NATURE AND ARTIFICE STUDIES IN URBAN MORPHOLOGY
SUMMER 2011
PARIS FLORENCE VENICE UNIVERSITY OF WISCONSIN - MILWAUKEE
NATURE AND ARTIFICE:
STUDIES IN URBAN MORPHOLOGY
SUMMER 2011
PARIS FLORENCE VENICE UNIVERSITY OF WISCONSIN - MILWAUKEE GIL SNYDER, ADVISOR EVAN BARTLETT FRANCES CHEN CONNOR FISCHER JOEL HAUCK STEPHANIE JONES MICHAEL TOPPER DANA WELLS
TABLE OF CONTENTS [0] NATURE AND ARTIFICE [1]
FRAMES OF REFERENCE: COMPARATIVE URBAN CONDITIONS
[2]
THE STAGED: PRE-MODERN STREETS AND SPACES
[3]
THE RANDOM: MODERN STREETS AND SPACES
[4]
INNER HARBOR: FRESHWATER INNOVATION CLUSTERS
[5]
PHOTOGRAPHIC DATA COLLECTION
[6]
FIELD STUDY APPENDIX
Palais Royale vs. Bibliothèque Nationale de France XX Parc André Citroën vs. Parc de la Villette XX Institut de France/Pont des Arts/Cour Carrée vs. Place Dauphine XX
Sainte-Chapelle, Paris 1ST XX Saint-Malo, Brittany, France XX Cathédrale Notre-Dame de Chartres XX Place Vendôme, Paris, 1ST XX Opéra National de Paris, Paris, 9TH XX Couvent de La Tourette, l’Arbresle, France XX Piazza della Signoria, Florence, Italy XX Piazza San Marco, Venice, Italy XX
ZAC Bercy, Paris, Paris 12TH XX ZAC Seine Rive Gauche - Massena, Paris 13TH XX ZAC Porte d’Asnières, Paris 17TH XX
Overview XX Masterplan XX Sectional Space Strategies XX Vertical Enclosure Strategies XX Experiential Perspectives XX
Port-Royal Charette XX Analytical Drawings XX
INTRODUCTION CRITICAL PARADIGMS FOR ARCHITECTURAL DESIGN: RECOGNIZING CITY OVER NATURE AND MACHINE
“The city is both a natural object, and a thing to be cultivated; individual and group; something lived and something dreamed. It is the human invention par excellence.� Claude Levi-Strauss
Much like immersing oneself in a foreign culture in order to
From Mansard roofs and phenomenal transparency to the
learn a new language, often times it is necessary to experience
horizontality of spatial construction in places such as rue de
architectural concepts first hand in order to really understand
Rivoli, our perception of design was challenged and our
and appreciate the complex nature of an idea. Only then can
vocabulary was expanded daily.
we as designers truly begin to challenge ourselves to think critically about our implementation of said concepts. The
Armed with this new knowledge we began to investigate and
goal of this studio was to reevaluate our concept of individual
research various spaces and designs throughout these urban
design within the context of a larger urban setting; in this case
environments. Within Paris specifically, we studied the
the urban settings chosen were Paris, Florence, and Venice.
construction of an urban fabric as defined by over-arching
In each case, we were able to study how the urban
rules and guidelines derived from the need to rationalize an
morphology was affected over time by way of typological
out-dated and disorganized medieval layout. Envisioned by
activities, as well as physical changes.
Napolean III to modernize Paris and implented by Baron
Haussmann, this idea of urban planning on a grand scale, although controversial, both enlivened and enriched the fabric of Paris into the city that it is today loved by millions. This order of scheme based on predetermined rules and ultimate design guidelines became the backdrop for the process and project developed for this publication. The beauty of living and studying in Paris is the ability to see first hand how a city’s daily activity, life, and ultimately the physical manifestation of these ideas and ideals change over time to affect both preconceived notions of what the city actually is, as well as the physical changes that take place in order to meet those new needs. This therefore separates from the notion that design of urban fabric derives solely from nature or machine or any other singularly dominant construct, but rather the city as a living, breathing organism creates the basis of the evolution of the city itself both in design and function. From the Hausmann boulevards of the 1800’s to the modernization of this concept in the master plan designs of
spaces such as ZAC Bercy and Seine Rive Gauche, we were able to understand this morphing of a city’s basic composition from grandios ideal to modern reiterations that serve to join in the collaboration of architectural forms, while holding a needed individualism unparralled in the United States. To better understand how these compositions function and relate, we took to the streets of Paris to analyze and research through sketches, diagrams, and photography, in hopes that we might develop an understanding of the make-up of this urban transformation and begin to brainstorm how we might ultimately bring these concepts back to Milwaukee to design a space that has long needed restoration and rehabilitation. The goal of our time in these cities was to become a part of these urban fabrics so that we might glean the necessary insight that we would otherwise not be able to perceive fully. We sought to open our design eyes and minds to a new way of thinking about the relationship between form and function, necessity and innovation, order and structure. It was an opportunity
to live and learn in a sort of time capsule that is constantly
forming the future of our country both ideologically and
changing and being re-imagined, sometimes right before us.
functionally. This masterplan project, while theoretical only,
It challenged us to re-evaluate our idea of what an urban
starts to marry these two ideas and begins to engrain the
setting is and what it can or should be. We were able to
necessity for such thinking as we begin to tackle and discover
experience just how powerful the axial symmetry of a space
solutions to our own rapid urbanization. As we oversee the
can be, see just how complex and beautiful a facade can be,
morphology of our own cities, these principles and ideologies
how space could be created simply by arranging and trimming
learned this summer will serve as a solid base from which to
trees a certain way, or how a group of individual architects are
construct the future of design.
able to come together to create a cohesive composition of buildings and spaces while maintaining a sense of
Just as the Eiffel Tower was at first a monumental
individualism. With this alternative way of approaching design
controversy for its foreign design, our striving and desire is that
we returned to Milwaukee to re-imagine a long dilapidated
this conceptualization of a master plan would spark discussion
portion of the Fifth Ward.
