Senior Project Research

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VETERAN REHABILITATION THROUGH THEATER AND PERFORMANCE

ALMEIDA, JOSEPH CAL POLY POMONA 2013 THESIS PROJECT

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California State Polytechnic University Pomona Department of Architecture/ College of Environmental Design ARC 494 Assessment Sheet/ Feb. 22nd, 2013 494 Instructors: Hoyos, Ramirez, Ortenberg and Schmitzberger Deliverables checklist

Student name

Joseph Anthony Almeida

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ARC 491 Introduction to establish need for the project. Narrative (3500-5000 words) should contain items listed below: Site selection

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Design precedents (case studies)

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Discussion on building organization types

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Climate and site conditions

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Discussion on technical requirements

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Preliminary zoning and building code research sufficient to establish feasibility

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Professional consultations

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ARC 494 491 Revisions to document per instructor comments.

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Program description narrative

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Program space summary (tabulation)

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Description of key spaces (three minimum)

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Planning and zoning regulations. Building code analysis.

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Site assessment and analysis including three site plan alternatives. Project proposal based on optimized alternative in consultation with instructor Resource allocation based on optmimized alternative

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Annotated bibliography

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ASSESSMENT SHEET

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VETERAN REHABILITATION

ALMEIDA, JOSEPH

THROUGH THEATER AND PERFORMANCE COVER PAGE ASSESSMENT SHEET TABLE OF CONTENTS ABSTRACT INTRODUCTION GOAL INTENT CASE STUDIES THE CLIENT PROFESSIONAL CONSULTATIONS ANALYSIS SITE LOCATION SITE ANALYSIS ZONING CLIMATE ANALYSIS PROGRAM KEY SPACES PROGRAM ORGANIZATION COST ESTIMATE VARIATIONS CONCLUSION BIBLIOGRAPHY

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TABLE OF CONTENTS

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ABSTRACT

ALMEIDA, JOSEPH

The brain is a powerful organ, in which we conserve all of our memories, knowledge, and our SHUFHSWLRQ RI WKH ZRUOG ZH OLYH LQ 2XU ¿YH senses are the tools we use to interact with the world and to obtain an idea of who we are in our surroundings. It is through the senses that we learn about our world and obtain the knowledge we carry throughout our lives. It is with our senses that we learn about our self identity, and how our self relates to the reality around us. It is with this process of learning that the emphasis on theater becomes an important way of stimulating our senses (Herwig, 2006). Through theater and performing arts, an audience can be stimulated through a different reality and learn from the different settings they are placed in. My project explores the concept of creating a new reality through theater in order to stimulate the senses and introduce the audience with knowledge of our world. The focus is on the interaction between performance and architecture in a way that can transform the setting into a total fantasy, where the audience feels that they are no longer in the real world. My project relies on the interactive process between the arts, theater, and architecture and how these three things can create different settings within a space. The integration of the three will determine the learning experience that the audience has, improving their knowledge, health, and self-identity. The target audience for the project would be those individuals who are taken to a different setting, in order to defend our country and our lives: veterans 'XH WR WKH SURMHFWœV LQWHQWLRQ DQG IRFXV YHWHUDQV ¿W LQWR WKH GHVFULSWLRQ RI WKH DXGLHQFH mentioned above, and therefore, the project focuses on using the arts to reintegrate our veteran heroes back into current society. In the end, the intent of the project will be to stimulate the senses of veterans in order to improve social, physical, and psychological issues that are present in today’s reality. The idea is to use theater and performance as a tool of expression for veterans to heal, reintegrate, and improve on their wellness, health, and their lives in the real world, as true heroes.

ABSTRACT

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INTRODUCTION The origin of the theater comes from the ancient Greeks with the “festivities of honoring their godsâ€? (University Press, 2012). It began as an event showcasing the importance of the Gods in society and therefore increasing the awareness of the Gods in Greek culture. As these festivities became larger, stories and plays were written that were depicted in a theater with hundreds of spectators. The Greeks developed the theater in order to pass the traditions in their culture from generation to generation. In fact, theater was used as a method of preserving culture, traditions, and social integrity within the Greeks and their Gods. Romans used theater differently; theater was as a way of entertainment and to provide the comfort of leisure time in Roman society and culture. One of WKH ÂżUVW WKHDWHUV WKDW WKH 5RPDQV FRQVWUXFWHG ZDV WKH WKHDWHU LQ 3RPSH\ ZKLFK ZDV EXLOW LQ D ZD\ that it could be seen “as serving religious purpose rather than mere entertaining.â€? In this example, the temple of Venus served as the stage background to preserve performances as religious in their intentions. Theater slowly transformed from being a religious ceremony, like seen in the theater in Pompey, to something more entertaining, as seen in the Roman Coliseum (Roman Theater, 2012). The purpose of the performances in the Coliseum was to entertain the audience with acts of violence and gore. Roman gladiators, the actors of the performances, were usually slaves, prisoners, or criminals, and fought amongst each other until their deaths (Roman info, 2012)In this case, we see a great shift of theater into leisure of mere pleasure and for audiences to enjoy. During the Elizabethan time period, theater started becoming more intimate in nature and drama became an important aspect of plays performed. The theater started taking a form that later became known as the picture-frame stage (Schubert, 1971). The auditorium was arranged as a balcony and box theater, a concept that was directly driven by the court society of that period (Schubert, 1971). In this typology of theater, there was a strict separation of actors and audience, who faced each other across the apron of the stage. This form of theater was seen throughout the sixteenth century until there was a concern about the rigid separation of the stage and public. During this time, the stage was always framed in front of viewers and there was a clear separation of where reality stopped and where fantasy began. In the seventeenth century, there was an exploration of abolishing this boundary between public and stage, especially as the digital realm challenged theatrical capabilities. Some of the architects that began exploring different arrangements of the theater included Adolf Loos, Hans Poelzig, Andreas Weininger, and Walter Gropius. This typology RI HQWHUWDLQPHQW EHJDQ KDYLQJ WKH DUFKLWHFWXUDO FKDUDFWHULVWLFV RI Ă€H[LELOLW\ PRELOLW\ FHQWHU VWDJH DUUDQJHPHQWV DQG DQ LQFUHDVH LQ HIÂżFLHQF\ DOO IRU WKH SXUSRVH RI SXWWLQJ WKH YLHZHU FORVHU DQG closer to the actors. The goal of theater was to place the viewers in another setting, where they

ALMEIDA, JOSEPH

FIGURE 1A: THEATER IN POMPEY

FIGURE 1B: ROMAN COLISEUM

FIGURE 1C: ELIZABETHIAN THEATER

INTRODUCTION

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can sense this new fantasy created without any physical obstacles (Schubert, 1971). Furthermore, the theater has existed throughout the years as a means of sharing cultural stories, traditions, and history in order to teach new audiences about the awareness of the past, the present, and the future by diminishing the boundary of the public and the stage.

FIGURE 1D: ELIZABETHIAN THEATER

FIGURE 1E: 3 DIMENSIONAL THEATER

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INTRODUCTION

FIGURE 1F: VARIOUS ARRANGEMENTS WITHIN ONE DESIGN

GOAL

ALMEIDA, JOSEPH

audience My project challenges the effects that theater can have towards the human mind in the aspects of health, self-identity, and knowledge. The argument for the projects states that theater can improve the audience’s cultural, social, and psychological issues. In other words, theater, as a source of fantasy, can affect a certain individual’s reality to the extent that he/she can better integrate with their own surroundings. Fantasy is what makes our reality a real place and allows the mind to relate what is being shown in the fantasy realm into the real world. The goal is to use the fantasy and create an environment where my audience can learn about their true reality and improve upon WKHLU RZQ LGHQWLW\ KHDOWK DQG VRFLDO DZDUHQHVV 7R DFFRPSOLVK WKLV JRDO , KDYH FKRVHQ D VSHFL¿F audience that seeks to conform back to a social reality, which has been taken away from their minds. Our own world consists of various realities, depending on the location you are in and your various surroundings, with some being better or worse than others. The reality of war and the many scars that it leaves behind affects our communities, our people, and our country. The terror and the anguish that war can cause expand the idea of reality and confuse us on what our reality consists of. The human mind, not accustomed to such environment, becomes uncomfortable and can lead succumb to psychological problems due to the many horrors ZLWQHVVHG LQ ZDU 2XU VROGLHUV WKRVH ZKR VDFUL¿FH WKHLU UHDOLW\ WR SXW WKHPVHOYHV LQ D KRUULEOH environment, those who seek to defend our safety, those who are willing to die for the sake of our future, are the primary individuals who lose this sense of reality and become scared for the rest of their lives. Segregation and disconnection greet the veterans who defend our way of life as they IDFH WKH GLI¿FXOW\ RI UHLQWHJUDWLQJ LQWR VRFLHW\ 0\ SURMHFW JRDO LV WR VHUYH WKRVH YHWHUDQV ZKR KDYH surpassed the dangers of war as they begin their transition into society by using theater as a tool of reintegration. My project will explore the usage of theater to assimilate the realities of the veterans to that of current social norm, and heal the many scars that war has left behind in their minds.

GOAL

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INTENT

ALMEIDA, JOSEPH

audience The project addresses the following three main health problems that are most common in veterans that return from war: A.Psychological Health (knowledge) a.Self-Identity b.Mental Traumas B.Physical Health (wellness) a.Physical Capabilities b.Physical Improvements C.Social Health (culture) a.Social Awareness b.Cultural Integration My project will integrate architecture and the arts to depict the values of wellness, knowledge, and culture WR WKH YHWHUDQV 7KH XQLÂżFDWLRQ RI WKHVH YDOXHV ZLOO GHWHUPLQH WKH SURJUDP RI WKH EXLOGLQJ and how the arts will be used to convey the value of healing towards the veterans. The project will enhance individuals to learn, to heal, and to adapt to the community around them. This “placeâ€? will use the arts to not only depict topics dealing with social awareness and education to the veterans, but will heal the burden that each veteran carries inside and will unify the level of understanding between the public realm and their inner self-identity. Theater is an exceptional tool in communicating information to an audience by using drama and acting to convey emotions. Theater challenges our imagination and the creativity of the viewer, keeping the brain active and healthy. Theater provides another scenario where the audience can experience different feelings and emotions that can improve their state of mind. This is where the architecture can make a really big impact on the expression on theater to the audience, where it FDQ FRPSOHPHQW LWV PHVVDJH DQG LOOXVWUDWLRQ 7KHUHIRUH Ă€H[LELOLW\ LQ WKH DUFKLWHFWXUH LV UHTXLUHG WR always keep a consistency in the interaction of different theatrical performances and the architecture that helps stimulate its expression. The stimulation of the brain increases the imagination of the brain and can become a great treatment for the wellness of veterans. It can make them forget of old memories, traumas, or other sad experiences, at least for some instances, and merge with the performance being presented.

FIGURE 3A: 3 INTENT DIAGRAM

INTENT

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Theater can also increase the awareness of different background, cultures, and ethics that exist within a community in order to create an interactive atmosphere. The stories that can be shown on stage and the emotions that can be captured in theater are somewhat more understandable than words themselves. Theater can really capture the knowledge, the emotions, and the feelings of the veterans and share them to an audience. From there, the audience can learn and understand the veterans and their struggles in war. In addition, the public can share their knowledge of the social world and share their stories in order to provide an interactive atmosphere between the public and the veterans. Not only can theater convey different messages with the topics being shown, but theater is the result of teamwork and dedication from a group of people. Theater can allow for direct communication from the public to the veterans themselves, allowing for cooperation in developing of theater. This will allow for people from different cultural backgrounds, and ethics to work together in achieving the goal. Theater can also improve education, in the way that children enjoy exploring new settings and enjoy learning from activities. Children can be involved in theater and can share their point of view in regards to the issues of war and the veterans. In addition, some children can share their own stories about their parents or family members that are veterans and seek to heal their scars in war.

KNOWLEDGE

ARCHITECTURE

THEATER

HEAL

ARTS

SELF-IDENTITY

FIGURE 3B: TOOLS USED TO HEAL

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INTENT

HEALTH

CASE STUDIES

ALMEIDA, JOSEPH

I looked at various case studies in regards to theater examples, veteran outreach programs, and the integration of theater in social awareness. The following three examples are ones I observed the PRVW IRU WKH WHFKQLTXH WKH\ XVHG DQG DV SULPDU\ H[DPSOHV

national theater Mies van der Rohe, one of the modern architects who was competing for the national theater design in the 1950s, submitted a design that was very revolutionary for its time. The building was designed to accommodate two theaters, one with 1300 seats and the other with 500 seats (Schubert, 1971). It was a very large open space measuring 12 meters tall and housed the two theaters inside. The EXLOGLQJ FRQVLVWHG RI WZR OHYHOV WKH ¿UVW OHYHO ZDV PHDQW IRU WKH EDFN RI KRXVH SURJUDPPLQJ ZKLFK LQFOXGHG WKH GUHVVLQJ URRPV DGPLQLVWUDWLRQ ZRUNVKRSV RI¿FHV DQG VWRUDJH URRPV 7KH ¿UVW OHYHO had a height of 4 meters and was not accessible by the public. In fact, the public entered from the second level in order to access the auditoriums. The interesting idea of this building its the openness and its large space. Usually, theaters tend to be very enclosed spaces with minimal natural lighting in order for the audience to focus to the performance. In this case, there is an interaction between WKH RXWVLGH DQG WKH LQVLGH ZKHUH LW EHFRPHV DQ RSHQ VSDFH ZLWK WKH RXWVLGH 7KH ÀH[LELOLW\ WKDW WKLV building provides in relation to its surrounding is something I want to explore and further develop. The exterior and the site of a theater can become its background, and exterior performances are not only inviting to others, but becomes more of a festivity. (Schubert, 1971)

FIGURE 4A: FLOOR PLAN

CASE STUDIES

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geffen playhouse In a smaller scale, I was studying the Geffen Playhouse in Los Angeles not for its architecture, but for its program development and its intentions to the community. The playhouse, designed with small auditoriums, workshops, classrooms, and conference rooms, seeks to reach out to the community in its efforts o include theater as part of education, wellness, and social relationships. Its ideals are to have theater performed by the community and for the community in order to enhance D TXDOLW\ RI OLIH LQVSLUH FUHDWLYLW\ DQG IRVWHU SRVLWLYH LQWHUDFWLRQ *HIIHQ 3OD\KRXVH 7KH SOD\KRXVH is a shared program by various members of the community including schools, families, professional agencies, and volunteers. From this case study, I started analyzing the affects that theater can have on society and its importance in human wellness, social relations, and education.

