 02:28: Illustrations by author.

03 Speak Up ENDNOTES 1. “Race and Ethnicity in Kansas City, Missouri (City).” The Demographic Statistical Atlas of the United States. Statistical Atlas. https:// statisticalatlas.com/place/Missouri/Kansas-City/Race-and-Ethnicity. 2. “Northeast Middle School Profile (2019-20): Kansas City, MO.”

Public School Review, n.d. https://www.publicschoolreview. com/northeastmiddle-school-profile/64124. 3. “Northeast High School Profile (2019-20): Kansas City, MO.” Public School Review, n.d. https://www.publicschoolreview. com/northeast-highschool-profile/64124. 4. “Homepage.” USCIS. United States Citizen and Immigration Services, n.d. https://www.uscis.gov/. 5. Cardoza, Kavitha. “How Schools Are Responding to Migrant Children.” Education Week, November 18, 2019. https:// www.edweek.org/ew/articles/2019/04/10/how-schoolsare-responding-to-migrant-children.html.

FIGURE CITATION Figure 03.00: Illustration by author. Figure 03.01: Griessel, Scott. via Most Photos. 2/16. Photograph. Figure 03.02 - 03.07: Photographs by author. Figure 03.08: Via United States Immigration Services. 11/15. Digital Document. Figure 03.09 - 03.10: Photographs by author. Figure 03.11: Via Northwestern University. 11/15. Photograph. Figure 03.12: Via pxhere. 11/15. Photograph. Figure 03.13: Via Brookings College. 11/15. Photograph. Figure 03.14: Via Classroom Matters. 11/15. Photograph. Figure 03.15: Via Kids Health. 11/15. Photograph. Figure 03.16 - 03.21: Illustrations by author. Figure 03.22: Photograph by author. Figure 03.23: Via Dezeen. 3/16. Photograph. Figure 03.24: Photograph by author. Figure 03.25: Via ArchNet. 3/16. Photograph. Figure 03.26: Via The Mind Circle. 3/16. Photograph. Figure 03.27: Via Homes Tre. /16. Photograph. Figure 03.28: Via Tonifox. 3/16. Photograph. Figure 03.29: Via My Domaine. 3/16. Photograph. Figure 03.30 - 03.44: Illustrations by author.

04 Empower ENDNOTES 1. YouthArts Toolkit -- arts programs for youth at risk. Accessed April 27, 2020. https://youtharts.artsusa.org/about/. 2. Simões, Celeste, Margarida Matos, and Equipa do Projecto Aventura Social. “Risk Behaviors in Adolescents with Special Needs: Are Social and Emotional Competences Important?” Procedia - Social and Behavioral Sciences. Elsevier, January 16, 2013. https://www. sciencedirect.com/science/article/pii/S1877042812056583. 3. Ibid. 4. “Overview of North India Mound, Kansas City, Missouri (Neighborhood).” The Demographic Statistical Atlas of the United States - Statistical Atlas. Accessed December 15, 2019. https://statisticalatlas.com/ neighborhood/Missouri/Kansas-City/North-India-Mound/Overview.

5. Ibid. 6. “Northeast Arts KC - Our Mission.” northeastartskc. Accessed May 5, 2020. https://www.northeastartskc.org/copy-of-home. 7. Cambron, Christopher & Catalano, Richard & Hawkins, J.. (2018). The social development model. 10.1093/oxfordhb/9780190201371.013.13. 8. “Letting Art Instill Pride.” Flatland, April 4, 2017. https:// www.flatlandkc.org/arts-culture/art-instills-pride/.

FIGURE CITATION Figure 04.00 - 04.02: Illustrations by author. Figure 04.03 – 04.05: Images. “NEKC Chamber Commissions Murals along the Avenue.” Northeast News, August 31, 2018. http:// northeastnews.net/pages/nekc-chamber-commissions-murals-alongavenue/. Figure 04.06 – 04.46: Illustrations by author.