and possibly also a reform about forward thinking and what space is and can be. It is no longer suffices to think five or ten
In a relatively short time we as a studio of graduate students
years down the road. The reality of needing to implement
have pooled our new understandings of urban planning to
design solutions that can be maintained and sustained for
create a masterplan for the Fifth Ward that represents the
generations to come is becoming more and more clear. Like
principles discovered in our research and travels, which seeks
Napoleon’s modernization of Paris based on London’s example,
to challenge ourselves and others to think differently about
this implementation of Parisian concepts of nature and artifice
the urbanization of the American city. As young architects, we
within the Milwaukee urban fabric seeks to serve that need and
have the daunting task of forming the future of our cities’
begin to revolutionize our thinking of what our city is and how
tectonic makeup. As young adults we are challenged with
the city itself drives the morphology. Evan R Bartlett M. Arch 2013
“In the urban artifact and its mutations are condensed continuous of time and place. The city is the memorial of our struggles and glories; it is where the pride of the past is set on display..” Spiro Kostof
CHAPTER 1 FRAMES OF REFERENCE: COMPARATIVE URBAN CONDITIONS
Bibliothèque Nationale de France
Paris has spent much of its long history at the forefront of architectural design. The medieval city was redefined by Haussmann in the 19th century and it has continued to transform through many projects that either embrace or reject his ideas. The connections between old and new concepts of design become evident through the careful study and comparison of urban conditions in the city. Important issues in designing urban conditions are revealed through the comparison of 3 sets of sites: Parc de la Villette versus Parc Citroën, Palais Royale versus the Bibliothèque Nationale, and the Institut de France, Pont des Arts and Cour Carrée axis versus Place Dauphine. The comparisons of these sites reveal different approaches to scale, perspective, and the nature of public space. Through this study it is possible to understand Paris’ evolving view of itself and the variety of interpretations of urban conditions.
Palais Royale vs. Bibliothèque Nationale
Figure 1.01 [E. Bartlett]
Figure 1.02 [E. Bartlett]
Paris has a long standing precedence for urban renewal and innovation. Many large projects have been commissioned throughout history to serve the French royal family and later the French public with new and interesting monuments. However, in the comparison of many current urban conditions there are still traces of a pre-modern order and design sensitivity. This can be found when comparing the Bibliothèque National François Mitterrand and Palais Royal. Pre-modern design valued cutting perfect public places out of the existing poche and allow for the space to make an outdoor room. In pre-modern France those spaces were usually reFigure 1.03 - Entry Trellises at Bibliothèque
served for the royal family and guests, but after the revolution the same design value showed up in the public realm. Gardens are very important to Parisians for this purpose as well.
Palais Royale vs. Bibliothèque Nationale de France
Figure 1.04 [F. Chen] Figure 1.04 [F. Chen]
The plans of Palais Royale and Bibliotheque Nationale appear to be very similar. They share many common traits such as never entering the space on axis although the space is divided bilaterally and would suggest a strong axis. The Bibliotheque is actually a rotated plan with perfect symmetry and a sunken courtyard. It differs from the Palais Royale because it was placed on top of the landscape where development was just getting underway. The sunken courtyard has the same proportion system as Palais Royale but the trees grow in a wild pattern. This is similar to the concept of Versailles harnessing the wilderness and creating order. The Biblioteque can hold chaos at its center and create perfect order from it.
Figure 1.05 - Palais Royale Collenade Looking East
Palais Royale vs. Bibliothèque Nationale de France
Figure 1.06 - Palais Royale Looking North
Surrounding the gardens are bands of different widths which present a false perfection. One main difference between the Palais Royal and the Biblioteque is that the library is perfect in its geometry and planning, but the palace is not. The Palais Royal is pretending to be perfect through the use of forced perspectives and
Figure 1.07 [C. Fischer]
phenomenal transparency. This allows the visitor to imagine that the geometries all stretch for the correct distance to make the garden symmetrical, even if the reality does not prove that it is symmetrical.
Figure 1.08 [C. Fischer]
Palais Royale vs. Bibliothèque Nationale de France
Figure 1.09 [C. Fischer]
Figure 1.11 - Bibliothèque Nationale looking West
Figure 1.10 [C. Fischer]
Parc André Citroën vs. Parc de la Villette With limited space within Paris to be used specifically as recreational green space, it becomes critical to design and construct spaces that utilize these spaces efficiently and effectively. Two such parks can be found in Paris. Parc André Citroën located on the left bank in the 15th arrondissement was designed by Gillis Clemeni and Alan Provost and constructed from the space formally used for the Citroen automobile plant, whereas Parc de la Villette designed by deconstructivism inspired Bernard Tshumi, located in the 19th arr. on the edge of the Boulevard Périphérique, was designed and constructed as a redevelopment of the space once used as the site for the Parisian slaughterhouses and national wholesale meat market.
Figure 1.12 - Boxwood garden
Figure 1.13 [J. Hauck]
Figure 1.14 [J. Hauck]
Parc André Citroën vs. Parc de la Villette
Figure 1.15 - Orangeries and fountains
Figure 1.16 [J. Hauck]
With the use of axis, grade change, and folies on the east side of the park, Parc André Citroën successfully creates three dimensional human scale outdoor “rooms,” to support an adjacent, much larger open green space to the west. Each outdoor room therefore exists as an individual spatial idea weaved into the fabric of a larger composition allowing for quiet, private introspection coupled with extroverted group activity all within the confines of a single park. The strong diagonal axis that runs from the northeast corner to the southwest serves as a similar “cinématique” as La Villette, connecting spaces and relating back to the city.