FIGURE 4B: EXTERIOR FACADE OF GEFFEN PLAYHOUSE

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CASE STUDIES

higher ground Besides looking at buildings ,or at designs as my different case studies, I started analyzing any other programs that currently exist for the well-being of veterans. Higher Ground is a program that shares the same intentions and characteristics as my thesis project. High Ground is a program of two to three weeks, where veterans are taken to sun valley, Idaho to take part in various sports and outdoor activities. Their goal is to assist veterans with Post traumatic syndrome disease with recreational activities and helping them relax their minds. In the camp, veterans work together, share their stories, and learn how to perform various physical activities and sports, while enjoying the outdoors and nature (Higher Ground). Although Higher Ground uses recreation, sports, and nature as their tool to heal the veterans, my project can relate to this program in the intention of healing the veterans. Both concepts advocate the notion of hope; hope in the veterans and their healing, and hope in the help of our society. It is about overcoming obstacles, working together, and obtaining results that this program brings to the veterans and what I would like my project to do as well.

FIGURE 4C: IMAGE OBTAINED FROM HIGHER GROUND WEBSITE

CASE STUDIES

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teatro olimpico

FIGURE 4D: LONGITUDONAL SECTION

FIGURE 4E: FLOOR PLAN

Designed in 1579 by Andrea Palladio, the Teatro Olympico developed the idea of illusion in theater very well. The backdrop of the state was designed to be the streets of the city of Thebes and serve to provoke the illusion that the streets were very distant. (The Teatro Olympico). Palladio wanted the illusion that the state was set in the middle of the city of Thebes, were seven streets would become the backdrop of the performances. Palladio uses the concepts of perspective and how to manipulate architecture in order to achieve an illusion that he wanted. As seen in the section, 3DOODGLR XVHV WKH ÀRRU WKH FHLOLQJ DQG WKH EXLOGLQJV RI IDFDGHV WR FUHDWH WKH LOOXVLRQ WKDW WKH VWUHHW LV PRUH GLVWDQW WKDQ LW DSSHDUV 3DOODGLR DQJOHV WKH EXLOGLQJ IDFDGHV UDLVHV WKH ÀRRU DQG ORZHUV WKH FHLOLQJ WR DFTXLUH WKLV LOOXVLRQ 7KH 7HDWUR 2O\PSLFR 7KH PHWKRGRORJ\ XVHG WR FUHDWH DQ LOOXVLRQ LV DQ LPSRUWDQW VWXG\ WR P\ RZQ SURMHFW EXW ZKDW , ¿QG PRUH LQWHUHVWLQJ LV XVLQJ WKH FLW\ as a backdrop. The city in itself lays behind the actors and performers who are showcased to an audience. Observing the talent and the performances in front of a city backdrop depicts the feeling that the city is progressing. It gives the viewer the impression that within the city, talent can be IRXQG DV ZHOO DV DQ RSWLPLVWLF SHUVSHFWLYH RI ZKDW WKH FLW\ FDQ EH 7KH SHUIRUPDQFHV UHÀHFW LWV own backdrop and sends a message to the audience on progress, cultural identity, and a sense of belonging. Each performance that is showcased in the theaters gives its backdrop a different feeling, but all affect how the viewer feels about the background. It is the idea of the performances coming from the city or being part of the city, sharing cultural traditions, and showcasing not only WKH DFWRUV EXW WKH FLW\ LWVHOI 5HÀHFWLRQ LV D NH\ ZRUG LQ WKLV FDVH VWXG\ ZKHUH WKH EDFNGURS RI WKLV WKHDWHU UHÀHFWV WKH FXOWXUH WKH DUFKLWHFWXUH DQG WKH SK\VLFDO DSSHDUDQFH RI WKH URPDQ FLW\ DQG setting that as the backdrop of a theater gives a more powerful idea to all the performances, where the city showcases entertainment to the public because the city cares about the public. It is the feeling that the city is rich in culture and its people are here to demonstrate to others its passion, its progress, and its cultural traditions. FIGURE 4F: BACKDROP OF STAGE

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CASE STUDIES

roman coliseum Although the Roman Coliseum was already mentioned in the introduction of the paper, I also further studied it as a case study. Bringing this idea of the city showcasing performances and theater to an audience, the Roman Coliseum did the same thing. The Roman Coliseum was a place XVHG WR HQWHUWDLQ DXGLHQFHV ZLWK SHUIRUPDQFHV DQG ¿JKWV WKDW ZRXOG EH WKULOOLQJ WR WKH DXGLHQFH Constructed in 80 AD by the emperor Vespasian, the Roman Coliseum served an important part of Roman culture (Colosseum Roman). The Coliseum served as a place in Roman culture where the people went to escape their troubles, clear their mind, laugh, have fun, and escape the reality of war, work, or any troubles they had at home. To accomplish this aspect of theater, the Coliseum was built as a fortress. It was enclosed in an elliptical shape and the walls measured more than 48 meters high (Colosseum Roman). It was a well protected place, surrounded by huge walls that enclosed itself to the entertainment being performed inside. However, the huge walls are composed with classical rules followed throughout the Roman culture. The wall uses the Corinthian, Ionic, and 'RULF FROXPQV WR GHFRUDWH WKH ZDOOV DQG VKRZFDVH WKHP WR WKH SXEOLF 7KH ZDOOV WKHPVHOYHV UHÀHFW the culture around them and the city in which it was built. As seen in the image, the Coliseum is part of the city and its architecture depicts its Roan culture within it. It is interesting to note that Roman Coliseum was built in the form of ellipse that accommodates 55,00 spectators, and the stage does not have a backdrop. (Colosseum Roman). What serves as the backdrop? If one person is seated anywhere in the Coliseum, the backdrop of the performances are the people seating across the state. In other words, the backdrop is the audience itself. Why is that? Well, unlike the Teatro Olympico, which takes a physical city and places it as the backdrop of a theater, the Coliseum includes the audience as part of the performance. The people of the city are part of what is being displayed or performance and their reactions, their movements, and their noise make-up the great spectacle of the theater. The Coliseum uses the people as the backdrop of the theater to further provoke and affect the emotions that are being portrayed in the state. Again, the city is found within the theater and surrounds the stage as a backdrop to what is being performed. 7KH FLW\ DQG LWV FXOWXUH FDQ EH IXOO\ H[SUHVVHG LQ WKH WKHDWHU ,W ZDV LQ D VHQVH WKH FLW\ FRQ¿QHG LQWR one place, where the progress, the wealth, and the culture can be seen, not only from the actors, but the audience as part of the performance. Not only that, but the Roman Coliseum was a gift to the city by the emperor of Vespasian. The emperors used the Coliseum to entertain the public and satisfy the city in a positive manner. It was a way to help the public in their troubles and provide an escape to any problems the city might

FIGURE 4G: RENDERING OF COLISEUM

FIGURE 4H: FLOOR PLAN

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roman coliseum be having. This idea of giving back to the city, of progress, and of well-being is the exact same idea I want to apply to the veterans. The project I am proposing is a way to give back to the veterans and to the city of New York as well. The government can use theater to not only provide a physical sense of progression to the public and the veterans, but also heal those who have gone to war

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CASE STUDIES

THE CLIENT

ALMEIDA, JOSEPH

The Client for this project is: The United States Department of Veterans Affairs The United States Department of Veterans Affairs shares the same visions and goals as the project’s goal, which is “to care for him who shall have borne the battle, and for his widow, and his orphan by serving and honoring the men and women who are America’s veterans. The core values of this agency in the federal government are Integrity, Commitment, Advocacy, Respect, and Excellence (U.S.D.V.A.). All of these values form the main program that the federal government offers to veterans, and that is I Care. Currently, the United States Department of Veterans Affairs consists of four main branches: the FHQWUDO RIÂżFH 9$&2 WKH 1DWLRQDO &HPHWHU\ $GPLQLVWUDWLRQ 1&$ 9HWHUDQV %HQHÂżW $GPLQLVWUDWLRQ (VBA), and the Veterans Health Administration (VHA); all of which are committed in providing the support and service to our veterans (U.S.D.V.A.). There are many professionals who work under these organizations to perform their best and integrate our veterans back to our society.

FIGURE 5A: VETERAN AFFAIRS EMBLEM

CLIENT

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CLIENT INTERVIEW One of them, named Gilbert Rubio, employee of the NCA as a Maintenance Worker said “To love your job and know that you are serving people who have served their country and their families, and I take a lot of pride in that.â€? Another employee, Ed Shaw, a licensed vocational nurse, said WKDW Âł(YHU\WKLQJ KDV WR EH WKH KLJKHVW SRVVLEOH TXDOLW\ ZH FDQ JLYH WKHP IURP WKH TXDOLW\ RI WKH medication, or our services because nothing else will get the veteran rehabilitated and reintegrated LQWR WKH FRPPXQLW\ IDVWHU DQG PRUH VPRRWKO\ ´ Âł:H ZDQW WR DQVZHU DOO WKH TXHVWLRQV WKH YHWHUDQV may have and guide them in an environment that’s veteran-centricâ€? said a Homeless Program &RRUGLQDWRU ZKR ZRUNV DW RQH RI WKH 1HZ <RUN RIÂżFHV 8 6 ' 9 $ This federal organization is dedicated in serving our veterans in their state of confusion, health problems, depression, job search, education, rehabilitation, and in some cases homelessness. In addition, the U.S. Department of Veteran Affairs works together with the New York State Division of Veterans Affairs, which is a more regional organization that helps spread the same mission VWDWHPHQW WR WKH VWDWH RI 1HZ <RUN %RWK RUJDQL]DWLRQV KDYH RIÂżFHV LQ WKH VWDWH DQG DUH ERWK VHUYLQJ the veterans and their families. My project addresses these same issues of wellness, cultural integrity, and knowledge that are being addressed by the client. The client shows interest in continuing the development of the organization to further extend their service to the veterans using different tools to reach the same goal. My project proposes the same goal, but achieving with different means. My project proposes of using theater as the means of healing the veterans and their families. In the end, the cooperation of both the state agency and the federal government as the interested clients will help the proposed project become successful to our veterans and our community.

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CLIENT

PROFESSIONAL CONSULTATIONS

ALMEIDA, JOSEPH

CARRIE DONOHO For the professional consultation, I decided to hear interviews from a few veterans who reside in different locations around the United States: 1) &DUULH 'RQRKR LV DQ ,UDT YHWHUDQ IURP /RV $QJHOHV &DOLIRUQLD - What was your experience coming back home from the war? “I had very mixed feelings about coming home. Coming home to me was not coming home – it was UHWXUQLQJ WR P\ GXW\ VWDWLRQ LQ *HUPDQ\ , ZDV GHSOR\HG GXULQJ WKH VWDUW RI WKH ,UDT :DU VR WKH anticipation of returning was strange because you have been gone for so long that you aren’t sure how you will adjust. I was nervous I might wander outside to go to the bathroom in the middle of the night.â€? - What was one of the hardest adaptations you had to experience when you were back home? “What was most strange was coming home to my husband, who at that point seemed like a total stranger. It was stressful and awkward for us both – I felt like I had an entire part of my life that he wasn’t around for. The surprisingly wonderful part of it, however, was falling in love all over again with the same person.â€? - What were some challenges you had when returning home? Âł7KH JUHDWHVW FKDOOHQJH IRU PH ZDV GHDOLQJ ZLWK WKH VHHPLQJO\ HQGOHVV TXHVWLRQV WKDW P\ IDPLO\ had. They all expected that I was away doing very exciting work, when in reality I was sitting in the desert, dirty and bored. It was like groundhog day there, and they were expecting me to have these incredibly exciting experiences. So I just didn’t want to talk about it much because I felt like there was nothing to say. The other challenge was that the bonds that were developed between all of the soldiers started to dissipate. We were like a tight-knit family when we were gone, but once we returned everyone went back to their lives and their families. This was good for those with families, but I think it was hard for those without families especially single soldiers returning to Germany. Suddenly all of your social support starts to disappear.â€? PROFESSIONAL CONSULTANTS

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MATTHEW HOLZMAN 2) Matthew Holzmann is an Afghanistan veteran from Winter Park, Florida. - When you came back home, how did the rehabilitation system in this country helped you? “I was fortunate to have a therapist for a wife, who was waiting for me with an open heart and lots of patience. Unfortunately, the mental health system for soldiers, sailors, and Marines was, and FRQWLQXHV WR EH ZRHIXOO\ LQDGHTXDWH 7KH QDWXUH RI WKH V\VWHP HQVXUHG WKDW ORZ SDLG RYHU ZRUNHG FRQWUDFW WKHUDSLVWV ZKRÂśV FRQWUDFWV DUH UHJXODUO\ WHUPLQDWHG WR ÂżQG D QHZ Ă€RFN ZKLFK OHDGV WR continuity of care issues) are the ones ‘caring’ for the mental health of individuals that have just returned from war. That’s a formula for failure that our society will live with for the next 60 years.â€? - How was your experience adapting back into a domestic lifestyle? “It was frustrating, because your sense of purpose is gone. When you’re in country, you wake up with an unparalleled sense of purpose that disappears the day you get home. Suddenly, you come home to all the news that nobody wanted to bother you with while you were deployed, the friends’ parents that died, the divorces that happened, the friends that were laid off. You come home to endless, unthinkable choices‌like 30 types of cereal, truly overwhelming choice. It was maddening to hear the petty problems that upset civilians going about their everyday lives, two weeks after one of your ‘brothers’ was blown up. I was in line for groceries one day, and some woman was yelling at the checkout clerk about an expired coupon, and I wanted so badly to slap her and tell her about LCpl Swanson that just gave his life for her security. Instead, I walked away. But, I struggled for months with similar experiences.â€?