05 Cultural Harmony ENDNOTES 1. Eley, Angela, and Gerard Williams. “Truman Plaza Area Plan Data Book,” 2012. https://www.kcmo.gov/city-hall/ departments/city-planning-development/area-plans-list. 2. “Thesaurus Results for EXCHANGE,” accessed April 23, 2020, https://www.merriam-webster.com/thesaurus/exchange. 3. Mark, Andrews, Margaret, Carlson, and Steven. “Household Food Security in the United States, 2004.” SSRN, January 27, 2006. https://papers.ssrn.com/sol3/papers.cfm?abstract_id=878333. 4. Tarasuk, V S. “Household Food Insecurity with Hunger Is Associated with Women’s Food Intakes, Health and Household Circumstances.” The Journal of nutrition. U.S. National Library of Medicine, October 2001. https://www.ncbi.nlm.nih.gov/pubmed/11584089. 5. Rose, Donald, Craig Gundersen, and Victor Oliveira. “Socio-Economic Determinants of Food Insecurity in the United States: Evidence from the SIPP and CSFII Datasets.” USDA ERS. Accessed December 14, 2019. https://www.ers.usda.gov/publications/pub-details/?pubid=47215. 6. Osborne, Beth, and Melvin Stephens. “The Relationship between Food Assistance, the Value of Food Acquired, and Household Food Security, by Beth Osborne; Melvin Stephens.” Working Papers. Harris School of Public Policy Studies, University of Chicago, February 2, 2004. https://ideas.repec.org/p/har/wpaper/0408.html. 7. Ibid. 8. Nord M. Characteristics of low-income households with very low food security: An analysis of the USDA GPRA food security indicator. USDA-ERS Economic Information Bulletin No. 25. 2007. 9. Carman, Katherine G, and Gema Zamarro. “Does Financial Literacy Contribute to Food Security?” International journal of food and agricultural economics. U.S. National Library of Medicine, January 2016. https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4774863. 10. Ibid. References

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11. Ploeg, Michele Ver, Vince Breneman, Tracey Farrigan, Karen Hamrick, David Hopkins, Phillip Kaufman, Biing-Hwan Lin, et al. “Access to Affordable and Nutritious Food-Measuring and Understanding Food Deserts and Their Consequences: Report to Congress.” Accessed December 14, 2019. http://www.ers.usda.gov/publications/pub-details/?pubid=42729. 12. “The Risks of Poor Nutrition.” SA Health, https://www.sahealth. sa.gov.au/wps/wcm/connect/public content/sa health internet/ healthy living/is your health at risk/the risks of poor nutrition. 13. Seligman, Hilary K., Andrew B. Bindman, Eric Vittinghoff, Alka M. Kanaya, and Margot B. Kushel. 2007. “Food Insecurity is Associated with Diabetes Mellitus: Results from the National Health Examination and Nutrition Examination Survey (NHANES) 1999-2002.” Journal of General Internal Medicine 22 (7) (07): 1018-23. doi:http://dx.doi. org.er.lib.k-state.edu/10.1007/s11606-007-0192-6. http://search. proquest.com.er.lib.k-state.edu/docview/875742310?accountid=11789. 14. Khan, Sophia. “The number of refugees coming to KC is way down. That’s bad for us - and our economy.” The Star, August 11, 2011. 15. Pumariega, Andres J., Eugenio Rothe, and Joanne B. Pumariega. 585. 16. “Scarritt Renaissance | LISC Kansas City,” Local Initiatives Support Corporation, accessed December 19, 2019, https://www.lisc.org/kansascity/what-we-do/neighborhoodsnow/scarritt-renaissance/. 17. Kansas City Design Center (2017), Scarritt Renaissance Vision Study: https://issuu.com/kcdc/docs/scarritt_renaissance_vision_study_d. 18. McDowell, S. (2017). “Art students see hard work defaced as vandals target Old Northeast murals”. Kansas City, Missouri:WDAF-TV Fox 4 News. https://fox4kc.com/2017/08/09/art-students-seehard-work-defaced-as-vandals-target-oldnortheast-murals. 19. “Thesaurus Results for EXCHANGE,” accessed April 23, 2020, https://www.merriam-webster.com/thesaurus/exchange. 20. Keith Myers, “Blight Made Beautiful: Mural Project Tags Abandoned School with Art, Not Graffiti,” kansascity, accessed May 12, 2020, https:// www.kansascity.com/news/local/community/816/article4397537.html. 21. C. R. Walker, “The Importance of Social Interaction,” accessed May 12, 2020, https://www.theherald-news.com/2016/06/03/ the-importance-of-social-interaction/asxydg4/. 22. Jane E. Brody, “Social Interaction Is Critical for Mental and Physical Health,” The New York Times, June 12, 2017, sec. Well, https://www. nytimes.com/2017/06/12/well/live/having-friends-is-good-for-you.html.