Figure 1.17 Green Garden Parc Citroen
Parc André Citroën vs. Parc de la Villette
Figure 1.18 [J. Hauck]
Figure 1.19 [J. Hauck]
Parc André Citroën vs. Parc de la Villette
Figure 1.20 [D. Wells]
Figure 1.21 - Citroën greenhouses and raised walks
Figure 1.22 [D. Wells]
Figure 1.23 - La Vilette folie
Parc André Citroën vs. Parc de la Villette
Figure 1.24 - Citroën diagonal path
Parc de la Villette is designed with the idea of spatial discovery in mind using a winding path, called the Promende Cinématique, to guide visitors through the many spaces within the park. The use of folies, as individual objects within a larger patterned composition, serves to guide one through the park along the promenade. Conversely, Parc Andre Citroen creates a playground of spatial discovery utilizing the folies themselves as objects which define spaces large and small. Whether viewed as successful or not, each park provides a view into the varied interpretation and range of experimentation of public green spaces within Paris. Additionally, each serves to help understand the relationship of how individual spaces can fit into a larger composition of a park space.
Figure 1.25 [D. Wells]
Figure 1.26 [D. Wells]
Figure 1.27 - La Vilette promenade cinematique surface change
Cour Carrﾃｩe vs. Place Dauphine
The Cour Carrﾃｩe, a square courtyard that is part of the Old Louvre, was completed by Napoleon I. The opening to the south offers views from the courtyard to the Pont des Arts to the Institut de France on axis. The Institut de France was designed by Louis Le Vau in 1663.
Figure 1.28 [C. Fischer]
Figure 1.29 [C. Fischer]
Also built in the 17th Century, Place Dauphine was among the earliest city-planning projects of Henri IV. It was laid out as the second public square in Paris and it is located on the western end of the ﾃ四e de la Citﾃｩ in the first arrondissement.
Figure 1.30 [S. Jones]
Figure 1.31 [F. Chen]
Institut de France/Cour CarrĂŠe vs. Place Dauphine
Figure 1.32 [C. Fischer]
Figure 1.33 - Institut through Louvre
In the path from the Cour CarrĂŠe to the Pont des Arts and the Institut de France, one can only see the Institut de France being framed in the barrel vaulted walkway, making it appear closer than it looks. In reality, one must cross the Seine via the Pont des Arts to reach it. Axis and perspective have a similar effect on the west end view in Place Dauphine. The shape of Place Dauphine is triangular. Two rows of buildings define the north and south edges, and a line of trees on the east side is between the place and the Palais de Justice. From the west end of the triangular place, one can see the statue of Henry IV on the Square du Vert Galant. The statue appears to be in the place but it is actually across the road.
Figure 1.34 [F. Chen]
Institut de France/Cour CarrĂŠe vs. Place Dauphine
Figure 1.35 [M. Topper]
The pervasive use of perspective makes Paris distinct from other European cities, and these two sites are good examples of it. Haussmann’s 19th century renovation of perspective helps define major axes throughout the city and order the urban fabric by creating connections from one space to the next.
Figure 1.36 [M. Topper]
Figure 1.37 [M. Topper]
Institut de France/Cour CarrĂŠe vs. Place Dauphine
Figure 1.38 [S. Jones]
Figure 1.39 [S. Jones]
Figure 1.40 [M. Topper]
CHAPTER 2 THE STAGED: PRE-MODERN STREETS AND SPACES
Sainte-Chapelle nave vaulting
The city has developed over time into an intricate web of
Our travels allowed us to document and learn from these con-
surfaces and spaces. Paris, Florence and Venice are prime ex-
cepts. With a catalog of images and notes in hand we will be
amples of European cities who have paved the way for the
able to design the future great spaces with great knowledge of
evolution of space making.The following Eight spaces: Sainte-
Pre-Modern Concepts.
Chapelle, Saint-Malo, Cathedral Notre-Dame de Chartres, Place Vendome, Avenue de l’OpÊra, Couvent de La Tourette, Piazza della Signora, and Piazza San Marco; represent influential ideas about Pre Modern city spaces.
Sainte-Chapelle
Figure 2.01 - Exterior looking North
Figure 2.03 [C. Fischer]
Sainte-Chapelle, located on the ﾃ四e de la Citﾃｩ, was completed in 1248 under King Louis IX. It is considered one of the pinnacle examples of Rayonnant Gothic architecture. Located within a complex of government buildings, it sits as an object in a courtyard, a rare composition in the Parisian fabric. Figure 2.02 - Rose window
Sainte-Chapelle
Figure 2.04 - South elevation
Figure 2.06 - Nave looking towards apse
Figure 2.05 [C. Fischer]
Sainte-Chapelle Sainte-Chapelle is made up of a two part vertical composition. The lower chapel serves as the heavy base, grounding the rest of the structure. It has limited daylighting and is rich with vaulting supporting the other space above. The upper chapel is the essence of weightlessness and vertical emphasis, with thin articulated columns soaring into the nave vaulting. The chapel is immersed in the soft light of stained glass from all sides, which adds to the airyness of the enlightening space.
Figure 2.07 [J. Hauck]
Figure 2.08 - Lower floor vaulting
Figure 2.09 - Apse and altar
Sainte-Chapelle
Figure 2.10 [M. Topper]
Saint-Malo
Figure 2.11 [D. Wells]
Saint Malo is a modern reconstruction of a medieval walled city. During the middle Ages it was a fortified island at the mouth of the Rance River, controlling not only the estuary but the open sea beyond. The original city was bombed heavily in World War Two and was later reconstructed using modern building techniques and faรงade design. Figure 2.12 - North shore from ramparts
Medieval buildings have a bearing wall system and the details around the windows highlight the heavy masonry construction making them stand out amongst the other modern facades. The vertical windows with quoining around the jam, a built in carved lug sill, and a solid, heavy lintel mark the original buildings.