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PROFESSIONAL CONSULTANTS

MONICA FREDERICK 3) Monica Frederick is a veteran psychologist that works at the Loma Linda VA Medical Center. - Can you tell me a bit about yourself. Explain what your title and role is. What is your profession and how are you involved with the rehabilitation of veterans? “Well, my name is Monica Frederick and I am a staff psychologist at the VA in Loma Linda and that is where I have worked for 5 years. My role there is, I have a lot of different roles actually, but primarily it is to help get veterans who come in for medical appointments outpatients to see their doctor. I get to meet with them and help them to get into health treatment, if they need it. And so, I guess, it ties to rehabilitation in a lot of different ways, because some of them are older and some of them are younger and so we have a lot of different needs depending upon the age and what they are facing in the mental health perspectives. I also do a lot with training of medical students and training of psychology students and post doctoral fellows and some of my other roles have to do with teaching classes and I do individual psycho-therapy so there is a lot going on.â€? - What caused you to follow this career path? Âł,WÂśV D JUHDW TXHVWLRQ EHFDXVH ZKHQ , ZDV DERXW , UHDOO\ ZDQWHG WR JR WR SV\FKRORJ\ EXW IRU some reason I thought it was too hard or something and I ran away from it and later on when I ÂżQDOO\ DFWXDOO\ JRW D GHJUHH LQ D GLIIHUHQW ÂżHOG , JRW D GHJUHH LQ JHRJUDSK\ DQG , ZDV DOVR YHU\ interested in geography and the outdoors and things like that, and I was a planner for a while, but WKHQ , FKDQJHG FDUHHUV , DOVR ZRUNHG LQ WKH LQIRUPDWLRQ ÂżHOG VR , FKDQJHG FDUHHUV ZKHQ , ZDV D ELW older I had already started my family and went back to school and pursued that dream of being a psychologists. I really liked that. I went to the Loma Linda University which was a very holistic place to go for healthcare and for your education. I really started getting involved in health psychology in particular and jumped into that when I got done. I started that in mind and then I went in another direction and came back to it. It worked out well for me.â€?

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- What are the most common challenges or struggles, either socially, physically, or psychological, faced by veterans? Âł7KDWÂśV D UHDOO\ JRRG EURDG TXHVWLRQ :HOO , WKLQN DERXW ERWK LQ WHUPV RI PHQ DQG ZRPHQ :H KDYH a fewer women than men, but across the age range their facing choices about staying healthy or not and I think that is a really big challenge. Their chronic conditions, for instance, chronic pain KDV D ORW RI GLIIHUHQW IDFHWV WR LW WKDW LW UHTXLUHV D FRPSOH[ DSSURDFK WR VROYLQJ <RX FDQÂśW MXVW WDNH D pill and think that that is going to solve your pain. This is a really common issue and it cuts across the mental, spiritual side, and physical side. It is a critical need that we need to help veterans with. 6RFLDOO\ D ORW RI WKHP IHHO LVRODWHG DQG WKH\ GRQÂśW IHHO OLNH WKH\ ÂżW LQ HVSHFLDOO\ WKH \RXQJHU RQHV coming back from war or even the older Vietnam veterans. They will tend to withdraw; they don’t really trust life as much. Physically, there are things like chronic pain and chronic illnesses like diabetes, that are caused by their service sometimes. Post dramatic stress disorder, of course affects them psychologically as well as depression. There is a lot of depression. These are complex FKDOOHQJHV WKDW DUH QRW HDVLO\ Âż[HG E\ RQH VLPSOH VROXWLRQ ´

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“Well, we have a process that we do a brief assessment just to see if they have any dangerous or suicidal thoughts or if they’re going to hurt someone.â€? - Is this written or verbally? Âł9HUEDOO\ , VLW GRZQ DQG WDON WR WKHP DQG , DVN WKHP VSHFLÂżF TXHVWLRQV , JHW D JDXJH IRU WKDW DQG MXVW WR ÂżQG RXW ZKDW WKHLU SHUVRQDO LVVXH LV 6RPHWLPHV LW PLJKW EH VRPHWKLQJ OLNH SDLQ RU VRPHWKLQJ that they’re really anxious about: not having work or they might be depressed. We just try to meet their need so we can do psychotherapy with them. From there, we can offer them medications like anti depressants or anti anxiety medications. We also have access to a lot of classes that we teach about stress, health, anger management, pain, and relaxation so it’s kind of like any HMO that you would go to now if you have ever been to a Kaiser or something similar and that’s what we offer too. There are lots of things we can offer.â€?

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- Are these classes are in the same building? “Yes, and we can offer them care over the phone or even a Skype session. That’s becoming more and more popular. We’re trying to access them any way we can, and get them the care that they need.�

- What is the current process that a veteran has to go through in order to fully become SDUW RI VRFLHW\ PHDQLQJ ÂżQG D MRE KDYH D KRPH KHDO IURP DQ\ SV\FKRORJLFDO HPRWLRQDO problems, etc.?

“Well, I wish it was linear. I wish it was a step one, step two, step three process but they come out of WKH VHUYLFH HVSHFLDOO\ WKH \RXQJHU RQHV QRW NQRZLQJ ZKDW EHQHÂżWV WKH\ KDYH 6RPH RI WKHP SODQ RQ XVLQJ WKH EHQHÂżWV DW D ODWHU WLPH :H DOZD\V PHHW WKHP ZKHUH WKH\ DUH 2I FRXUVH WKH 9LHWQDP veterans didn’t have much when they got out of the service. There wasn’t much information out there so what we usually do is when they come to the hospital, we try to get them hooked up right DZD\ ZLWK D SURMHFW PDQDJHU DQG D FDVH PDQDJHU WKDW FDQ KHOS H[SODLQ DOO WKH EHQHÂżWV WR WKHP HVSHFLDOO\ WKH \RXQJHU RQHV VR ZH FDQ DYRLG WKDW FRQĂ€LFW 7KHQ LWÂśV XS WR WKHP UHDOO\ WR GR WKH WKLQJV WKDW WKH\ QHHG WR GR )RU H[DPSOH WR WDNH DGYDQWDJH RI WKHLU HGXFDWLRQ EHQHÂżWV DQG WKHLU KHDOWK EHQHÂżWV %XW , WKLQN LWÂśV D OLIHORQJ SURFHVV WR EH KRQHVW ZLWK \RX EHFDXVH EHLQJ LQ WKH PLOLWDU\ being in combat or not, it changes your life and you become very programmed to a certain way of life and then we have to kind of help people get adjusted to what this life is like again.â€?

- What obstacles do you face in rehabilitating veterans and are some of the obstacles DUFKLWHFWXUH UHODWHG URRPV WR VPDOO QR ZLQGRZV RU FRQIXVLQJ ÀRRU OD\RXW :KDW ZRXOG you change?

“Yes. It’s funny you should mention that because we are building a huge new facility in Redlands because we have outgrown our space. We are really limited by our space and part of it, in my job, I don’t work with in-patients, but I work with a lot of people that have amputations (amputees) and they’re in big wheelchairs so it’s not always set up very well for them. You would think we would be more accessible, but we’re just not so accessible in this new facility. We’re hoping to have better accessibility to disabled people and more of a healing environment that’s pleasant to be in rather than a real hospital environment. I think we may have mentioned on the phone to you that PROFESSIONAL CONSULTANTS

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ZH KDYH DQ RIÂżFH RI SDWLHQWV FHQWHUHG FDUH DQG ZKDW WKDW PHDQV LV WKDW ZH DUH ORRNLQJ DW ZKDW WKH veteran needs not what the system. We are concerned of what that person needs at that moment. 6R WKH TXHVWLRQ LV D JRRG RQH 7KHUH DUH PDQ\ ZD\V WR DQVZHU LW EXW , ZRXOG VD\ WKDW 7KDW NLQG RI summarizes where it’s at.â€? 'R \RX HYHU ÂżQG WKDW YHWHUDQ DUH XQFRPIRUWDEOH LQ FHUWDLQ VSDFHV WKDQ LQ RWKHU VSDFHV" &DQ \RX give an example. “Yeah. Veterans with PTSD, maybe you’ve heard of this lots of times, but they don’t want to be seated anywhere where they can’t see exactly what’s happening in the room or they might want to be seated next to a door so that they can get out if they need to right away.â€? -So are they very anxious? “Exactly. They want to know exactly what is going on. They are hyper vigilant and anxious. That’s one example and then the whole idea of just having things be reachable and accessible.â€? - What is the process that YOU treat your patients, maybe a step-by-step process that you follow. Is this standard? Is it effective? If so why? “Well. I think that gets back to being centered on the patient and what they need. I am kind of an independent practitioner that has privileges at this hospital so there are certain things that I need to doubt and then there are certain things that I ethically want to do. A lot of people wouldn’t bother to call someone who doesn’t show for their appointment. I make it a point to call or reschedule them and say are you still interested and things like that. You know just extra care and concern for people that have suicidal thoughts. I really try to go above and beyond to get resources for people in whatever situations they’re in. For instance, if they’re facing homelessness I can introduce them to our homeless team and I can introduce them to the caregiver team. I try to make sure people have that next step before they leave me and know where they’re going and have a plan.â€?

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- To give you some background on my interest, let me state that I am an architecture student and I am deeply interested in looking for ways in which architecture can have a role in helping these veterans. I am very interested in theatre and performance and I think that this form of expression can have a deep impact in the development of a person because this art is way of expression. It is also a way of communicating stories that may EH GLIÂżFXOW WR WHOO , ZRXOG OLNH WR SURSRVH D K\SRWKHWLFDO SODFH WKDW , FDQ GHVLJQ WR PL[ WKH idea of a veteran center with the art of performance as a healing method.

“Yeah that’s a great idea! That’s awesome.â€? - Have you seen this before? What is your opinion. “No. I think this is a neat idea. We talked a little bit about the process and really the VA focus and orientation is not to keep people in the hospital and not to view them as sick, but view them as a whole. Even with their burdens and their injuries, they come to us with their current state in the hope that we can provide them with ways to get better and to reorient and reintegrate our culture. We have programs, for instance, one that’s called forward march and that’s where veterans can learn KRZ WR ND\DN WKH\ FDQ OHDUQ KRZ WR ULGH D KRUVH WKH\ FDQ OHDUQ KRZ WR JR VXUÂżQJ WKH\ FDQ VFXED dive, and they also have a bike club. There’s a lot of these different activities, there’s even games OLNH JROGHQ DJH JDPHV IRU SHRSOH RYHU ÂżIW\ DQG VWXII OLNH WKDW &XUUHQWO\ WKHUH DUH GLIIHUHQW ZD\V IRU them to reengage, but this is a neat idea. Once maybe some of the other recovery has happened with veterans, this idea can work well. But, earlier in the treatment, you know they’re still doing more evidence based treatments so this could be a nice adjunct to the research based treatments WKDW ZH KDYH LQ ODWHU VWDJHV :KDW ZDV \RXU TXHVWLRQ DERXW ZKDW ZRXOG WKDW ORRN OLNH"´

- Well, what do you envision this place being? I have a vision of it being a process. Taking these words of psychological, physical, and social healing and placing a process of being PRUH LQWLPDWH DW ÂżUVW ZKHUH WKHUHÂśV VPDOO VWXGLRV IRU LQWLPDWH VHVVLRQV WKDW GHDO ZLWK psychological healing. As they progress, the studios can get bigger or maybe they deal more with physical activity, like acting. Maybe they deal more with creating the set or creating the story.

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“Yeah! That sounds very therapeutic. The word that comes to my mind is empowering. Empowering people to express creativity in a way that feels safe in a safe place. What can happen sometimes is if it is a story about a trauma or something awful that happened, it can lead to re-experiencing and that has to be done very carefully. It’s needs to occur one step at a time and really slowly with someone who was trained as maybe a theatric therapist of some kind, but I have never really heard about that. I don’t know. I would have to look into that and Google that. That sounds like a really neat way to do it: start small, with a small group and build trust and safety in that group and then design a way to tell a story that’s about their collective experience rather than the spotlight on one person or to have more of a metaphorical expression. That makes a lot of sense. I could see the small studios and then a place to do something bigger to a larger audience once there was safety around that. Once there was readiness from that, we have kind of a stage of change approach in psychology and some people are in that action stage say, for example, me, I am ready to change my diet. I am ready to ride my bike. I am ready to get healthy. I am doing it. I went to the gym this morning and I ate a salad for lunch, but then there are people on this other end which we call pre contemplation. Although, I am in action right now before Christmas I was in pre contemplation and I didn’t have any plans to change whatsoever so that’s the way it is with veterans. They’re anywhere in that continuum of readiness so having a safe place to be ready for whatever emotions come up or thoughts come up or images come up and memories come up would be really good.” - In your opinion and expertise in dealing with veterans, what are the methods that you think work best for helping them? What kind of things do you think are greatly missing in veteran’s rehabilitation activities? “Have you ever heard of mindfulness? This is what I think is solid gold and it is the idea that when we’re in the present moment we’re not worried about the past, we’re not worried about the future, and we’re just experiencing the present moment and it can be practiced a variety of ways. But, mindfulness is a way to discover yourself, discover what your thoughts are saying to you. Have you ever had these kind of thoughts racing around in your mind like how it was when I realized I missed your visit! Oh My God! What am I thinking, what did I do, how did I do that. We all had that kind of negative self talk. It distracts us from being present in this moment so mindfulness it’s just a great thing and the VA is starting to implement and use a lot of meditative practices to reduce stress and allow veterans to stay in the present and not worry about what will happen next as opposed to what’s happening right now.”