FIGURE CITATION Figure 05.00-05.03: Illustrations by author. Figure 05.04: Image from https://www.facebook.com/photo/?fbid=2138 893412809471&set=d41d8cd9. Figure 05.05: Photographs by Jacob Frazier https://www.facebook.com/ BundesverbandderMuetterzentren/photos/a.143330875741642/2311841 805557194/?type=3&theater. Figure 05.06-05.44: Illustrations by author.

315 NEKC: Designs in Positive Social Interactions

06 Ambiguity’s Place ENDNOTES 1. Karimi, Mohammad Sadiq, Moradi, Ebrahim, Mehri, and Tayabeh. “Bazaar, As a Symbol of Culture and the Architecture of Commercial Spaces in Iranian-Islamic Civilization.” AGRIS. Cumhuriyet Üniversitesi, January 1, 1970. https://agris.fao. org/agris-search/search.do?recordID=TR2016002991. 2. Khan, Sofia. “The Number of Refugees Coming to KC Is Way down. That’s Bad for Us - and Our Economy.” kansascity. The Kansas City Star, August 11, 2019. https://www.kansascity.com/opinion/ readers-opinion/guest-commentary/article233616702.html. 3. Plummer, Henry. The Experience of Architecture. London: Thames & Hudson, 2016. 4. Ibid, 18. 5. “Market.” Merriam-Webster. Merriam-Webster. Accessed May 15, 2020. https://www.merriam-webster.com/dictionary/market. 6. Karimi, Mohammad Sadiq, Moradi, Ebrahim, Mehri, and Tayabeh.

FIGURE CITATION Figure 06.00- 06.28: Illustrations by author.

07 Regenerative Cultivation ENDNOTES 1. “Regenerate.” Merriam-Webster. Merriam-Webster. Accessed February 6, 2020. https://www.merriam-webster.com/dictionary/regenerate). 2. “Overview of EPA’s Brownfields Program,” EPA (Environmental Protection Agency, April 7, 2020), https://www.epa.gov/ brownfields/overview-epas-brownfields-program). 3. Andreas D Peuke and Heinz Rennenberg, “Phytoremediation,” EMBO reports (U.S. National Library of Medicine, June 2005), https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1369103/). 4. Ibid. 5. Paul Myers, “Urban Farming: Fixing the Broken Food System & Improving Health” Accessed May 15, 2020. https://www.youtube.com/watch?v=5AcjM 5BKfRQ&list=PL9Fz1gYdeM23uyS_yHWDaU3bahetE90wD&index=12). 6. Community Farming - It’s Not about Food: Josh Slotnick at TEDxUMontana, TEDx (Youtube, 2013), https://www.youtube.com/watch?v=3VwxWDV Ks8k&list=PL9Fz1gYdeM23uyS_yHWDaU3bahetE90wD&index=13). 7. Hardesty Renaissance Economic Development Corporation.“EPA Brownfields Cleanup Grant Narrative”, 2013. PDF file. Pg 5.; U.S. Census Nureau, Table C8. Accessed May 15, 2020. http:// www.census.gov/hhes/families/data/cps2013C.html. 8. Personal Interview. Candice Shoemaker. Head of Kansas State University Horticulture Department. 9. Andreas D Peuke and Heinz Rennenberg, “Phytoremediation,”

EMBO reports (U.S. National Library of Medicine, June 2005), https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1369103/). 10. Ibid. 11. Hardesty Renaissance Economic Development Corporation, 6. 12. Wahl, Daniel Christian. Designing Regenerative Cultures. Axminster: Triarchy Press, 2017.

FIGURE CITATION Figure 07.00 - 07.14: Illustration by author. Figure 07.15: “Phytoremediation: Filtering Soil,” Red Crow Hemp (The Native American Hemp Company), accessed April 2020, https:// redcrowhemp.com/soil-remediation/) Figure 07.16: Kaja Kuhl, “From Brownfields to Greenfields: A Field Guide to Phytoremediation,” UrbanOmnibus (Architectural League of New York), accessed April 2020 Figure 07.17: The rock ledge along the Missouri River that gave birth to Kansas City (Kansas City Digital Video), accessed March 2020. Figure 07.18: “Urban Coffee Farm,” Landezine (Hassal), accessed March 2020. Figure 07.19: “MFO Park,” Landezine (Raderschall), accessed March 2020, http://landezine.com/index.php/2009/07/mfo-park-switzerland/3_ mf1_0228/) Figure 07.20: “Gardens in Healthcare Facilities A Therapeutic Landscapes,” accessed March 2020. Figures 07.21 - 7.35: Illustration by author. Figure 07.36: Image from Google Maps Figure 07.37-07.46: Illustration by author.