Figure 2.13 - Existing building with true masonry construction
Saint-Malo
Figure 2.14 [J. Hauck]
Figure 2.15 [J. Hauck]
Figure 2.16 [J. Hauck]
Figure 2.17 [J. Hauck]
Figure 2.18 - City from ramparts
Saint-Malo The use of different masonry bonds gives the city variety and a second level of complexity that reinforces the masonry language. A Running Bond is the strongest type of wall due to its offset joints and bonding bocks in the thick walls. The Ashlar Bond seems to be random but has many well placed bricks which use all sides of the brick to create the diverse look. The Grapevine Bond has a thick piece of mortar running along the joints making it look as if the weight of the stones has pushed the mortar out from between the elements before it could set. These different bonds can be found making a rhythmic hierarchy along the street walls. Main streets tended to have Running Bonds while secondary streets would use Ashlar Bonds and only a few individual buildings would use the Grapevine Bond.
Figure 2.19 [S. Jones]
Figure 2.20 Ashlar bonded stone
Figure 2.21 [S. Jones]
Saint-Malo The modern facades are easy to distinguish once the medieval language is understood. Most of the modern buildings are built using a frame and infill system. This is reflected in the design of the face. The structure would usually be revealed as a detail that creates a vertical rhythm or horizontal datum. These would then be filled in by larger openings with a more horizontal bias. The ideas of phenomenal transparency show up again in the modern designs of Saint Malo. Concrete slabs can be interpreted as slipping gently behind the covered steel structure while lintels are all continuous or broken in the middle, highlighting that they are not truly supporting the window opening.
Figure 2.22 - Masonry openings
Figure 2.23 [S. Jones]
CathĂŠdrale Notre-Dame de Chartres
The construction of CathĂŠdrale NotreDame de Chartres in Chartres, France started in 1145, marking the high point of French Gothic art. The plan of the Gothic cathedral is a Latin cross with two aisles, a vast nave, a short transept and an ambulatory. The rounded east end has five semi-circular radiating chapels (Fig. 2.25).window opening.
Figure 2.24 - Twin Towers
Figure 2.25 [C. Fischer]
CathĂŠdrale Notre-Dame de Chartres
Figure 2.26 [C. Fischer]
Figure 2.28 - Flying buttresses
Figure 2.27 - Sidestreet View
Figure 2.29 - Apse Buttressing
CathĂŠdrale Notre-Dame de Chartres
The spacious nave is the widest in France and stands 121 feet high. The height of the nave and the unprecedented size of the clerestory windows require unique structures. The nave is supported by double flying buttresses, anchored by colonnettes and great abutments. Chartres was the first building on which buttresses were used as a structural element that determined the overall external appearance of the building.
Figure 2.30 - Nave bays
On the interior, there are circular columns bundled by smaller octagonal columns and octagonal columns bundled by smaller circular columns (Fig. 2.31). These clustered columns rise dramatically from plain bases to the high pointed arches of the ceiling, directing the eye to the massive clerestory windows in the apse.
Figure 2.31 [J. Hauck]
Figure 2.32 [J. Hauck]
CathĂŠdrale Notre-Dame de Chartres
Figure 2.33 [F. Chen]
Place Vendôme
The starting point of the rue de la Paix and just north of the Tuileries Gardens this space probably best represents the epitome of Parisian urban design concepts. It is an octagonal space carved from the poche of Paris’ city solid to mimic the smaller construct of interior courtyards. The octagonal perimeter of the space, unlike most Haussmann streets, is a continuous façade enclosing the “courtyard,” which does allow vehicular traffic, but is predominantly about a pedestrian plaza Figure 2.34 - Place looking North
supporting the many high-end businesses and hotels housed here.
Figure 2.35 [D. Wells]
Figure 2.35.5 - Place looking North
Place Vendôme
Figure 2.36 - Approaching from the South
The façade represents a unique view of ordered dimension and phenomenal transparency, different interpretations of what is figure and what is “ground,” at a large continuous scale. Because the space was envisioned as a thick wall façade, the adjacent buildings are able to fit snuggly behind it to further solidify the concept of a spatial void being carved out of a solid block of Paris.
Figure 2.38 [D. Wells]
Figure 2.37 - Place looking south
Place Vend么me
Figure 2.39 [D. Wells]
Figure 2.40 - Street elevation
Figure 2.41 - Rue Castiglione looking South
Place Vend么me
Figure 2.42 - Looking South
Figure 2.43 [J. Hauck]
Figure 2.44 [D. Wells]
OpĂŠra National de Paris, Paris
Located at the north end of the Avenue de l’Opera in the 2nd arrondissement of Paris, France, the Opera Garnier officially named Palais Garnier served as the principle venue for the Paris Opera and Ballet from its completion in 1875 until 1989 when the Opera Bastille was constructed and became the official new home. While the building is architectural significant itself, the approach towards the Opera following the avenue north represents a significant Parisian concept of spatial planning. Figure 2.45 [C. Fischer]
Figure 2.46 - Entrance facade looking North
Opéra National de Paris, Paris
Figure 2.47 - View from Opera balcony
Figure 2.48 [E. Bartlett]
The facades of the east and west buildings that line the space while arranged vertically in efforts to create the illusion of greater height, also serve to wrap the space horizontally using balconies and similar elements when viewed in perspective. These horizontal lines continue on the entrance façade of the Opera. As one moves north along the avenue, the southern façade of the Opera which once seemingly formed the north face of this space, begins to separate to reveal the large space that is Place de l’Opera immediately in front of the building previously unperceivable.
Figure 2.49 [E. Bartlett]
OpĂŠra National de Paris, Paris
Figure 2.50 [E. Bartlett]
Figure 2.51 [C. Fischer]
Couvent de La Tourette
Couvet de La Tourette is a priory located outside Arbresle in southern France. Designed in 1953 by Le Corbusier and constructed in 1960, it is considered a pivotal building of the Late Modernist style. Designed in the Brutalist method with rough Figure 2.52 [J. Hauck]
cast-in-place concrete and gunite surfacing, Le Corbusier expresses the faults of humanity dedicated to a higher being. The building contains two levels of isolated dorm cells with common spaces below. These areas create a U-shape around a cloister of architectural forms that is closed on the opposite edge by the Sainte Marie de La Tourette church. The monastic simplistic design plays with a variety of forms, spaces, and light to create a spiritual and enlightening environment.