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- So do you tend to solve this issue just with meditation? ³:HOO ZH WHDFK WKHP ¿UVW GLDSKUDJPDWLF EUHDWKLQJ 7KDWœV WKH LGHD RI MXVW VORZO\ EUHDWKLQJ LQ through the nose and out through the mouth. It is sending the breath into your core, into your tummy area and just feeling that and getting used to noticing what is happening to your body and really be in contact with your body. I don’t know if you’re like me but some days I have days where I forget that I have a body and it needs things and you have to bring it back and have to restart that. Some people are very good with it and they’re ready right away and other people are a little resistant. The PRUH ZH FDQ SD\ DWWHQWLRQ WR WKH ERG\ WKHQ \RXœUH NLQG RI PRUH RSHQ IRU RWKHU WHFKQLTXHV :H GR mindful walking where we do a body scan where you tense and relax your muscles and progression up through your body. There’s lots of other different ways like there’s mindful eating, you can do some mindful eating exercises but that’s just one thing. There’s a lot of other things but mindfulness is something that’s really going to be exploding on the scene. They’re doing a lot of research about it right now. Another thing we’re doing is mantra repetition where you pick a sacred word or phrase and you repeat it silently to yourself and you repeat it in times of calmness to calm yourself and you then start to really become habituated to it so when you’re in that time of stress say you’re on the freeway and I have got somebody that’s really agitated and really upset in front of me, I can use my mantra to calm myself down and Ii just repeat it silently to myself and my brain has associated that with relaxation and it starts to kick in my relaxation.� - How do you think veterans would react to the idea of participating in the art of theatre, role playing, performance? ³, WKLQN WKH\œOO ORYH LW 7KH\œG ORYH LW 2K RQH WKLQJ WKDW , ZDQW WR VD\ EDFN WR WKDW RWKHU TXHVWLRQ there’s a lot of evidence based treatment for these disorders and for the psychological and social and other types of patterns that people have. The evidence based and research based treatments, that’s really what the VA wants to implement so any evidence that you can bring to bear on anything that you would promote would be the best received. See what I am saying, but I think the veterans would absolutely love it.� - In your opinion, what kind of spaces are conducive in healing a veteran. Give an example in your experience?� PROFESSIONAL CONSULTANTS

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“Well, I just wish I could work outside 24 hours a day. Maybe that’s how I feel about it. For them, it’s a place that’s lit. It’s a place that has some green coming in, some light coming in through the ZLQGRZ LWÂśV TXLHW DQG LWÂśV QRW OLNH RYHUSRZHULQJ ZLWK D ORW RI VWXII RQ WKH ZDOOV DQG RYHU VWLPXODWLQJ Some muted colors but really peaceful settings obviously.â€? - Do you think the outdoors vs. indoors is the important part? Âł<RX NQRZ LI , FRXOG GHVLJQ P\ RZQ OLNH RIÂżFH DQG P\ RZQ SODFH LW ZRXOG EH D SODFH ZKHUH , FRXOG open a great big door and I would have it just open to the outside and just let that come inside and have that bigger environment. I’m getting way off here, but you have this reminder that we’re such a small part of this big universe and to promote that kind of balance I guess is what I am saying.â€? - What kind of things do you think are missing from veteran rehabilitation besides theatre and performance that should be implemented that are not currently there? “Again I think because I am such a geographer at heart, it’s really the outdoors. I think, it’s anything that gets people out and engaged in motion. Theatre can get you engaged in motion and moving kind of like; you know that song, ‘I dare you to move’? That’s kind of what I am thinking about. Just the interaction with space and time and anything to do with that. The veterans, they want to keep JLYLQJ WKH\ ZDQW WR KDYH SXUSRVH LQ WKHLU VHUYLFH 7KH\ ZDQW WR ÂżQG SXUSRVH DQG WKDW PHDQLQJ DQG so those are just some ideas, but there’s a lot going on right now. There’s a lot of really neat things going on. This is very exciting. I hope you do something. I hope you build something!â€? - Do veterans feel comfortable when they’re higher up? Is that a source of empowerment or is that a source of scare? Âł7KDWÂśV D JRRG TXHVWLRQ , WKLQN LW ZRXOG GHSHQG PD\EH LQ DPSXWHH YHWV RQ WKHLU SK\VLFDO OLPLWDWLRQV but I have an inaccessibility. If it’s accessible to everyone I don’t think there’s necessarily that I can bring up anytime that somebody said anything about that. I think had I been there you would have VHHQ P\ RIÂżFH DQG LWÂśV D ORW OLNH D FORVHW DQG , JHW FODXVWURSKRELF LQ WKHUH ,WÂśV MXVW RK P\ JRVK $JDLQ they’re trying to rectify that and building us some new space, but I don’t believe there is a problem with comfort.â€?

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“I do” - Do they get to sit on a bed or..? ³1R $QG WKHUH¶V D ELJ ÀXRUHVFHQW OLJKW WKDW , WXUQ GRZQ , KDYH D OLJKW RYHU P\ GHVN DQG , KDYH D OLWWOH ODPS VR , WU\ WR DW OHDVW GHFUHDVH WKDW KXJH OLJKW ORDG RI WKH ÀXRUHVFHQW OLJKW 7KHQ WKHUH DUH MXVW FKDLUV \RX NQRZ WKH\¶UH MXVW RI¿FH FKDLUV 6RPH WKLQJV DERXW WKH 9$ JR DJDLQVW ZKDW , OHDUQHG LQ P\ training as a psychologist. You have a healing environment and unfortunately, at least in my part of the VA, that’s a really tricky thing to provide, but there are other places where it’s much better.” - I think that’s it, thank you very much for the interview. ³5($//< 7KDW ZDV HDV\ 7KRVH DUH UHDOO\ JRRG TXHVWLRQV VRPH RI WKHP ZHUH UHDOO\ EURDG <RX are welcome.”

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analysis

ALMEIDA, JOSEPH

demographics, industry, and Market In recent studies, theater has been known to improve healthcare, and education in the communities that implement performing arts as part of their curriculum. Theater and the arts has been used to heal and educate the elderly as well as the young giving successful results. A study in 2004 done with the elderly ranging from the ages of 60-86 shows that aspects of the brains function improves when introduced to theater and the arts. Each person was placed in nine 90-minute classes of “theater workshop, and visual art studiesâ€? in a month and the improvements in their health were seen right after. (IQ for Older). The results of this group were compared to another group of the same age range and there was an improvement seen when given the tests. The written tests concluded that the elderly that were physically active and used the arts as a way of communicating showed 65% of improvement in problem solving. Other improvements included word recall, memory span, and psychological well-being (IQ for Older). Theater acts as a way of engagement and interaction between the seniors, increasing their mobility, and diminishing their depressive state of mind and their pain. In fact, theater is known to increase the self-esteem among children and the elderly, making them involved in society. (MedicineNet) Educational systems that implement theater as part of their curriculum have also shown improvements in not only test results, but in the motivation of the students seeking to learn. SAT scores for students who studied in the arts for 4 years were 103 points higher than students who did not. (Art in Action) Drama can improve reading skills and comprehension better than other activities. In addition, students consider drama and the arts as a motivation for attending school. The act of performance can help students recognize their potential for success and their selfFRQÂżGHQFH $$7( 7KHDWHU DQG SHUIRUPLQJ QRW RQO\ LQFUHDVH VHOI PRWLYDWLRQ DQG VHOI HVWHHP EXW the social aspect of a person. Teamwork and creativity are important skills that are learned through the process of acting, performing, or even painting as a group (AATE).

FIGURE 7A: DATA OBTAINED FROM CONTROLLED GROUP

FIGURE 7B: FACTORS THAT CAN BE IMPROVED BY THE ARTS

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There is also an interesting correlation between the state funding performing art institutions and the educational level of that state. As seen in the charts below, as budgets decrease towards the arts, the level of math, reading, and comprehension decreases in schools. The correlation between the two is made to further proof that the arts has an impact in the child’s mind and their way of learning. Students do not get the full potential of expression and interactivity of learning from each other and therefore are not exploring the full potential of learning from others. (Before It’s News). It seems as though if the activity tends to be more interactive and for the purpose of achieving a certain goal, the students tend to learn different aspects of subjects along the way. In addition to these statistics, the public already agrees with the given data presented. The AATE states that 93 percent of Americans believe that the arts are essential to complete an education. Most of Americans show a strong recommendation towards the arts as a way of learning and becoming an involved member in the community (AATE). A study published in Champions of Change cites WKHDWHU DUWV DV D VRXUFH IRU ³JDLQV LQ UHDGLQJ SUR¿FLHQF\ VHOI FRQFHSW DQG PRWLYDWLRQ DQG KLJKHU levels of empathy and tolerance towards others.� There has also been studies done with children who have disabilities and are active in the theater world. It has shown that drama helps maintain social skills of students with learning disabilities and a positive attitude towards learning. These statistics prove that drama, theater, and the arts help not only the health and wellness of the elderly, but the learning process of a child and the self-esteem of a teenager.

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ANALYSIS

FIGURE 7C: A RELATIONSHIP BETWEEN THE LACK OF ARTS IN SCHOOL AND SAT SCORES

site

ALMEIDA, JOSEPH

location: new york city The site was chosen because of the following reasons: A. The veteran demographics in New York city. The percentage of veterans in the state of New York is really high compared to other states. Most of the veterans that reside within the state of New York are 65 years or older and are World War II veterans. Even though there is a much larger population of older veterans in New York, the younger population is higher than many other states. (U.S. D.V.A.) As of 2010, New York is has the second largest population of veterans and there is an increase of homelessness and unemployment of veterans in New York City. An article written in September of 2011 says that Senator Charles Schumer is pushing to support a program called Hire Heroes Act in order to solve the problem of veteran unemployment. Unemployment among Upstate New York’s veteran population, especially WKRVH UHWXUQLQJ IURP ,UDT DQG $IJKDQLVWDQ KDV UHPDLQHG KLJK IRU VHYHUDO \HDUV 7KH IROORZLQJ FKDUW shows the amount of unemployed veterans in each area of New York (Senator, 2011).

FIGURE 8B: PERCENT OF VETERANS 55 YEARS AND OLDER BY STATE

FIGURE 8A: STATISTICS FROM THE STATE OF NY SHOWING VETERAN UNEMPLOYMENT

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FIGURE 8C: PERCENT CHANGE IN VETERAN POPULATION

FIGURE 8D: PERCENT OF VETERANS 26 AND YOUNGER BY STATE

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Overall, the total Veteran population in the United States has decreased 14.4 % between 2000 and 2010. According to the data, it seems as though the states with the most World War II veterans have drastically decreased in veteran population than other states. The state of New York is one of them. New York is one of the states where the veteran population is decreasing, mainly in its elderly veterans. Will this project respond not only to the elderly veterans, but also to the incoming veterans from the recent war? As of 2010, the percentage of veteran population under the age of 25 years old in the U.S. is 1.4 percent of the total population. These veterans tend to reside more in the middle states and the east coast as well. 1.4 percent of the population in the state of New York are veterans who are under 25 years of age. The amount is not as much as the elder veterans, but facilities of healing are still needed for this percentage of the population. The veteran population changes overtime and the future of this project depends on the veteran population and their needs. Therefore, a projection of deaths for selected periods of service was analyzed to conclude that veteran population is slowly decreasing. Although in this analysis, the ,UDT DQG $IJKDQLVWDQ ZDUV DUH QRW FRQVLGHUHG ZH FDQ REVHUYHG WKDW WKHUH VWLOO DUH PDQ\ YHWHUDQV IURP WKH 9LHWQDP :DU DQG .RUHDQ :DU WKDW ZLOO EHQHÂżW IURP WKLV SURMHFW 0DQ\ \RXQJHU YHWHUDQV WKH RQHV UHWXUQLQJ KRPH IURP WKH UHFHQW ZDU LQ ,UDT FDQ EH DVVLVWHG LQ WKHLU WUDQVLWLRQ SURFHVV with the services that the project can give. Not only are younger generations of veterans becoming more populous, but disability problems are increasing in veterans. There has been an increase in disability compensation expenditures in the veteran population for the past 10 years. More veterans are returning home with permanentÂŹÂŹ scars that affect they live. It affects their function in society and their abilities in our regular everyday lives. Veterans are having a harder time adjusting to their regular lives due to the fact that a disability impedes them from functioning the same way they did before. Furthermore, the project will focus on these issues that veterans are having experiencing and will heal their state of mind.

B. New York serves as a perfect backdrop to the theater. New York city has a long history and symbolism of perseverance of war and a positive vision for its future. Progress, opportunity, and perseverance are the three main components that the city of New York has its in cultural and social identities. New York city and its character, its history, and its symbolic appearance to the United States serves as a perfect backdrop to the development of the theater and its function. The theater will become another symbolism of hope and progress to the FLW\ WKDW ZLOO UHÀHFW WKH FLW\ LWVHOI DQG LWV KLVWRU\ New York city has overcome many challenges throughout its history and one very symbolic one was during the civil war. There was a major threat to the city from the Confederacy. The Confederacy was planning to burn the city down and provoke fear, instability, and ruin the Union’s economy. The plan to burn the city down was executed, but failed to be accomplished (The Plot, NYT). In 1864, the plan was scheduled to occur and certain individuals were given the duty to enter WKH FLW\ DV UHJXODU FLWL]HQV DQG VWDUW UDQGRP ¿UHV LQ KRWHOV FRPPHUFLDO EXLOGLQJV KRPHV DQG V\PEROLF EXLOGLQJV 7KH 3ORW 1<7 7KH ¿UHV ZHUH VFKHGXOHG WR VWDUW UDQGRPO\ DW GLIIHUHQW SDUWV RI the day and was a well developed plan. However, the reason it failed was due to the perseverance and motivation to save the city and its value. The city and its citizens worked together to overcome an obstacle against it, and in return, the Union won the Civil War (The Plot, NYT). It is a undefeated city, where it strives for prosperity and never seeks to be defeated. Ellis Island, located near the island of Manhattan served as an immigration station for the United States from 1892 to 1924 (Ellis Island). Ellis Island is a symbolic place, where it was the ¿UVW VWRS LQWR D FRXQWU\ RI IUHHGRP 7KH LPPLJUDWLRQ VWDWLRQ ZDV VHHQ DV D JDWHZD\ IRU RSSRUWXQLW\ hope, and freedom for people that came to escape their personal troubles in their own countries (Ellis Island). Ellis Island gave many the opportunity to integrate into the city of New York, where progress and opportunity were found. It was a turnaround for many people that arrived in the United States, and gave many the chance to seek hope and to seek a life of freedom (Ellis Island).

FIGURE 8E: IMAGE OF ELLIS ISLANDIN THE 1900s.

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FIGURE 8F: WORLD’S FAIR ADVERTISEMENT

FIGURE 8G: STATUE OF LIBERTY

34

site

The World’s Fair of 1939, located in New York city, served a great spectacle and a great opportunity to New Yorkers (The 1939-40 World’s Fair). The United States and its citizens suffered through the Great Depression in the 1920s and as the city of New York started to prosper economically, the World’s Fair of 1939 gave the city an inspiration towards a future of enlightenment (The 1939-40 World’s Fair). The World’s Fair of 1939, the second largest world’s fair in history, exhibit many new LGHDV IRU PDFKLQHU\ WHFKQRORJ\ DQG LQIUDVWUXFWXUH WKDW KDV LQĂ€XHQFHG PDQ\ DGYDQFHV LQ WRGD\ÂśV world. (NY War Stories). New York was the city chosen as the hub for all these ideas and served as the international representation of the potential in the United States. It was a symbol of future innovation, technological advances, overcoming a challenge, and living for a better future. New York city is portrayed as a city where intellectual interest can be found, and a city that is willing to move on to seek the better of the community, and the world. As I visited New York recently, there is many historical symbolism throughout the city that shows the identity of New York and its citizens. There are many stories that can derive from the city; VWRULHV WKDW ÂżOOV RXU KHDUWV ZLWK VDGQHVV RU KDSSLQHVV EXW 1HZ <RUN KDV VKRZQ WKURXJKRXW KLVWRU\ its power to continue. In the many struggles that New York has faced, we still see a powerful New York today, where hope, progress, and a strong cultural identity can be found. The World Trade Center tragedy, the stock market recession, World War 2, the Civil War, and the Statue of liberty are all historical events that have left an imprint of hope, endurance, success, progress, and a spark of PRPHQWXP IRU IXWXUH LPSHGLPHQWV 7KHVH DUH WKH WUDLWV WKDW , ZRXOG OLNH WR UHĂ€HFW XSRQ WKH EDFNGURS of the theater for veterans. The theater can become a place of relief, of progress, of healing, and can take shape of what the World’s fair once was: “the world of tomorrowâ€?. In addition, New York was seen as a place of relief, comfort, and entertainment after World War II. Broadway and theater were the main attractions during this time, providing a sense of enjoyment, happiness, and a place to relax (NY War Stories). A veteran could easily enjoy theater in Broadway and dismiss the many memories he/she may have had experienced in war. Theater was a component that helped many soldiers forget their troubles, and as a psychological therapy (NY War Stories). It was a time where everyone needed a distraction, and New York provided the comfort of theater as their way of giving back. New York has always sought to please its citizens in order to continue its economical growth.