08 Hardesty Revival ENDNOTES 1. Hardesty Renaissance Economic Development Corporation. “EPA Brownfields Cleanup Grant Narrative”, 2013. PDF file. Pg. 5. 2. “Former Hardesty Federal Complex.” GSA, October 31, 2019. https:// www.gsa.gov/about-us/regions/welcome-to-the-heartland-region-6/ buildings-and-facilities/missouri/former-hardesty-federal-complex. 3. Ibid. 4. Data.census.gov. Accessed December 10, 2019. https://data. census.gov/cedsci/table?q=&d=ACS 5-Year Estimates Data Profiles table=DP03&t id=ACSDP5Y2017.DP03&g=04 00000US29_0500000US29095&lastDisplayedRow=28. 5. Hardesty Renaissance Economic Development Corporation, 5. 6. Missouri Dept. of Health and Senior Services. “Missouri Health Assessment.” Pg. 14. 7. ETFE. (2019, July 24). Retrieved May 14, 2020, from https://www.structurflex.com/materials/etfe/.

FIGURE CITATION Figure 08.00: Illustration by author.

Figure 08.01: The Hardesty federal complex By Paul Thompson. Northeast News. February 28, 2017. http://northeastnews.net/pages/aphoto-tour-of-the-hardesty-federal-complex/. Figure 08.02 - 08.32: Illustration by author. Figure 08.32: Case Study: Ponce City Market: BUILT. (n.d.). Retrieved May 14, 2020, from http://s9architecture.com/ponce. Figure 08.32 - 08.39: Illustrations by author.

09 Lykins Youth Academy ENDNOTES 1. Nietzsche, Friedrich Wilhelm. Beyond Good and Evil. Miami: Oregan France, 2020.

FIGURE CITATION Figure 09.00: Illustration by author.

10 Symbiosis ENDNOTES 1. Andrea Tudhope, “For Some Teens In Kansas City, Kansas, ‘Making It’ Doesn’t Mean ‘Making It Out’,” KCUR, October 31, 2019, https://www. kcur.org/post/some-teens-kansas-city-kansas-making-it-doesnt-meanmaking-itout#stream/0. 2. Ingrid Keizer, “The Nearly Forgotten Historic Northeast Kansas City,” Northeast Kansas City Chamber of Commerce, February 26, 2016, https://nekcchamber.com/the-nearlyforgotten- historic-northeastkansas-city/. 3. Barbara B. Brown, John R. Burton, and Anne L. Sweaney, “Neighbors, Households, and Front Porches,” Environment and Behavior 30, no. 5 (1998): 579-600, https://doi.org/10.1177/001391659803000501. 4. “Truman Plaza Area Plan: Open Data KC,” data.kcmo.org, January 23, 2014, https://data.kcmo.org/Area-Plans/Truman-Plaza-Area-Plan/9bjbjqeh. 5. Ibid, 14. 6. “Lykins Neighborhood Strategic Development Plan ,” Hoxie Collective LLC, accessed November 27, 2019, https://www.hoxiecollective.com/ lykinsneighborhood.

FIGURE CITATION Figure 10.00: Illustration by author. Figure 10.01: Via Google Maps. Accessed on March 26, 2020, from https://www.google.com/maps/place/Kansas+City,+MO/@39.0921129,94.5970021,16857m/data=!3m1!1e3!4m5!3m4!1s0x87c0f75eafe99997:0x 558525e66aaa51a2!8m2!3d39.0997265!4d-94.5785667. Figure 10.02: Illustration by author. Tudhope, Andrea. Via KCUR. References

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Accessed on December 20, 2019, from https://www.kcur.org/post/ some-teens-kansas-city-kansas-making-it-doesnt-mean-making-itout#stream/0. Figure 10.03-10.39: Illustrations by author.