Figure 2.53 [D. Wells]
Figure 2.54 - Cell hallway with ribbon windows
Couvent de La Tourette
Figure 2.55 [D. Wells]
The building dominates a slope of terrain overlooking the small city of Arbresle. The primary frame system lengthens to meet the ground change and also divides the building into individual cells with attached brises-soleil porches. Light also enters the building through a variety of window types with particular emphasis on Corbusier’s method of landscape horizontality and the effects of light in space. The Sainte Marie de La Tourette church relies heavily on the relationship of space and light penetration creating a somber and reflecting atmosphere.
Figure 2.56 - Courtyard and beyond
Figure 2.57 [D. Wells]
Couvent de La Tourette
Figure 2.58 [C. Fischer]
Figure 2.59 - Undulating windows from ground floor
Couvent de La Tourette
Figure 2.61 - Chapel exterior
Figure 2.60 [C. Fischer]
Couvent de La Tourette
Figure 2.62 - Cannon skylights from church
Figure 2.63 [C. Fischer]
Piazza Signoria
Figure 2.64 [C. Fischer]
Piazza della Signoria is an L-shaped space that wraps around Palazzo Vecchio. The square is placed in front of the palace to emphasize the owner’s power in the city. If the visitor enters facing the front of the palazzo, they experience something similar to approaching the OpÊra Garnier in Paris. The palazzo first appears to cap the street, but eventually reveals the piazza to the left and the palazzo becomes an object in the square.
Figure 2.65 - Firenze Panorama
Piazza Signoria
Figure 2.66 [C. Fischer]
Figure 2.67 - Piazza and Palazzo Medici
Piazza Signoria The shape of the piazza allows for multiple readings of the space. Most of the entrances exist on corners, and the approach can change the understanding of the site. A series of statues run in front of the palazzo towards the north. These statues have multiple functions. Two of the statues, including Michelangelo’s David, flank the gate to the palazzo, to mark its entrance. The large Neptune fountain is placed at the corner of the palazzo and acts as a pivot, connecting the primary and secondary spaces of the piazza. Lastly, the statues create an imaginary line that runs north-south, dividing the space into two pieces. When approaching from the west, north, or south, through the Uffizi, the dominant space exists on the west side of the palazzo. However, when approaching from the east, the dominant space seems to be on the north side of the palazzo.
Figure 2.68 - Piazza and Neptune
Figure 2.69 [C. Fischer]
Piazza Signoria
Figure 2.70 [C. Fischer]
Figure 2.71 [C. Fischer]
Figure 2.73 - Flanking statues
Figure 2.72 - Neptune
Piazza San Marco
Figure 2.74 - Piazza from the Grand Canal
The main plaza in the Piazza San Marco runs East and West, bounded on the West by the Ala Napoleonica, which houses the Correr Museum. To the north and south connected to the Ala Napleonica are the Procuratie Vecchie and the Procuratie Nuove. These brick and stone buildings with porticoes and crenellations were built to house the high-ranking magistrates for St. Marks Basilica. On the East end of the Piazza is St. Marks Basilica. Marking the corner between the Piazza and the Piazzetta (Doge’s Palace piazza) is the Campenile. This bell tower is the most visible icon of the Piazza towering high over the entire city. Almost directly north of the Campenile is the clock tower which serves as the connection to the Rialto (economic district). Connected to the south side of St. Marks Basilica is the Palazzo Ducale (Doge’s Palace). In front of the Doge’s palace is another public space known as the Piazzetta. The Libreria borders the Piazzeta across from the Doge’s Palace. Two columns stand at the end of the Piazzetta, at the top on the West column is the Lion of St. Mark and the other is crowned with Saint Theodore.
Figure 2.75 [D. Wells]
Piazza San Marco This unique organization of buildings creates three unique spaces. The Piazza San Marco, the Piazzetta between the Doge’s Palace and the Liberia, and the waterfront (port) on the South side of the Doge’s Palace. Building heights no more than 4 stories create a comfortable human scaled space. Porticoes on all sides of the piazza create a permeable edge condition wrapping the entire piazza complex.
Figure 2.76 [D. Wells]
Figure 2.77 - Piazzetta looking South
Figure 2.78 - Piazzetta looking North
Figure 2.79 [D. Wells]
Piazza San Marco
Figure 2.80 - Doge’s Palace Elevation
Figure 2.82 [J. Hauck]
Figure 2.83 - Piazza looking East
Figure 2.81 [J. Hauck
Piazza San Marco
Figure 2.84 - San Marco from Ducal Palace courtyard
Figure 2.85 - Piazza looking West
Figure 2.86 [D. Wells]
CHAPTER 3 THE RANDOM: MODERN STREETS AND SPACES
Porte d’Asnières courtyard looking north
Our masterplan design research of Paris, France focused on three social housing complexes within the périphérique of the city: Bercy in the 12th arrondissement, Seine Rive Gauche in the 13th arrodissement, and Porte d’Asnieres in the 17th arrondissement. These masterplan strategies are a solution to urban decay and an effort to revive deserted or undesirable lands in the city. Each complex demonstrates in its own way the ideas of perspective, private/public space and merge of new buildings into an existing fabric. In all three cases, architects are asked to work within a set of constraints, allowing variations while maintaining visual unity. A preoccupation with perspective, a desire to redefine public space and sustain a relationship between buildings and the public realm contribute to the importance of this visual unity. Analyzing these three projects helps develop a deeper understanding of urban building issues and how they shape the changing city.
ZAC Bercy
Bercy is a masterplan housing development built in the 1980s Figure 3.01 - Park side elevation
in the 12th arrondisement. The project was built on a site that was previously occupied by the wine industry along the Seine’s right bank in southeast Paris. The masterplan for the new project was designed by Jean-Pierre Buffi, and then was passed on to other architects to design different parts of the buildings. This meant that the buildings could have variation, while maintaining a feeling of unity. The main facades of the buildings face Parc de Bercy, to the south, designed by Bernard Huet and Phillippe Raguin. This connection between the park and the housing was key to Buffi’s design.