7KH WKHDWHU ÂżWV SHUIHFW ZLWK WKH SURSRVHG VLWH LQ 1HZ <RUN EHFDXVH WKH FXOWXUDO LGHQWLW\ DQG the history of New York supports the goal of the project. As mentioned in the case studies of Teatro Olympico and the Roman Colleseum, the city was used as the background of the state, both literally and theoretically. In this scenario, the theater is to have the same idea of a background, but in a meaningful way. The intent is to heal the wounded, to allow for veterans to integrate back into their country, reach a point of opportunity, and as Ellis Island once was, be a point of hope. New York city is currently facing the problem of homelessness within the veteran population, and many are struggling to become part of society once again. As a starting point, New York can be a symbolism of hope to these people and show the rest of the world that we do care about our veterans. With its great symbolic landmarks, and its culture of perseverance, New York has the best background for DOOHYLDWLQJ WKH ZRXQGHG DQG JLYLQJ EDFN WR WKRVH ZKR ÂżJKW IRU D EHWWHU 1HZ <RUN

FIGURE 8H: HAPPINESS EXPRESSED AT THE END OF WORLD WAR II

FIGURE 8I: INTERPRETIVE ILLUSTRATION OF THE HISTORY OF WAR IN NEW YORK CITY.

site

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C. The site is located near various national landmarks. FIGURE 8J: MAJOR SITE CONSIDERATIONS

36

SITE

UNITED NATIONS 7KH 8QLWHG 1DWLRQV ZDV ÂżUVW HVWDEOLVKHG RQ -DQXDU\ GXULQJ WKH VHFRQG ZRUOG ZDU ZKHQ UHSUHVHQWDWLYHV RI QDWLRQV SOHGJHG WR ÂżJKW DJDLQVW WKH $[LV 3RZHUV +LVWRULH 2QX 7KH QDPH “United Nationsâ€? was given to the organization by Franklin D. Roosevelt, a key member in the United Nations. In 1945, representatives of 50 countries met in San Francisco to deliberate on the basis of proposing this global organization. (Historie, Onu). Now, having 193 state representatives from all over the world, the United Nations plays an important part in the communities around the globe. The United Nations focuses on three main goals as their primary initiatives, which are: Peace, Human Rights, and Development. (General $VVHPEO\ 7KH ÂżYH PDLQ ERGLHV RI WKH 8QLWHG 1DWLRQV IRFXVHV RQ HDFK RI WKH JRDOV VRPH FRXQFLOV KDYLQJ HPSKDVLV RQ RQH VSHFLÂżF JRDOV DQG RWKHUV IRFXVLQJ RQ DOO WKUHH JRDOV *HQHUDO $VVHPEO\ Furthermore, the United Nations works with various other organizations, including the world veteran federation, the humanitarian affairs, and the united nations foundation, to promote their three main values to the communities around the world. (General Assembly). The United Nations has one KHDGTXDUWHUV LQ WKH 8QLWHG 6WDWHV ZKLFK LV ORFDWHG LQ WKH FLW\ RI 1HZ <RUN ,Q IDFW LW LV ORFDWHG QH[W to the proposed project ed pr p ojject site.

FIGURE 8L: UNITED NATIONS FACILITY IN NEW YORK

FIGURE 8K: THE UNITED NATIONS MAIN GOALS AND FOCUS IN THE INTERNATIONAL RELATIONSHIPS.

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37

The United Nations is one of the reasons as to why the proposed site was selected. The United Nations serves as a symbolism of unity, peace, human rights, and the future development of the world. It foresees the world as a united place, where countries work together to overcome the challenges of the people and strive for solutions to world problems. IT is a symbolism of what the world can provide as a United Nation for the people and how that symbol can be carried out throughout the world. Therefore, this symbolism of Peace, human rights, and progress relates directly to what its neighboring project can become. The proposed project will a place where perseverance, SURJUHVV DQG D FXOWXUDO LGHQWLW\ LV EURXJKW IURP WKH FLW\ RI 1HZ <RUN DQG FRPELQHV WKRVH TXDOLWLHV with that of a symbolic representation of unity and peace in the world. The United Nations strives to PDNH WKH ZRUOG D EHWWHU SODFH E\ VROYLQJ WKH PDQ\ FRQÀLFWV DQG ZDUV WKDW DUH RFFXUULQJ LQ RXU JOREH My project proposes a visual representation, in a community scale, the ideas behind the United Nations, and puts their key goals into practice. Healing veterans and reintegrating them into society relates to the mission that the United Nations is doing for the world. The project starts the idea of peace and striving for veteran rights as they progress through their lives. The project can become D GLUHFW UHÀHFWLRQ RU D PLUURU WR ZKDW WKH 8QLWHG 1DWLRQV LV GRLQJ WR WKH ZRUOG +HDOLQJ YHWHUDQV LV an example to relates to peace, human rights, and the development of our future world, and the proposed project can represent the U.N.’s mission statement in its core values. Therefore, with the shared goals of both sites and their close proximity, both projects can be a symbolic landmark to New York that can be accessible to the people. The addition of an organization that directly targets the citizens of New York and demonstrates the goals of the U.N. at a community level will greatly impact the symbolism of peace and unity within the nations of the world. In addition, the message of healing veterans can be taken through the world and can be taken very seriously in other countries. The United Nations, as a place where leaders throughout the world meet, is a key opportunity for my project. the project can serve as a symbolism of how the United States can contribute to the world and can help in healing the many problems that war has left behind. Many other countries can adapt to the goals that the project can have and therefore becoming an international goal of healing veterans. The problem that the project is addressing is not a national problem, but an international challenge that the United Nations can help solve. The project itself compliments the symbolism of the United Nations and can work together in achieving hope and peace through our veterans.

38

SITE

' 7KH VLWH LV LQ WKH 多QDQFLDO GLVWULFW RI 0DQKDWWDQ DQG FDQ EH HDVLO\ DFFHVVLEOH FRPSDUHG to the other Veteran Centers and Hospitals.

SITE

39

E. Located near a veteran hospital.

FIGURE 8M: AERIAL IMAGE OF SITE

40

SITE

SITE ANALYSIS

ALMEIDA, JOSEPH

VEHICULAR GRID AND STREET PATTERN

The vehicular grid around the site is parallel to the shoreline of Manhattan Island, traveling from Northeast to Southwest. Central Park is a place of relief, recreation, relaxation, and of gathering. It allows all its inhabitants to become embraced within a vast open and green space that changes the setting of the city into the setting of a forest. There are several parks within Manhattan Island, which can be seen in within the grid pattern on the Island. Along the shoreline are the primary YHKLFXODU KLJKZD\V WKDW DOORZV LQGLYLGXDOV WR WUDYHO IDVWHU DQG TXLFNHU 2QH RI WKH KLJKZD\V WKH )'5 KLJKZD\ SDVVHV LQ IURQW RI WKH VLWH DQG QHHG WR EH LQFRUSRUDWHG ZLWK WKH ÂżQDO GHVLJQ RI WKH project. The highway passes in between the current site boundary and the shoreline, acting as an impediment for the site to touch the shoreline. The highway is an obstacle in designing a project that incorporates the waterfront as an important part of the design. The highway is around 15 feet in height when it passes the site and blocks the view to the beautiful scenery beyond. The highway wraps around the island and connects the vehicular transportation to the other parts of New York. The south side of the island has a different grid pattern and was developed earlier than the rest of the island. Its pattern tends to be more scarce and random than the rest of the island. SITE ANALYSIS

41

FLOOD ZONES 7KH VLWH LV ORFDWHG LQ D ÀRRG ]RQH DQG WKH GHVLJQ QHHGV WR DFFRPPRGDWH IRU WKLV DVSHFW RI WKH VLWH There is also a severe wave pounding on the shoreline side of the site. This should affect the design of the project and interaction should occur between the project and the river. This can provide a design opportunity for the project.

42

SITE ANALYSIS

DEMOGRAPHICS The site lays in a very dense area. Most of the density of the neighboring blocks consists of around 100,001 to 382,183. According to the map, the site is currently categorized as a block with a density of 25,000 people, although the site is not currently occupied. Most of the neighboring blocks consists of high density residential buildings with large public spaces accessible to the residential FRPPXQLW\ 7KH GHPRJUDSKLFV VKRZ WKDW WKH VLWH ORFDWLRQ LV GHÂżQHG DV D KLJK GHQVLW\ FRPPXQLW\ UDQJLQJ IURP EORFN WR EORFN 7KHUHIRUH WKH GHVLJQ RI WKH VLWH QHHGV WR UHĂ€HFW LWV FRQWH[W DQG GHYHORS a density in population in its intent.

SITE ANSLYSIS

43

AMENITIES There are various public facilities, hospitals, public parks, landmarks, libraries, schools, and commercial areas that can improve the project’s intent. Some of the amenities around the 1 mile radius can enhance the psychological, physical, and social healing aspects of the proposed projects. All of these facilities can facilitate the rehabilitation of veterans and can act as components of veteran reintegration to society. The proposed project is not intended to work on its own, but rather use its surroundings to achieve its goal of veteran rehabilitation. The project will use theater and performance as a tool for healing, but the context and the site location need to support the healing process that the veterans are going through, thus the map shows why the site’s context is important in the project. The context serves as the backdrop to the project’s intent.

44

SITE ANALYSIS

ETHNICITY DEMOGRAPHICS

SITE ANALYSIS

45

SITE HISTORY

FIGURE 9A: PROPERTY OF THE EDISON ALONG THE EAST RIVER.

FIGURE 9B: WATERSIDE STEAM PLANT ON THE SITE

46

SITE ANALYSIS

Originally, the site was occupied by a Waterside Steam Plant owned by Con Edison. (Burnett, G.). The water plant was used to provide energy for the city of New York and used steam as a valuable source for energy. The plant, as seen on the image, was placed to the left hand side of site, closer to 38th Street. (Burnett, G.). It consisted of three facilities and the lot was sold to the developer named Sheldon H. Solow for $600 millions. Sheldon H. Solow purchased a few lots south from the United Nations from Con Edison including a lot between 41st and 42nd Street, between 39th and 40th Street, and the lot where the proposed project will be. (Burnett, G.). Sheldon H. Solow is the owner of the East River Realty Company and the property that the company owns is shown in the diagram. Most of its ownership lies south of the United Nations. (Burnett, G.). As of June 2012, the East River Realty Company demolished the Waterside Steam Plant on the site and started developing a future residential complex that will suit the waterfront. There have been many proposals for the site and many ideas have been developed, but the site still remains vacant. For years, developed Sheldon Solow owned the 9.2 acre mud pit on First Avenue between 35th and 36th street, south of the proposed site. In the site, Solow had planned to build two apartment towers, but as of 2011, Solow sold the site to JDS Development for a total of $172 million. JDS Development has started construction of a 37-story tower and a 47-story tower that will hold a total of 800 apartments. (Sheldon Solow). The site is currently still owned by Mr. Solow. The East River Realty Company has planned to built four residential/commercial towers that will use the waterfront as their primary advantage. One of the architects that was working on this development was Richard Meier. (Sheldon Solow). As of today, the site is considered to become the East Side Waterfront Park, designed by a group of architects. It is planned to have 4 residential towers, a connection to the water, a park, and a public plaza. The construction for these plans has not yet started and the site still remains vacant with conceptual ideas in progress. (Sheldon Solow).

PROPOSAL FOR SITE

FIGURE 9C: PROPOSED RESIDENTIAL PROJECTS DESIGNED BY RICHARD MIER

47

images of site location and site overview

FIGURE 9D: IMAGE OF THE SITE FACING FIRST AVENUE AND THE BUILDINGS ACROSS THE STREET.

48

SITE ANALYSIS

E. Located near a veteran hospital.

FIGURE 9E: IMAGE OF THE SITE FACING THE UNITED NATIONS AND THE FDR HIGHWAY. THERE IS AN ELEVATION CHANGE FROM FIRST AVENUE AND THE SITE THAT NEEDS TO BE CONSIDERED IN THE DESIGN.

SITE ANALYSIS

49

FIGURE 9F: IMAGE OF THE SITE FACING THE EAST RIVER AND BEYOND. THE FDR HIGHWAY IS ELEVATED AND CAN BE SEEN IN THE DISTANCE AS WELL.

50

SITE ANALYSIS

ZONING

ALMEIDA, JOSEPH

7KH VLWH LV ORFDWHG DORQJ ÂżUVW DYHQXH ZKLFK UXQV SDUDOOHO WR WKH HDVW ULYHU 7KH VLWH LV ULJKW QH[W WR the edge of the river, having FDR drive separating it with the view of the river. The street on the north side of the site is 41st street and the street on the south side is 38th street. The site is located next to the United Nations building and it is allocated as a commercial site by the city of New York. The total 4.4 acres and its zone as a C5-2, according to the zoning code. There are current projects being proposed on the site, including high residential units and commercial businesses. Around the area is main high density housing and a commercial district to the north of the site. The average KHLJKW RI WKH VXUURXQGLQJ EXLOGLQJV LV DSSUR[LPDWHO\ IHHW WDOO DOO RI ZKLFK LQFOXGH RIÂżFH VSDFH DQG residences. With these facts in mind, the design needs to consider its zoning parameters and take advantage of several aspects of the site, including the river, the symbolism of the United Nations, the public street, and the neighboring buildings.

FIGURE 10B: FLOOR AREA RATIOS CHART

FIGURE 10A: ZONING MAP.