Building the Craftsman

ENDNOTES 1. “National Origin in Northeast, Kansas City, Missouri (Neighborhood).” The Demographic Statistical Atlas of the United States - Statistical Atlas. Accessed January 13, 2020. https://statisticalatlas.com/neighborhood/ Missouri/Kansas-City/Northeast/National-Origin#overview. 2. Deangelo, Dory. Passages Through Time: Stories about Kansas City, Missouri and its Northeast Neighborhood. Kansas City, Missouri: Tapestry Publications, 1992. 44-48. 3. Shortridge, James R. Kansas City and How It Grew 19222011. Lawrence: University Press of Kansas, 2012. 4-6. 4. “Employment Status in Kansas City, Missouri (Neighborhood).” The Demographic Statistical Atlas of the United States - Statistical Atlas. Accessed December 20, 2019. https://statisticalatlas. com/place/Missouri/Kansas-City/Employment-Status. 5. “Household Income in Kansas City, Missouri (Neighborhood).” The Demographic Statistical Atlas of the United States - Statistical Atlas. Accessed December 20, 2019. https://statisticalatlas. com/place/Missouri/Kansas-City/Household-Income. 6. “Educational Attainment in Kansas City, Missouri (Neighborhood).” The Demographic Statistical Atlas of the United States - Statistical Atlas. Accessed December 20, 2019. https://statisticalatlas.com/ place/Missouri/Kansas-City/Educational-Attainment.

FIGURE CITATION Figure 11.00: Illustration by author. Figure 11.01: “Snooker & Pool.” The Pendergast Years. Kansas City in the Jazz Age & Great Depression. Photograph. Figure 11.02: Truman Street. The Pendergast Years. Kansas City in the Jazz Age & Great Depression. Photograph. Figure 11.03: Image property of Google Earth. Illustration by author. Figure 11.04: Image property of Google Earth. Figure 11.05: Image property of Google Earth. Figure 11.06-11.50: Illustrations by author.

12 Gather and Create FIGURE CITATION Figure 12.00: Illustration by author. Figure 12.01: Image. Voigt, Melissa. “Prevent Social Distancing from Becoming Social Isolation.” StayWell. Accessed May 14, 2020. https:// 317 NEKC: Designs in Positive Social Interactions

www.staywell.com/insights/prevent-social-distancing-from-becoming-socialisolation. Figure 12.02: Image. Hoffower, Hillary. “Lonely, Burned out, and Depressed: The State of Millennials’ Mental Health Entering the 2020s.” Business Insider. Business Insider, December 16, 2019. https://www.businessinsider. com/millennials-mental-health-burnout-lonely-depressed-money-stress. Figure 12.03: Image. “Teenager Girl Looks Outside into the Window.” The AHA Foundation. Accessed May 14, 2020. https://www.theahafoundation. org/five-things-about-honor-violence-you-need-to-know/teenager-girllooks-outside-into-the-window/. Figure 12.04-12.36: Illustrations by author.

13 Agency for the Homeless ENDNOTES 1. “No Safe Place: The Criminalization of Homelessness in U.S. Cities.” February 2019. https://nlchp.org/wpcontent/uploads/2019/02/No_Safe_Place.pdf. 2. Robertson, Joe. “Homeless Camp Raid Presents Dilemma.” The Kansas City Star, December 21, 2018. https://www.usnews.com/news/beststates/missouri/articles/2018-12-21/homeless-camp-raid-presentsdilemma. https://www.usnews.com/news/best-states/missouri/ articles/2018-12-21/homeless-camp-raid-presents-dilemma. 3. “The 2016 Annual Homeless Assessment Report (AHAR) to Congress.” The U.S. Department of Housing and Urban Development, November 2016. https://files.hudexchange. info/resources/documents/2016-AHAR-Part-1.pdf. 4. Robertson 2018. 5. “The 2016 Annual Homeless Assessment Report (AHAR) to Congress.” 6. Ibid. 7. Heuertz, John. “A Community Hidden but Close.” The Pitch, February 24, 2000. https://www.thepitchkc. com/acommunity- hidden-but-close/. 8. Robertson 2018. 9. Bushnell, Michael. “Riverfront Homeless Camps in Harms Way.” Northeast News, March 21, 2019. http://northeastnews. net/pages/riverfront-homeless-camps-harms-way/. 10. “About ReDiscover.” ReDiscover, October 28, 2019. https:// www.rediscovermh.org/about-us/about-rediscover/.

FIGURE CITATION Figure 13.00: Illustration by author. Figure 13.01: Opposing Views, March 6th, 2018. Photograph. Figure 13.02: Northeast News, March 21st, 2019. Photograph. Figure 13.03 - Figure 13.42: Illustrations by author.

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