Figure 3.02 - Housing from park
Figure 3.03 [F. Chen’]
ZAC Bercy
Figure 3.04 - Street between housing and park
Figure 3.05 [F. Chen]
The design combines Haussmann’s 19th century concept of the continuous façade with the more modern idea of the object building. This is achieved by a series of balconies that run along the south façade, creating the feeling of a continuous façade. However, behind these balconies, the building is separated into several towers. The separations allow for a connection between the courtyards in the center of buildings and the park.
Figure 3.06 - Looking into courtyard
ZAC Bercy
The balconies and towers act as the fourth side of a u-shaped complex, creating the courtyard within. The north side of the complex does not follow the same rules created by the balconies on the south side. This means that the connection between the park and the building courtyards does not continue to the street space on the north side of the buildings, emphasizing the connection on the south side even more. It is through this connection that Bercy succeeds in creating a multi-layered link between the public realm and a semiprivate public space.
Figure 3.07 [J. Hauck]
Figure 3.08 - Housing towers and balconies
Figure 3.09 - Elevation detail
ZAC Bercy
Figure 3.10 [M. Topper]
Figure 3.11 [M. Topper]
Figure 3.12 - Elevation transparency study
Figure 3.13 - Balconies]
ZAC Seine Rive Gauche - Massena
Figure 3.14 [D. Wells]
RIYADH, Saudi Arabia - The investment company headed by Saudi billionaire Prince Alwaleed bin Talal says it plans to complete the world’s tallest tower in just over five years time. The Kingdom Holding Co. did not say Sunday when work would begin on the Kingdom Tower.
Figure 3.15 - Park looking west
Figure 3.16 - Experimentation
ZAC Seine Rive Gauche - Massena
Figure 3.18 [D. Wells]
The ZAC Rive Gauche – Massena is a master plan located on the southeast end of the Left bank of Paris, France. At the center of this plan is a green space adjacent to the Grandes Moulin, an old flour making factory. A variety of high rise buildings surrounds the factory and park creating a relatively enclosed space Figure 3.17 [D. Wells]
Figure 3.19 - Street space
when standing on the bridge in the park.
ZAC Seine Rive Gauche
Figure 3.20 - Park looking East
Figure 3.21 [J. Hauck]
Unlike other master plans we have studied the ‘rules’ or ‘guidelines’ are not very apparent to the naked eye. Material does not play an important role in the overall master plan. It is more like a cluster of unique ‘icon’ buildings rather than a cohesive set of objects.
Figure 3.22 - Park and bridge looking East
ZAC Seine Rive Gauche
Figure 3.23 [J. Hauck]
The site has a grade change of nearly 30 feet from West to East. As the road declines to the water the horizontal datum line climbs the building to match its neighbor. The datum (under hangs of buildings) remains parallel to the original grade.
Figure 3.24 - Park space
Figure 3.25 - Grade change
ZAC Porte d’Asnières
Figure 3.26 [C. Fischer]
Designed by Christian de Portzamparc, the master plan at Porte d’Asnieres is located near the northwest edge of Paris off the Rue de Marguerite Long and partially bound by train tracks and the Boulevard Peripherique.
Figure 3.27 - New meets newer
Figure 3.28 - Street space
ZAC Porte d’Asnières
Figure 3.29 [C. Fischer]
Figure 3.30 - Street view looking south
Figure 3.31 [S. Jones]
ZAC Porte d’Asnières
Figure 3.32 - Courtyard looking north
Figure 3.33 [C. Fischer]
The plan consists of an interior park space enclosed by two layers of buildings. This seems to draw from pre-modern Parisian ideas about private courtyards and designed outdoor spaces. A small access street runs between the housing, setting up the possibility of a continuous outdoor room. The Haussmann street set up the idea of a continuous street façade, but this idea is altered and made more playful. The street level façade is largely opaque and continuous. At higher levels, building units emerge as tower objects as the façades push and pull. Figure 3.34 - Courtyard corner condition
ZAC Porte d’Asnières
Figure 3.35 - Courtyard view of Flower Tower
Figure 1.36 [S. Jones]
Figure 3.37 [S. Jones]
The rings of towers alternate rythmically to establish a percieved wall surrounding the park. The outer ring appears taller, so that the perspective effect is a continuous, sliding enclosure. The corners of the interior ring are left void to reinfore the reading of the towers. The lower level is solid yet permeable, allowing passersby views of the interior space. Horizontal datums from the street side are continued on the courtyard elevations, creating feelings of tranquil privacy Figure 3.38 - Street space looking West
CHAPTER 4 Inner Harbor: Modern Streets And Spaces
Inner Harbor Milwaukee, WI
Orchard St.
Lapham St.
Mitchell St.
Figure 4.1 - Master Plan: Figure / Ground [J. Hauck]
Using preliminary research conducted in Paris, we designed a master plan for a portion of the Fifth Ward in Milwaukee, WI. Our site, located east of First Street and south of National Avenue, is near the School of Freshwater Science along the edge of Lake Michigan and the Allen Bradley Clock Tower on First Street. The Fifth Ward is home to old warehouses and other industrial structures and in the last few years the neighborhood has seen an increase in redevelopment interests. Based on our research, we approached the project as a way to integrate a new city scape of monumental significance that would become a dynamic and active area within the urban fabric. The Allen Bradley Clock Tower acts as the only monument for the area. Although this begins to think of the impact of identifiable objects in the neighborhood, having only one reduces the impact that could occur where multiple objects terminate axes and define space. The masterplan created in the inner harbor of Milwaukee applies inhabitable layers encompassing a green space and innovation park (4.1).