ZONING

51

The site is zoned as commercial district 5-2. Commercial District C5 is categorized as a district ZLWK FRQWLQXRXV UHWDLO IURQWDJH LQWHQGHG IRU RI¿FHV DQG UHWDLO VSDFHV WKDW VHUYH WKH HQWLUH UHJLRQ 'HSDUWPHQW VWRUHV ODUJH RI¿FH EXLOGLQJV DQG PL[HG EXLOGLQJV ZLWK UHVLGHQWLDO VSDFHV DERYH RI¿FH RU FRPPHUFLDO ÀRRUV DUH LGHDO IRU & GLVWULFWV $V VHHQ LQ WKH FKDUW WKH PD[LPXP FRPPHUFLDO ÀRRU DUHD UDWLR IRU D & LV D 7KH ÀRRU DUHD UDWLR PD\ EH LQFUHDVH E\ LI DQ DWWLF DOORZDQFH LV provided. C5-2 districts can be occupied by commercial, residential and/or community facility that FDQ EH FRQ¿JXUHG DV D WRZHU 1<&'&3 $FFRUGLQJ WR $UWLFOH ,,, &KDSWHU RI WKH 1HZ <RUN =RQLQJ Regulations, the C5 district can have the use of Group 9, which consist of primarily business and other services. Some of the facilities that is part of Group 9 and can be placed on site are studios, art, music, dancing or theatrical facilities. The exception is that it cannot be located on the ground level of a building unless it is at least 50 feet from the street wall. (NYCDCP). Some of the zoning regulations that apply to the site and to the project I am proposing are: FIGURE 10C: SETBACKS FOR A CORNER LOT

FIGURE 10D: SETBACKS FOR ALOT IN BETWEEN OTHER LOTS.

52

ZONING

‡(DWLQJ RU GULQNLQJ HVWDEOLVKPHQWV ZLWK HQWHUWDLQPHQW EXW QRW GDQFLQJ ZLWK D FDSDFLW\ RI 200 persons or less [PRC-B] ‡'RPLFLOLDU\ FDUH IDFLOLWLHV IRU DGXOWV ‡1RQ SUR¿W KRVSLWDO VWDII GZHOOLQJV ORFDWHG QRW PRUH WKDQ IHHW IURP WKH QRQ SUR¿W RU voluntary hospital (NYCDCP). ‡1XUVLQJ KRPHV DQG KHDOWK UHODWHG IDFLOLWLHV LQ &RPPXQLW\ 'LVWULFWV LQ ZKLFK WKH FRQGLWLRQV VHW IRUWK LQ 6HFWLRQ &HUWL¿FDWLRQ RI &HUWDLQ &RPPXQLW\ )DFLOLW\ 8VHV DSSO\ ‡3XEOLF SDUNLQJ JDUDJHV ZLWK DQ\ JDUDJHV ‡3XEOLF SDUNLQJ ORWV ZLWK DQ\ FDSDFLW\ 1<&'&3 ‡6HWEDFNV 1R VLGH \DUGV DUH UHTXLUHG +RZHYHU LI DQ RSHQ DUHD H[WHQGLQJ DORQJ D VLGH ORW line is provided at any level, it shall be either: (a) at least eight feet wide at every point; or E DW OHDVW ¿YH IHHW ZLGH DW HYHU\ SRLQW ZLWK DQ DYHUDJH ‡ 5HDU \DUGV D UHDU \DUG ZLWK D GHSWK RI QRW less than 20 feet shall be provided at every rear lot line on any zoning lot. ‡ )RU FRUQHU ORWV DQG IRU ]RQLQJ ORWV WKDW DUH ERXQGHG E\ WZR RU PRUH VWUHHWV WKDW DUH neither corner lots or through lots, the portion of a side lot line beyond 100 feet of the street line that it intersects shall be considered a rear lot line and a rear yard with a minimum depth of 20 feet shall be provided where such rear lot. (NYCDCP).

‡,Q WKH FDVH RI D ]RQLQJ ORW RFFXS\LQJ DQ HQWLUH EORFN QR UHDU \DUG RU UHDU \DUG HTXLYDOHQW VKDOO EH UHTXLUHG ‡)RU & GLVWULFW D IHHW VHWEDFN LV UHTXLUHG IRU D QDUURZ VWUHHW DQG D IHHW VHWEDFN IRU a wide street. 85 feet or 6 stories, whichever is less is the maximum height of front wall. a ratio of 2.1 to 1 should be kept from vertical distance to horizontal distance. (NYCDCP). ‡$OWHUQDWLYH UHTXLUHG IURQW VHWEDFNV D VHWEDFN RI IHHW LV UHTXLUHG RQ D QDUURZ VWUHHW DQG D VHWEDFN RI IHHW LV UHTXLUHG RQ D ZLGH VWUHHW KHLJKW DERYH VWUHHW OLQH LV D PD[LPXP of 85 feet, keeping a 3.7 to 1 ratio in regards to vertical distance and horizontal distance. (NYCDCP). ‡7KH ORW FRYHUDJH RI WRZHUV RQ VPDOO ORWV ‡=RQLQJ WRROV :DWHUIURQW =RQLQJ ‡:DWHUIURQW \DUGV DUH VXEVWLWXWHG IRU UHDU \DUG LQ WKLV FDVH ‡,Q GLVWULFWV DOORZLQJ D ÀRRU DUHD UDWLR )$5 RI RU OHVV ZKHUH D GHYHORSPHQW ZRXOG UHTXLUH SXEOLF DFFHVV D PLQLPXP RI SHUFHQW RI WKH ORW DUHD PXVW EH LPSURYHG DQG maintained for this purpose. (NYCDCP). ‡:DWHUIURQW SXEOLF DFFHVV DUHDV KDYH WKUHH FRPSRQHQWV VKRUH SXEOLF ZDONZD\V XSODQG connections and supplemental public access areas. (NYCDCP). ‡$ VXSSOHPHQWDO SXEOLF DFFHVV DUHD LV UHTXLUHG RQO\ ZKHQ WKH FRPELQHG VSDFH GHYRWHG WR WKH VKRUH SXEOLF ZDONZD\ DQG XSODQG FRQQHFWLRQV GRHV QRW IXO¿OO WKH PLQLPXP VTXDUH IRRWDJH UHTXLUHPHQW IRU SXEOLF DFFHVV RQ D ]RQLQJ ORW 1<&'&3 ‡$Q XSODQG FRQQHFWLRQV JLYH GLUHFW DFFHVV WR WKH VKRUH SXEOLF ZDONZD\ DW UHJXODU LQWHUYDOV (at least every 600 feet) from upland public streets or other public places. (NYCDCP). ‡7KH UHJXODWLRQV UHTXLUH SODQWLQJ VHDWLQJ WDEOHV VKDGHG DUHDV ELNH UDFNV DQG WUDVK receptacles. ‡$OO SDUNLQJ ORWV RQ ZDWHUIURQW EORFNV DUH VXEMHFW WR SODQWLQJ DQG VFUHHQLQJ UHTXLUHPHQWV (NYCDCP). ‡$ ZDWHUIURQW DUHD LV WKH JHRJUDSKLFDO DUHD DGMDFHQW WR D ERG\ RI ZDWHU DW OHDVW IHHW wide, comprising all blocks between the pier head line and a parallel line 800 feet landward from the shoreline. (NYCDCP). ‡7KH EXONKHDG OLQH LV D OLQH VKRZQ RQ WKH ]RQLQJ PDSV ZKLFK GLYLGHV WKH XSODQG DQG seaward portions of waterfront zoning lots.

FIGURE 10E: MAXIMUM PERCENT OF LOT COVERAGE FOR ZONED DISTRICT

FIGURE 10F: LIMITATIONS ON SKY EXPOSURE

ZONING

53

7KH SLHUKHDG OLQH LV D OLQH VKRZQ RQ WKH ]RQLQJ PDSV ZKLFK GH¿QHV WKH RXWHUPRVW seaward boundary of the area regulated by the Zoning Resolution. (NYCDCP). $ ZDWHUIURQW \DUG LV WKH SRUWLRQ RI D ZDWHUIURQW ]RQLQJ ORW H[WHQGLQJ DORQJ WKH HQWLUH OHQJWK of the shoreline which must be open and unobstructed from the lowest level to the sky, except for certain permitted obstructions. Depending upon p the zoning g district,, the minimum depth is typically 30 to 40 feet. (NYCDCP).

FIGURE 10G: LIMITATIONS ON SKY EXPOSURE

FIGURE 10H: WATERFRONT LOTS

54

ZONING

FIGURE 10I: AN OVERVIEW OF THE SITE

FIGURE 10J: WATERFRONT LOT REGULATIONS

‡:KHUHYHU VXFK GLVWULFWV DUH ORFDWHG ZLWKLQ D /LPLWHG +HLJKW 'LVWULFW WKH PD[LPXP KHLJKW RI a building or other structure shall be as shown in the table. ‡)RU DQ\ VLWH WKDW LV ]RQHG DV D FRPPHUFLDO GLVWULFW RII VWUHHW SDUNLQJ VSDFHV VKRXOG RQO\ be located within a building or in any open area on the zoning lot that is not between the street line and the street wall, or building wall. ‡)RU PL[HG EXLOGLQJV DOO RII VWUHHW SDUNLQJ VSDFHV VKRXOG EH ORFDWHG RQO\ ZLWKLQ D EXLOGLQJ or in the zoning lot. ‡7KH HQWUDQFHV DQG H[LWV RI DOO SHUPLWWHG SXEOLF SDUNLQJ ORWV RU SXEOLF SDUNLQJ JDUDJHV ZLWK 10 or more parking spaces should be located not less than 50 feet from the intersection of any two street lines. ‡'HYHORSPHQWV ZLWK RSHQ SDUNLQJ DUHDV ZKLFK SHUFHQW RU PRUH RI WKH ÀRRU DUHD RQ WKH zoning lot is occupied by a commercial or community facility use follows these provisions: ‡7KLV GRHV QRW DSSO\ WR LQGRRU SDUNLQJ JDUDJHV SXEOLF SDUNLQJ JDUDJHV RU VWUXFWXUHG parking facilities. (NYCDCP).

FIGURE 10K: PARKING REGULATIONS

ZONING

55

FIGURE 10L: REGULATIONS FOR DIAGONAL PARKING

FIGURE 10N: REGULATIONS FOR PARALLEL PARKING

56

FIGURE 10M: REGULATIONS FOR HORIZONTAL PARKING

ZONING

‡&XUE FXWV VHUYLQJ RQH WUDYHO ODQH VKDOO KDYH D PD[LPXP ZLGWK RI IHHW H[FOXGLQJ VSOD\V ‡&XUE FXWV VHUYLQJ WZR WUDYHO ODQHV VKDOO KDYH D PD[LPXP ZLGWK RI IHHW H[FOXGLQJ splays. (NYCDCP). ‡0LQLPXP GLVWDQFH RI IHHW IURP DQ\ RWKHU FXUE FXW RQ WKH VDPH RU DGMDFHQW ]RQLQJ ORWV shall be maintained. ‡%LF\FOH 3DUNLQJ DSSOLHV WR WKH IROORZLQJ GHYHORSPHQWV HQODUJHPHQWV WKDW LQFUHDVH WKH ÀRRU DUHD ZLWKLQ D EXLOGLQJ E\ SHUFHQW RU PRUH QHZ GZHOOLQJ XQLWV FRQVWUXFWHG DIWHU $SULO 2, 2009, and enclosed parking facilities with 35 or more automobile parking spaces. ‡7KH QXPEHU LI SDUNLQJ VSDFHV DQG WRWDO DUHD LQ VTXDUH IHHW VKRXOG EH QRWHG RQ WKH FHUWL¿FDWH RI RFFXSDQF\

FIGURE 10O: BIKE SIGN THAT SHOULD BE USED FOR BICYCLE PARKING

ZONING

57

FIGURE 10P: HEIGHT REGULATIONS AND SETBACKS.

58

ZONING

C5-2 REGULATION 7KHVH GLVWULFWV DUH GHVLJQHG WR SURYLGH IRU RI多FH EXLOGLQJV DQG WKH JUHDW YDULHW\ RI ODUJH UHWDLO VWRUHV and related activities which occupy the prime retail frontage in the central business district, and which serve the entire metropolitan region. The district regulations also permit a few high-value custom manufacturing establishments which are generally associated with the predominant retail activities, and which depend on personal contacts with persons living all over the region. The district regulations are also designed to provide for continuous retail frontage. The site also has a water frontage and therefore needs to comply with the waterfront zoning regulations that are described above. The setbacks of the building and in regards to the sky plane are described in the diagram below.

FIGURE 10Q: SITE PLAN OBTAINED FROM NEW YORK CITY PLANNING DEPARTMENT

ZONING

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60

climate analysis

ALMEIDA, JOSEPH

The following data was gathered using Climate Consultant 5.4 in order to have an understanding of the design strategies that need to be considered on the site. 7KH GDWD ZDV DFTXLUHG IURP &HQWUDO 3DUN ZKLFK LV PLOHV DZD\ IURP WKH SURSRVHG VLWH $V seen in the Psychometric Chart, the temperature levels are within the comfort zone only for 300 hours throughout a given year. Most of the time, the temperatures a lower than the comfort level of a human. The blue portion of the diagram shows the comfort level throughout the year if no mechanical heating or cooling occurred. Therefore, taken this issues in New York City, internal heat gain increases the comfort level to 2,779 hours in a year. This data needs to be taken into account in order to reach a comfortable level within the design of the proposed project. Heating is very LPSRUWDQW DV ZHOO DV KXPLGLÂżFDWLRQ WR UHDFK PD[LPXP FRPIRUW LQ D EXLOGLQJ ORFDWHG LQ 1HZ <RUN 25 mphIn addition to internal heat gain needed in the design of the project, there are also large winds that pass through the site. Most of the strong winds come from the South, but throughout the year, the West, North, and South side are the direction in which the wind comes from. The velocities that the winds can reach are a velocity of 40 miles per hour and therefore the design needs to consider this aspect of the climate analysis. The design should address a sustainable way of internal heating, while avoiding openings that face the direction of the high winds in order to keep a comfort level within the building. FIGURE 11B: WIND DIAGRAM

FIGURE 11A: ISONOMETRIC CHART

CLIMATE ANALYSIS

61

One of the ways we can solve internal heating is by using the sun as a heat source during the day time and keeping that heat gain throughout the night time. This is a good strategy in using thermal mass for the building to store the heat for later use, but the site does not receive that much warmth. It is only on the months of June and July where the temperature rises higher than 75 degrees. The rest of the year tends to be cold even when the sun is exposed. In addition, shading needs to be considered by the surrounding buildings and how much shade the site receives throughout the year. The diagrams below show the impact that the shadows of the neighboring buildings affect the proposed site. One shot is taken during the summer while the other is taken during the winter, showing more shadow during the winter than the summer. Therefore, solar gain is blocked by neighboring buildings and other means need to be considered in the design.

FIGURE 11C: SUN DIAGRAM

FIGURE 11D: COMPARISON BETWEEN SUMMER AND WINTER SHADOWS IN THE SITE FROM NEIGHBORING BUILDINGS.

62

CLIMATE ANALYSIS

PROGRAM

ALMEIDA, JOSEPH

STRUCTURE

FIGURE 12A: BASIC STRUCTURE OF A SHAKESPEREAN PLAY.

The organization of the program will follow the ideas depicted in the structure of a play, as seen in the image above. The intent is to correlate theater and its structure to the structure of a healing process for veteran rehabilitation and integration. As research was developed in organizing the program, there were several similarities between the structure of a play and the goals of the project’s program. A Shakespearean play has a certain composition consisting of an exposition, a climax, DQG D UHVROXWLRQ 7KH ¿YH GLIIHUHQW DFWV WKDW HYHU\ 6KDNHVSHDUHDQ SOD\ IROORZV FRQVLVW RI ,QFLWLQJ Action, Turning Point, Climax, falling Action, and a resolution. Each of these acts can relate to the healing process for veterans thus creating an organization/positioning of the program layout. Due to the step by step process, the program can follow and enhance the rehabilitation process that follows the structure and composition of a Shakespearean play.

PROGRAM

63

Act I: Inciting Action The plot builds upon an event introduced in this act. The act is also an introduction to all the characters, settings, and the background of the drama. (Robert, Owens). $V SDUW RI WKH EXLOGLQJ SURJUDP WKH ÂżUVW ÂłDFW´ ZLWKLQ WKH SURMHFW VKRXOG EH RQH WKDW LQWURGXFHV the veterans to a new setting, to new characters, and to a new background as to where they will dwell upon their entry into the program. The “actâ€? will consist of veterans coping with their new OLYLQJ DFFRPPRGDWLRQV DQG LQWURGXFLQJ HDFK RWKHU WR DW OHDVW DQRWKHU SHUVRQ 7KH ÂżUVW VWHS RI WKH program will be the beginning of the plot within the program. The other acts will build upon their new relationships, their new home, and their new life. Act 2: Turning Point Shakespearean play can have many turning points within this act. This act reveals the problem ZLWKLQ WKH SORW DQG D FRQĂ€LFW ZLWKLQ WKH VWRU\OLQH 5REHUW 2ZHQV This program “actâ€? will consist of creating a new perception within the conscious of the veteran and revealing a challenge that they need to overcome. The challenge will consist of developing internal self-esteem, and start sharing that self-esteem with other performers. The turning point will be to get out of the comfort zone and reveal to others their troubles, emotions, and feelings, and being able to translate that into a performance or theater. This “actâ€? will consist of development of teamwork, self-esteem, psychological healing, and revealing a challenge that they will need to overcome. Act 3: Climax Act 3 consists of taking action and/or taking a critical decision that will determine the resolution of the play. The act is usually suspenseful and thrilling to the audience. Throughout this act, the PDLQ FKDUDFWHU JDLQV FRQÂżGHQFH DQG VWHSV XS WR WKH FRQĂ€LFW E\ WDNLQJ DFWLRQ RU PDNLQJ D GHÂżQHG decision.(Robert, Owens).

64

PROGRAM

The next process of healing for veterans will be to take action upon the challenge presented. Previously, the program consisted of an introduction to a new setting, a turning point in self-realization and intimate healing, but now, the veteran moves forward in acting upon his/her decisions. The challenge presented can be of creating a play, a set, a script, a choreography, clothing, a backdrop, D SHUIRUPDQFH RU HYHQ WKH DFWRUV ,Q WKLV VWDJH WKH YHWHUDQV DIWHU REWDLQLQJ VHOI FRQÂżGHQFH DQG comfort, work together to overcome this challenge. This is where we the program can encourage DQ PRUH SK\VLFDO DQG DFWLYH VSDFH IRU YHWHUDQV $ UHĂ€HFWLRQ RI WKH SDVW VKRXOG DOVR EH FRQVLGHUHG to encourage a change in veterans. Act 4: Falling Action Following the climax, the drama contains further turning points where tension builds, and further character development occurs. The turning points are based upon the decision made in the climax. (Robert, Owens). After the climax, the program of the building will encourage positive and constructive turning points for the veterans. Self discovery and potentials within their skills should be seen in this “actâ€? of the program. The veterans will continue in achieving their challenge of creating theater and performances for each other, and for the public. Interaction and full development should start to spark within veterans and others. The public can be introduced to allow for external communication and a positive environment for the veterans. Act 5: Resolution ,Q WKLV DFW WKH FRQĂ€LFW LV UHVROYHG HLWKHU WKURXJK UXLQDWLRQ RU WULXPSK 7KH UHVROXWLRQ XVXDOO\ LQYROYHV a grand event that leads to a prediction of the characters future, either of happiness or a downfall. (Robert, Owens).

PROGRAM

65

Finally, the end of the program should be one of overcoming the challenge and building a new character within each veteran. The resolution of the project should end on the stage, where the resolution to the veterans is showcased to the public and the public can celebrate the great success of the veterans and their healing process. This will allow for veterans to show their talent, the audience to gratefully appreciate our heroes, and an interaction between the public and veterans. This program needs to be a memorable one, that can be seen by the community and by others who are introduced to the site. It should bring the theme of resolution of veteran turmoil, and of hope to end the wars around the world. Program Tabulation Taking the above information, the program has been organized in a healing process starting from an introduction of a setting, to one of resolution and celebration. The Program is structured this way WR UHĂ€HFW XSRQ WKH GHVLJQ RI WKH ÂżQLVKHG SURMHFW 7KH IROORZLQJ LV D VXPPDU\ RI WKH SURJUDP DQG LWV VTXDUH IRRWDJHV

66

PROGRAM

1.0 INTRODUCTION PHASE

1.1 PUBLIC AREAS, PUBLIC INTERACTION Main Entrance Vestibule Main Lobby Space Reception Desk Staff Work Area Small Café/Vending Visitor Waiting Area Female Public Restroom Male Public Restroom Computer Station Small Recital Hall

QUANTITY

NET SQUARE FOOTAGE

TOTAL SQUARE FOOTAGE

1 1 2 1 1 1 1 1 3 1

100 600 100 200 60 400 150 150 200 500

100 600 200 200 60 400 150 150 600 500

Ciculation (35% of Subtotal) Total Gross Square Footage

2360 826 3186

1.2 TRANSITIONAL LIVING

QUANTITY

NET SQUARE FOOTAGE

TOTAL SQUARE FOOTAGE

16 14 10 1 10 5

300 500 250 400 100 120

4800 7000 2500 400 1000 600

Subtotal

Single Bedroom Unit Two Bedroom Unit Kitchen Outdoor Space Offices Small Theraputical Rooms Subtotal

16300

Circulation (35% of Subtotal)

5705

Total Gross Square Footage

22005

Total Category Square Footage

25191

ACT 1 INCITING ACTION

PROGRAM

67

2.0 PSYCHOLOGICAL HEALING

2.1 INTERACTIVE SPACE

ACT 2

Studios Offices Storage Outdoor Space Utilities Backstage Men's Restroom Women's Restroom Recording Studio Gallery Computer Lab

QUANTITY

NET SQUARE FOOTAGE

TOTAL SQUARE FOOTAGE

10 5 1 1 1 1 1 1 1 1 1

200 80 200 800 80 500 150 150 300 500 400

2000 400 200 800 80 500 150 150 300 500 400

TURNING POINTS 4280 1498 5778

Subtotal Ciculation (30% of Subtotal) Total Gross Square Footage

THEATER AND PERFORMANCE SPACE Grand Central Hall

68

PROGRAM

QUANTITY

NET SQUARE FOOTAGE

TOTAL SQUARE FOOTAGE

1

1500

1500

Subtotal

1500

Circulation (35% of Subtotal) Total Gross Square Footage

525 2025

Total Category Square Footage

7803

3.0 PHYSICAL HEALING

3.1 INTERACTIVE SPACE Outdoor Space (Open field for activity/sports) Fitness Center (Gym) Reception Work Area Male Lockers/Restroom Female Lockers/Restroom Offices Pools (Sauna, and Sport Pool) Refreshment Station Dance Studio Acting Studios Workshop Studios Physical Therapy Therapist Work Area Exam Room Equipment Storage

QUANTITY

NET SQUARE FOOTAGE

TOTAL SQUARE FOOTAGE

1 1 2 1 1 6 1 2 1 2 3 3 1 2 1

4500 1000 150 200 200 50 6000 80 1200 1000 800 200 100 150 80

4500 1000 300 200 200 300 6000 160 1200 2000 2400 600 100 300 80 19340 6769 26109

Subtotal Ciculation (35% of Subtotal) Total Gross Square Footage

3.2 THEATER AND PERFORMANCE SPACE Outdoor Amphitheater/Enclosed Backstage Dressing Room Light/Set Control Room Projection Room Storage

QUANTITY

NET SQUARE FOOTAGE

TOTAL SQUARE FOOTAGE

1 1 1 1 1 1

8000 1500 300 350 100 100

8000 1500 300 350 100 100

Subtotal

10250

Circulation (35% of Subtotal) Total Gross Square Footage

3588 13838

Total Category Square Footage

39947

ACT 3 CLIMAX

PROGRAM

69

4.0 SOCIAL HEALING

4.1 INTERACTIVE SPACE

ACT 4 FALLING ACTION

Commercial Space Veteran Memorial (Coastline) Veteran Museum/Gallery Female Public Restroom Male Public Restroom

PROGRAM

TOTAL SQUARE FOOTAGE

1 1 1 1 1

1500 5000 1500 150 150

1500 5000 1500 150 150

Ciculation (35% of Subtotal) Total Gross Square Footage

8300 2905 11205

Total Category Square Footage

11205

Subtotal

70

QUANTITY

NET SQUARE FOOTAGE

5.0 MAIN THEATER 5.1 VETERAN THEATER AND PERFORMANCE CENTER Box Office CafĂŠ Gift Shop Main Entrance Vestibule Main Lobby Seating Area Stage Backstage Storage Utilities Dressing Room Sound Room Control Room Conference Room Public Restrooms Private Restrooms

QUANTITY

NET SQUARE FOOTAGE

TOTAL SQUARE FOOTAGE

1 1 1 1 1 1 1 1 1 1 1 1 1 1 4 2

200 500 250 200 800 15000 1500 2000 200 150 350 250 200 500 200 150

200 500 250 200 800 15000 1500 2000 200 150 350 250 200 500 800 300

Ciculation (20% of Subtotal) Total Gross Square Footage

22950 4590 27540

Total Category Square Footage

27540

Total Gross Building Square Footage

111686

Subtotal

ACT 5 RESOLUTION

PROGRAM

71

6.0 PARKING

6.1 RESIDENTIAL PARKING Regular Stalls Handicap Stalls Subtotal

QUANTITY

NET SQUARE FOOTAGE

30 20

171 252

5130 5040 10170 3560 13730

Ciculation (35% of Subtotal) Total Gross Square Footage

6.2 STAFF PARKING Regular Stalls Subtotal

QUANTITY

NET SQUARE FOOTAGE

40

171

6.3 PUBLIC PARKING

QUANTITY

NET SQUARE FOOTAGE

600 70

171 252

Ciculation (35% of Subtotal) Total Gross Square Footage

PROGRAM

4

NET SQUARE FOOTAGE 200

TOTAL SQUARE FOOTAGE

Ciculation (35% of Subtotal) Total Gross Square Footage

800 280 1080

Total Category Square Footage

47858

Subtotal

72

QUANTITY

TOTAL SQUARE FOOTAGE 102600 17640 17640 6174 23814

Subtotal

6.4 LOADING ZONES

TOTAL SQUARE FOOTAGE 6840 6840 2394 9234

Ciculation (35% of Subtotal) Total Gross Square Footage

Regular Stalls Handcicap Stalls

TOTAL SQUARE FOOTAGE

FIGURE 12A: PROGRAM ADJENCIES AND ORGANIZATION

KITCHEN

PRIVATE OUTDOOR SPACE

OFFICES VETERAN MEMORIAL LIVING UNITS

OUTDOOR SPACE

GYM

VETERAN MUSEUM

RESIDENCE LOBBY STUDIOS VETERAN THEATER AND PERFORMANCE CENTER

COMMERCIAL SPACE

PSYCHOLOGICAL HEALING PHYSICAL HEALING

THEATER LOBBY

PUBLIC PLAZA

SOCIAL HEALING

PROGRAM

73

74

KEY SPACES

ALMEIDA, JOSEPH

TRANSITIONAL LIVING The transitional living will introduce the veterans into a new atmosphere and into a new home, where their transition commences. The dwelling spaces need to be somewhat private, but interactive to EHJLQ WKH SURFHVV RI VHOI FRQ¿GHQFH DQG WHDPZRUN 7KH GZHOOLQJ XQLWV ZLOO EH DYDLODEOH DV RQH bedroom or two bedroom, in the case that a veteran has family that will live with him/her. The units DUH WR JLYH HDFK YHWHUDQ WKHLU RZQ SULYDWH VSDFH EXW EH ÀH[LEOH WR EHFRPLQJ D FRPPXQLW\ VSDFH between two to four veterans. The unit needs to evolve and adopt to the veterans improvements DQG WKHUHIRUH ÀH[LELOLW\ LV QHHGHG 7KH XQLWV ZLOO EH VKDULQJ D NLWFKHQ DQG DQ RXWGRRU DUHD ZLWK RWKHU YHWHUDQV EXW WKH VSDFHV QHHG WR EH ÀH[LEOH 7KH XQLWV QHHG WR DFFRPPRGDWH DQ\ W\SH RI veterans, either disabled, with family, or with PTSD.

STUDIOS The studios are the second step in the rehabilitation process, where the veterans are introduced to other veterans and work together to learn about the arts, theater, and performance. The main idea is to create small challenges within small groups of veterans and have the veterans work with the arts to solve them. Painting, scriptwriting, acting, playwriting, and other similar subjects will be used in these studios to create enthusiasm within the veterans. As the veterans improve, the studios will incorporate dancing, acting, singing, music composition, story telling, music interpretation, and other physical activities that will improve the self-esteem of the veterans.

MAIN THEATER/MEMORIAL The main theater is to be the largest space, where completion of the program occurrs and full interaction with the public is achieved. The main theater is to showcase the work that veterans have achived in the facility and to observe the improvement they have achieved. The memorial is a UHĂ€HFWLRQ RI WKH SDVW DQG KRSH IRU WKH IXWXUH RI RXU FRXQWU\ ,W ZLOO EH DQ LQWHUDFWLYH VSDFH EHWZHHQ YHWHUDQV DQG WKH SXEOLF WR FRPPXQLFDWH WKH VLJQLÂżFDQFH RI WKLV PRQXPHQW DQG UHĂ€HFW XSRQ LW SDVW memories, present state, and future hope.