Green Space
Private Courtyards
Figure 4.2 [D. Wells]
Figure 4.3 [D. Wells]
Waterways
Monuments And Monumental Axis
Figure 4.4 [D. Wells]
Figure 4.5 [D. Wells]
Figure 4.6 Perspective of innovation park facing East harbor [J. Hauck]
One of the most prevalent concepts within the three master plans in Paris (Bercy, Seine Rive Gauche, Porte d’Asnieres) is the interaction of public and private zones. All three complexes use views and perspectives to build relationships between public and private areas. Adopting this concept we incorporated a series of public and private park areas (Fig 4.2-3). Public green spaces connect the west bank of buildings and the train to the Milwaukee harbor. The focal point of the master plan is the large public park modeled after Parc Citroën. It incorporates water from the port through two swells located in the innovation park green spaces (Fig 4.2 & 4.4). The park is defined by continuous façades on three sides and spreads through the green lanes to the harbor created by the innovation park buildings. The primary axis of the park is from north to south.
Figure 4.7 Perspective showing train and innovation park relationship [F. Chen]
Figure 4.8 North-South section showing train axis [F. Chen]
Figure 4.9 Perspective facing North showing train station [E. Bartlett]
Orchard Street, Mitchell Street, and the the train tracks are monumental entrances to the community (4.5 & 4.8-.10). Riding in on the train the visitors come through a continuous faรงade which opens up at the large central park station. The view is anchored on the east by the innovation park along the harbor and the train track on the west (4.6-.7).
Figure 4.10 East-West section showing transition from train station to interior courtyard [E. Bartlett]
Major/Minor Streets
Building Heirarchy
Figure 4.11 [D. Wells]
Figure 4.12 [D. Wells]
Commercial
Residential
Figure 4.13 [D. Wells]
Figure 4.14 [D. Wells]
Figure 4.15 East-West section showing tallest core buildings along harbor and digressing in size to meet city fabric [E. Bartlett]
Figure 4.16 North-South section facing East toward innovation park [M. Topper]
From the centralized focus on the green space and innovation park, concentric layers of buildings progress outward with the tallest buildings at the core (4.11 & 4.15). As the building height digresses from the core, the outter ring adjusts to meet the city fabric at a more appropriate scale. This progression also represents their importance to the developement and their building type (4.12-.14). The northeast edge of the park is defined by a commercial tower which consolidates the innovation park buildings into solid bars, while creating their harbor edge building form (4.16-.17).
Figure 4.17 - Boardwalk perspective looking at innovation park edge and tower [M. Topper]
Figure 4.18 - Orchard Street perspective looking at innovation tower [S. Jones]
Figure 4.19 - Orchard Street perspective showing horizontal datums [S. Jones]
The importance of axes and the termination of views to European space planning led to the establishment of buildings as monuments. Not only is the innovation tower a monument in this urban developement, but the facades along Orchard Street and Mitchell Street become monumental through the implementations of Haussmann (4.18-.19). Applying an arcaded base with commercial at ground level establishes the piano noble, datums implemented at train level (20’), third story (50’), and sixth story (95’) unify horizontality, and a continuous street wall forms an encompassing street room (4.20).
Figure 4.20 - North-South section facing west depicting monumental street’s horizontality [F. Chen]
Figure 4.21 - North-south section depicting monumental tower within innovation field [M. Topper]
Our design incorporates monuments to terminate views on Orchard Street, the tower, and the south end of the proposed additional street dividing the park from the innovation area, the tall column (4.21-.22). By utilizing the concept of monuments the master plan area is clearly defined from within and beyond. They enable users to orient themselves and clearly delineate the hierarchy within the space. Our master plan incorporates the concepts of axis and views to establish relationships between spaces and the existing city fabric.
Figure 4.22 - Perspective of monumental column, Mitchell street facade, and harbor theater [J. Hauck]
All commercial and residential complexes contain enclosed landscaped space. These courtyards provide occupants and residents with privacy from the street while maintaining views, daylighting and access to the street level (4.23-.24). This plan uses interior spaces within residential and commercial modules Figure 4.23 - North-South section of interior courtyard [F. Chen]
allowing views across the buildings and into the public green space. Typical high-rise residential interior courtyards are comprised of double-height townhomes that match the datum established by the Amtrak level. Single height apartment living fills out the remaining floors. The townhomes open directly onto the courtyard, which is stocked with birch trees and boxwood bushes to soften the space. The upper floors step back to create balconies on the second and fifth levels to enhance horizontal continuity and provide raised inhabitable space. The setbacks also nurture the inward focus of each block’s central space where public and private zones meet.
Figure 4.24 - Perspective of small interior courtyard [C. Fischer]
Figure 4.25 - Axon detail of small interior courtyard facade [C. Fischer]
Figure 4.26 - Axon detail of exterior courtyard facade [C. Fischer]
Figure 4.27 - Axon detail of large interior courtyard facade [C. Fischer]
Figure 4.28 - Section of large interior courtyard [C. Fischer]
The interstitial zone between the continuous inner ring of highrises and the lower ancillary buildings provides an interesting blank canvas for streetwall design. These 80 foot wide bands of space are found to the North and South of the central park and research buildings. The issue of how to blend a three story building into seven story units is solved using pre-modern and modern Parisian concepts. Haussmann’s continuous street wall and horizontal datums are used to link vertical levels of the space. The 20 foot datum is continued through with balconies on the highrise and a colonnade on the three story buildings. The roof level of the three story building is echoed in the highrise with a balcony. Phomenal transparency concepts from ZAC Bercy were also tied into the facade. Orthogonal materials are used and offset a few inches into the width of the wall to make a large surface read as a softer, sliding composition. The highrise towers are 60 feet square in plan, separated by 30 foot gaps. This sets up a rhythm of A B A B A and so on. Continuous balconies and matching levels of materiality give the facade multiple spatial readings. One can read the building as a continuous street wall, as individual object towers with horizontal links, as a punched wall, or other imaginitive permutations.
Figure 4.29 - East-West section emphasizing interior courtyards [S. Jones]
CHAPTER 5 PHOTOGRAPHIC DATA COLLECTION
The Contemporary Facade
Figure 5.01 CNIT Building, La Defense [S. Jones]
Figure 5.03 - .Rue de Meaux Housing [J. Hauck]
Figure 5.02 - MusĂŠe du quai Branly Louvers [J. Hauck]
The Contemporary Facade
Figure 5.04 - Hotel Wagral [E. Bartlett]
Figure 5.05 - MusĂŠe du quai Branly Living Wall [J. Hauck]
The Contemporary Facade
Figure 5.06 - Avenue de France, Rive Gauche [C. Fischer]
Figure 5.08 - Orange Cube - Lyon, France [E. Bartlett]
Figure 5.07- Arab World Institute [J. Hauck]
The Contemporary Facade
Figure 5.9 - Cartier Foundation [E. Bartlett]
Figure 5.10 - Rive Gauche Facade[S. Jones]
Classical Surfaces
Figure 5.11 - ?????????? [E. Bartlett]
Figure 5.11 - Rive Gauche Facade[S. Jones]
Figure 5.12 - ?????????? J. Hauck]
Classical Surfaces
Figure 5.13 - One New Change and St. Pauls, London [C. Fischer]
Figure 5.14 - Vaux Le Vicomte [E. Bartlett]
Parisian Monumentality
Figure 5.17 - Grand Arch [J. Hauck]
Figure 5.19 - Arc de Triomphe [J. Hauck]
Figure 5.18 - Centre Georges Pompidou [J. Hauck]
Parisian Monumentality
Figure 5.20 - Notre Dame de Paris [M. Topper]
Figure 5.21 - Eiffel Tower [S. Jones]
Parisian Monumentality
Figure 5.22 - MusĂŠe du Louvre [J. Hauck]
Figure 5.23 - PanthĂŠon, Paris [C. Fischer]
CHAPTER 6 FIELD STUDY APPENDIX
Fieldnotes from Florence [C. Fischer]
Port-Royal Charette
Figure 6.01
During our studies in Paris we had the unique opportunity to work on a small charette with students from Germany and Greece. We spent two afternoons designing a International Student Center. The program of the space included a common space, meeting spaces, exposition spaces, lecture theater, bar and lounge as well as permanent and temperary dormitories. The idea was to create multi-use space for international students similar to us, staying in Paris. The site selected is a triangular plot of land directly above the RER Blue line stop (Port-Royal). It measures only 60 feet wide on its south end collapsing to a point 345 north. The space is an intersection of multiple main streets, the metro line, and the Luxembourg garden axis (Prime Meridain). The site offers a unique opportunity to fit into the context of the city or call itself out as a ‘monument’. We were split into groups with similar interests in design for the site.
Port-Royal Charette
Francis Chen, Michael Topper, Panos Drougkas
This design created a hanging garden scheme that opened up the center of the space for ground level activity. On the West side of the space they designed a glass wall to shield the traffic noise while not obstructing the view of the space. The projected volumes enhance the northern access connecting its central courtyard with the luxembourg Gardens to the North.
Figure 6.02
Figure 6.03
Figure 6.04
Figure 6.05
Port-Royal Charette Stephanie Jones, Depi Zamp, Rose Kaiser
This design was centered around a promenade from the ground floor to the rooftop patio/garden. Structure was placed on the North and South while the central spaces were raised on pilotis. Between the two volumes was a glass corridor that only moved from the second floor to the third. This forced movement allows you to look out into the city and the Luxembourg Gardens to the North. Its volumetric mass aligns with the current 7 story Haussmann lines currently existing in Paris.
Figure 6.06
Figure 6.07
Figure 6.08
Port Royal Charette
Evan Bartlett, Sebastian Rademacher, Marlene Brudek
Figure 6.09
Figure 6.10
Figure 6.11
This design focused on the concept diagram in Figure 6.09. This diagram shows the intersection of the main axis, the Haussmann grids, the garden axis and the RER train. The north end of the site related to the park, staying low and open while the South end related to the grid of the city matching the 7 story poche of the city. These concepts developed a building that slopes up from the North to the South.
Figure 6.12
Figure 6.13
Port-Royal Charette Joel Hauck and Anna Gasgeber
This design worked around the exising metro access point in order to keep the public and private spaces completely seperate. An ‘L’ Shaped building was formed working with the dimensiosn of the site. Modern haussman concepts were employed in Western facade incorporting a steel single loaded walkway and a glass mansard roof. Public programmed spaces existed on the ground floor while housing and other private functions where located in the upper floors of this 7 story project.
Figure 6.14
Figure 6.15
Figure 6.16
Figure 6.17
Figure 6.18
Port-Royal Charette
Connor Fischer, Dana Wells, Michael Andrianakis This design saught to reconcile the numerous axes and levels criss-crossing site. The curving facade allows the two fronting streets to tie in parallel to the building. The articulated acute greenhouse mass serves as an anchor and a marker for the structure. Haussmann datums were used and manipulated to infuence the curtain wall and surface materiality.
Figure 6.20
Figure 6.19
Figure 6.21
Figure 6.22
Analytical Drawings
Figure 6.23 [D. Wells]
Analytical Drawings
Figure 6.24 [D. Wells]
Figure 6.25 [D. Wells]
Analytical Drawings
Figure 6.26 [J. Hauck]
Figure 6.27 [J. Hauck]
Analytical Drawings
Figure 6.28 [J. Hauck]
Figure 6.29 [J. Hauck]
ANALYTICAL DRAWINGS
Figure 6.30 [E. Bartlett]
ANALYTICAL DRAWINGS
Figure 6.31 [E. Bartlett]
Figure 6.32 [E. Bartlett]
ANALYTICAL DRAWINGS
Figure 6.33 [C. Fischer]
Figure 6.34 [C. Fischer]
Figure 6.35 [C. Fischer]
Figure 6.36 [C. Fischer] Figure 6.37 [C. Fischer]
Figure 6.38 [C. Fischer]