KEY SPACES

75

76

CONFIGURATIONS TYPE

SIMPLE FORMS

ALMEIDA, JOSEPH

COMPLEX FORMS

PRIVATE ENVIRONMENT

CENTRALIZED OUTDOOR SPACE

UNIT CONFIGURATION

COMMUNITY KITCHEN

KITCHEN VS OUTDOORS

VERTICAL ARRANGEMENT

BEDROOM

OUTDOOR SPACE

KITCHEN

CONFIGURATIONS

77

TYPE

SIMPLE FORMS

COMPLEX FORMS

CENTRALIZED PLAZA

PUBLIC VS. PRIVATE PLAZA

PROGRAM CONFIGURATION

ROW HOUSING TYPOLOGY

SEPARATION OF UNITS

VERTICAL ARRANGEMENT

HOUSING

78

CONFIGURATIONS

PLAZA

THEATER

COST ESTIMATE

ALMEIDA, JOSEPH

Cost Estimate Report

PROJECT NAME

VETERAN CENTER OF THEATER AND PERFORMING ARTS

Building Type: Location: Story Count: Story Height: Floor Area Labor Type: Basement Included:

Theater, 8 Story Residential Building Steel Construction Precast Concrete Frame New York, NY 6 12 111686 Union No

Cost Per Square Foot: Building Cost: % of Total 3.60%

1. Foundation A101

Prestressed Conrete Piles

A1030

Slab on Grade

Cost Per S.Q. $10.40 $4.15

Cost $1,161,534.40 $463,496.90

$6.25

$698,037.50

$101.25 $52.60

$11,308,207.50 $5,874,683.60

$8.06

$900,189.16

$2.73

$304,902.78

$3.87

$432,224.82

$3.93

$438,925.98

$2.93

$327,239.98

$1.63

$182,048.18

$25.50

$2,847,993.00

$79.71 $9.05

$8,902,491.06 $1,010,758.30

20' long x 24" square Slab on Grade, 6" thick, reinforced 2. Envelope B1010

35.06% Floor Construction

Structural Steel Column, W16, 20' x 20' bay separation Interior Floor Construction

Carpet Padding B1020

Roof Construction

Bay, Built-Up Roof, 24" deep, B2010

Exterior Walls

Insulation, Aluminum Panel Siding B2020

Exterior Windows

Insulated Alumninum Window B2030

Exterior Doors

Aluminum Sliding Door, 6'0" x 10'-0" opening B3010

Roof Coverings

Insulations, roof deck, Aluminum roof edges, B3020

Other exterior Materials

Hardscape Terazzo 3. Interiors C1010

27.60% Partitions

Gypsum board, @ 24" O.C. 1" thich coreboard 2" x 4' studs

COST ESTIMATE

79

C1020

Interior Doors

$4.55

$508,171.30

$0.88

$98,283.68

$1.75

$195,450.50

$42.14

$4,706,448.04

$12.78

$1,427,347.08

$8.56

$956,032.16

$78.63 $10.70

$8,781,870.18 $1,195,040.20

$14.60

$1,630,615.60

Wood Interior Doors, painted C1030

Fittings

Theater curtains, partitions, set C2010

Stair Construction

Steel, concrete filled, with landings C3010

Wall Finishes

Plaster ornaments Vinyl Wall Covering C3020

Floor Finishes

Terazzo, Granite, Slate Florring C3030

Ceiling Finishes

Susptended ceiling, 4. Sytems and Services D1010

Elevators and Lifts

27.23%

D2010

Plumbing Fixtures

400 FPM, Electric Traction Passenger Elevator Urinal, Shower Stalls, Bathtub D2020

Rain Water Distribution

$0.58

$64,777.88

$8.35 $0.50 $3.16 $35.42 $5.32

$932,578.10 $55,843.00 $352,927.76 $3,955,918.12 $594,169.52

Drain, roof, flat metal deck, cast iron 4" pipe size D2040 D3020 D3030 D3090 D4010

Energy Supply Heat Generating Systems Cooling Generating Systems HVAC Sprinklers

5. Equipment and Furnishing E1020

6.50% Institutional Equipment

$18.78 $10.88

$2,097,463.08 $1,215,143.68

$4.46 $3.44

$498,119.56 $384,199.84

Sink, adhesives, Architecture equipment E2020 Subtotal Contractor Fees Architectural Fees User Fees Total Building Cost

80

COST ESTIMATE

Seating Moveable Equipment 100.00% 25.00% 9.00% 0%

$288.77 $72.19 $25.99 $0.00 $386.95

$32,251,566.220 $8,062,891.56 $290,264.10 $0.00 $40,604,721.871

FIGURE 14A: COST ESTIMATE OBTAINED FROM RSMEANS ONLINE (VERSION 5).

COST ESTIMATE

81

SITE - LOCATED IN MANHATTAN, NY. - NEXT TO THE UNITED NATIONS - LOT 2 WILL BE USED ONLY

19 7.5 ’

NW WINDS 25 MPH

NE OCEAN WINDS 40 MPH

41

42 2.1 ’

ST .S

T.

QU IN EEN TE S RS MI TA DT TE OW 49 M 5 F TU RE NN EW EL AY

30

’-0

”

LOT O 2

1S TA VE NU E

82,497 ,4 4 SQ. FT.

”

’-0

DR IV E FD R

LOT LO O 1

193,528 93 3 SQ. FT.

10

’-0

”

15 ’-0 ”

20 ’-0 ”

51 5’

25

33 4’

38 TH ST .

N S. PREVAILING G WINDS 35 MPH PH

82

VARIATIONS

0’

50’

150’

250’

VARIATIONS

ALMEIDA, JOSEPH

1 2 3

PROBLEM

328 $38 MIL 350,000

NEW YORK

VETERANS COMMITTED SUICIDE IN 2009

DISABILITY COMPENSATION RECIPIENTS

SOLDIERS WILL DEVELOP PTSD OR DEPRESSION FROM THE WAR IN IRAQ

IDEA

THEATER

BUILDING ENVELOPE

CONFIDENCE CREATIVITY SELF-ESTEEM TEAMWORK

SOLUTION UT

ARTS

HEAL

E

U AVEN

20’

80’

’

THEATER THEA

FIRST

15

ARCHITECTURE A RCHITECTUR

UNITED NATIONS

KNOWLEDGE

HEALTH

FDR

E

DRIV

SELF-IDENTITY

VARIATIONS

83

FD R

DR IV E

1S TA VE NU E

41 ST .S T.

38

TH

ST .

N 0’

84

VARIATION 01

50’

150’

250’

VARIATION 01

ALMEIDA, JOSEPH

PROS PROGRESS/GROWTH - THE FORM SHOWS THE PROGRESSION OF GROWTH FROM THE WATER EDGE TO THE STREET EDGE.

THE DESIGN TAKES ADVANTAGE OF THE SITE. IT GIVES THE PSYCHOLOGICAL PROGRAM THE SIDE OF THE WATER EDGE, AND THE SOCIAL HEALTH PROGRAM THE SIDE OF THE MAIN STREET. USES THE IDEA OF GROWTH FROM INTIMATE TO SOCIAL, FROM THE WATER TO THE STREET. THE THREE ELEMENTS OF HEALING: PSYCHOLOGICAL, PHYSICAL, AND SOCIAL ARE SEPARATED FROM MOST INTIMATE SPACES TO MORE INTERACTIVE SPACES. THE INTIMATE SPACE IS CLOSER TO THE WATERFRONT WHILE THE MOST INTERACTIVE SPACES ARE CLOSER TO THE STREET. THE LIVING AREA IS LOCATED ON THE UPPER LEVEL OF ALL THE HEALING SPACES.

- THE LIVING AREA IS ALL ON THE SECOND LEVEL, ALLOWING FOR INTIMACY. - PRIVATE OPEN SPACE IS ON THE SIDE OF THE SITE. - CONNECTION TO WATER FRONT

CONS

ZONING INFORMATION

- THE DESIGN DOES NOT ADDRESS THE UNITED NATIONS.

LOT SIZE: 82, 497 SQ. FT. ZONING: C5-2 COMMERCIAL ZONE FAR: 10.0 LOT COVERAGE: 65% SETBACKS: 20 FT. ON REAR YARD, 10 FT ON STREET

- THREE STAGES ARE SEPARATED AND DOES NOT ALLOW MUCH INTERACTION. - LOW DENSITY BUILDING

UNITED NATIONS

FIRST

PSYCHOLOGICAL HEALTH PHYSICAL HEALTH SOCIAL HEALTH

FLEXIBLE STUDIO SPACES

ENUE

AV

FDR

E

DRIV

TRANSITIONAL LIVING

VARIATION 01

85

41 S

T. S

FD R

DR IV E

1S TA VE NU E

T.

38

TH

ST .

N 0’

86

VARIATION 02

50’

150’

250’

VARIATION 02

ALMEIDA, JOSEPH

PROS

INTERACTION

- THE DESIGN GIVES HIERCHY TO THE LIVING ASPECT OF THE PROJECT.

THE DESIGN INTEGRATES THE THREE PARTS OF THE PROGRAM AND GIVING HIERCHY TO THE LIVING ELEMENT OF THE PROJECT. THE LIVING IS CENTERED ON THE SITE, WHERE IT INTERACTS WITH ALL THE OTHER PROGRAMS. IT INCREASES THE IDEA OF INTERACTIVITY BETWEEN ALL THE VETERANS AND THEIR DIFFERENT STAGES OF HEALING. THE DESIGN INTERACTS WITH THE WATEFRONT AND CREATES INTERACTION BETWEEN THE LIVING PROGRAM AND THE WATER. THE NOTION OF PROGRESS CAN BE SEEN IN THE FORM OF EACH PROGRAM AND HOW THEY ARE STRATEGICALLY PLACED ON THE SITE. THE DESIGN INTENDS TO INTERACT WITH THE RECREATIONAL CENTER ACROSS THE STREET WITH THE PHYSICAL HEALING PROGRAM ON THE SITE.

- GiVES GOOD VIEWS, AND INTIMACY TO THE LIVING SPACES. - CONNECTS TO THE WATERFRONT. - CONNECTS TO THE RECREATIONAL CENTER ACROSS THE STREET.

CONS - DOES NOT GIVE HIERCHY TO THE THEATER ASPECT OF THE PROJECT.

ZONING INFORMATION

- DOES NOT GIVE HIERCHY TO THE HEALING PROGRAM.

LOT SIZE: 82, 497 SQ. FT. ZONING: C5-2 COMMERCIAL ZONE FAR: 10.0 LOT COVERAGE: 55% SETBACKS: 20 FT. ON REAR YARD, 10 FT ON STREET

SOCIAL UNITED NATIONS UNI

LIVING

MIND

FIRST

E

U AVEN

BODY PSYCHOLOGICAL HEALTH PHYSICAL HEALTH SOCIAL HEALTH

FDR

E

DRIV

TRANSITIONAL LIVING

VARIATION 02

87

FD R

DR IV E

1S TA VE NU E

41 ST .S T.

38

TH

ST .

N 0’

88

VARIATION 03

50’

150’

250’

VARIATION 03

ALMEIDA, JOSEPH

PROS - THE PROCESS OF HEALING CAN BE SEEN THROUGH THE FUNCTION OF THE BUILDING - IT IS A HIGH DENSITY BUILDING THAT RELATES TO ITS SORROUNDING. - PROVIDES PUBLIC SPACE TO THE PUBLIC. - REALTES TO THE RECREATIONAL CENTER.

REINTEGRATION THE DESIGN FOCUSES ON THE PROCESS OF REINTEGRATING THE VETERANS TO SOCIETY THROUGH THEATER. THE LIVING SPACES ARE HIGHER UP AND SLOWLY DECEND TO THE GROUND, WHERE THE THEATER PROGRAM BECOME DOMINANT. HIERCHY IS GIVEN TO THE HEALING PROCESS REPRESENTED BY A TOWER SCHEME. IT REPRESENTS THE IDEA OF A TREE TRUNK, WHERE THE VETERANS SLOWLY TRANSCEND BACK TOWARDS SOCIETY, BECOMING MORE INVOLVED WITH THE PUBLIC AND WITH THE ARTS. THE TOWER IS FORMED BY LIVING SPACES AND HEALING SPACES THAT BECOME INTIMATE FOR THE VETERANS. ONCE AT THE GROUND LEVEL, THE VETERANS CAN INTERACT WITH THE PUBLIC THROUGH THEATER.

CONS - DOES NOT REALTE TO THE WATERFRONT DUE TO THE POSITIONING OF THE TOWER. - THERE IS NOT MUCH INTIMACY OR PRIVACY ON THE SITE.

ZONING INFORMATION LOT SIZE: 82, 497 SQ. FT. ZONING: C5-2 COMMERCIAL ZONE FAR: 10.0 LOT COVERAGE: 40% (HEIGHT REGULATIONS ARE DISMISSED) SETBACKS: 20 FT. ON REAR YARD, 10 FT ON STREET

40% OF LOT COVERAGE = INFINITE HEIGHT

FIRST

UNITED NATIONS

UE

AVEN

20’

’

15

FDR

E

DRIV

LIVING

UNITED NATIONS

INTERACTIONS GROWTH

FIRST

INTEGRATE CONFIDENT

PSYCHOLOGICAL HEALTH PHYSICAL HEALTH SOCIAL HEALTH

ENUE

AV

FDR

E

DRIV

TRANSITIONAL LIVING

VARIATION 03

89

90

CONCLUSION

ALMEIDA, JOSEPH

To conclude, we have analyzed the need of the project in the area given and how the community ZLOO EHQHÂżW HVSHFLDOO\ YHWHUDQV IURP WKH PDQ\ IXQFWLRQV WKLV WKHDWHU FDQ KDYH 7KH GHVLJQ ZLOO explore the interactive process between the arts, theater, and architecture and how these three things can create different settings within a space. The integration of all three components of the project will bolster its function of healing the veterans and aiding their integration back to society. My project will join all three arts in harmony to create an environment that can heal and inspire WKH DXGLHQFH ZKLOH EOHQGLQJ WKH ZRUGV RI VDFULÂżFH DQG KRSH 7KH SURMHFWÂśV PDLQ JRDO LV WR DPDOgamate every reality in the mind of each veteran and unify our community; all through the creation of a fantasy world.

TRANSCENDING A REALITY 91

92

BIBLIOGRAPHY

ALMEIDA, JOSEPH

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