Aging Gracefully by Kaitlyn Badlato

Aging Gracefully Kaitlyn Badlato

Aging Gracefully

Kaitlyn Badlato Design Thinking, Spring 2015 A Degree Project Proposal Washington University in St. Louis Sam Fox School of Design & Visual Arts Graduate Architecture & Urban Design Advisor Jacqueline Margetts Assistant Gwen Hutton

Aging Gracefully

“If poetry constitutes what a people has felt, then architecture constitutes what their hands have handled, and their strength wrought, and their eyes beheld, all the days of their life.” -JOHN RUSKIN, THE SEVEN LAMPS OF ARCHITECTURE

“We do not only inhabit space, we also dwell in time.” -JUHANI PALLASMAA, MELANCHOLY AND TIME

Contents

Synopsis

Concept

Site Investigation

Programmatic Proposal

Sources

Synopsis As time passes, all things age, no matter how much we resist its force. People wrinkle and scar while buildings weather. The staining and wear of buildings can expose past and present memories and rituals. It establishes a history of an object or space, collecting its rhythms and routines. Weathering and decay was once valued and accepted as an ephemeral aspect of architecture. Today, modern architecture denies the stains of weathering and aspires to never age. If we cannot prevent it, we seek replacement, abandonment or removal. We rarely embrace change and evolution of the form. While we have attempted many methods to control weathering and to hide it from view, this indication of the passage of time is always present. The acceptance of weathering within the lifespan can enhance the life of a building. Looking at the ruin of a church in Grand Center as a structure of the past, the Spring Church Arts Center seeks to extend the life of weathering and decay of the structure through a new addition that celebrates the marking of the passing of time on a physical and cultural level.

People, environment, and buildings interact in the nexus of architecture. As architecture ages, weathering is imminent; these processes occur as time passes and as people and the environment interact with the building. To the human eye, weathering can be seen as a physical reaction to place and situation; On a micro level, it is an exchange of electrons between two substances where they meet. At these scales nature is changed, as weathering takes the path of least resistance through existing infrastructure and experience. The composition of weathering informs a history of situation and place.

How can architecture celebrate weathering and the temporal nature of buildings in order to extend the life and relevance of a building?

weathering

n iro

building

architecture

â&#x20AC;&#x153;[Weathering] is a testimony to the time of the building, creating the present form of a past life but according to its past as such. In this sense, architectural duration implies a past that is caught up in the present & anticipates the future.â&#x20AC;? -DAVID LEATHERBARROW, ON WEATHERING

Weathering is Imminent. With the passage of time, all things age, no matter how we resist its force. People wrinkle and scar; buildings weather. The staining and wear of buildings is an indication of past and present memories and rituals. Weathering de每 nes situation and place. The situation is a chemical process, a reaction between materials and elements. It is a physical mark of a relationship between an object or space and its surroundings. The de每 ned place is a palimpsest of time and rhythms of situations. It establishes a history of an object or space, collecting its rhythms and routines.

site

neighborhood decay temperature

water

censorship

energy

phase change

city

weathering

historical

chemical

reaction

process

physical

perceptions

memory

monumentize

mark

erosion

compound

singular

change

act

path of least resistance

situation corrosion

preservation

user

environment

exposure place

unique

evolving experience program

experience

Weathering is Part of a Balanced Relationship. Weathered architecture maintains equilibrium as long as the relationship between building, people and the environment are in harmony. Architecture requires this balance in order to maintain functionality; without it, time will be the only driving force. A break in the relationship can occur when it is disrupted by a change in situation: People may abandon the structure, an environmental force may damage it or the purpose of the building itself may become obsolete. This break causes weathering to overwhelm the architecture. Weathering becomes decay and as time passes it intrudes the building, generating ruin.

decay

o vir

building

architecture

â&#x20AC;&#x153;Our era has an especially frustrated relation to time...Unconsciously, we attempt to halt time in its present tense in order to maintain a permanent youth. The unavoidable aging of buildings and objects, as well as people, is censoredâ&#x20AC;? -JUHANI PALLASMAA, MELANCHOLY AND TIME 4

Weathering and Decay Was Once Valued and Accepted as an Ephemeral Aspect of Architecture.5 Weathering was an indication of the age of the building and displayed permanence and power in society. Modern architecture evolved into a form which denies the marks of weathering and aspires to never age. We continue to pursue designs and materials that are â&#x20AC;&#x153;weather-resistantâ&#x20AC;? and conceal age and wear. As architecture does reveal signs of age, we bleach, scrub and smooth away these marks. If we cannot prevent theses marks, we seek replacement, abandonment or removal.6 We rarely embrace the change and evolution of the form.

Impermanence Deÿ nes the Life of a Building. “An object under the in° uence of time--impermanence--is proof that it has a life, while a permanently ÿ xed object is lifeless.” -RUMIKO HANDA, ALLURE OF THE INCOMPLETE, IMPERFECT, AND IMPERMANENT

Traditionally, the architect deÿ nes a building as complete when construction is ÿ nished. The presence of weathering, however, prevents this from occurring. The addition of weathering, staining, and marking from people, the environment and other forces acknowledge the passage of time through a building, enhancing its value and enforcing the rhythms of its past and present. The end of construction only marks the beginning of a building as it develops over time.

past

future

use perceived lifespan

construct

decay

past

future

use actual lifespan weather

construct

past

decay

future

use desirable lifespan

construct

weather

“A pure form existing timelessness and immutability... is problematic because it has led the architect to disregard the everyday conduct of human life.” -RUMIKO HANDA, ALLURE OF THE INCOMPLETE, IMPERFECT, AND IMPERMANENT

Weathering is a Denied Intervention. Villa Savoye Corbusierâ&#x20AC;&#x2122;s â&#x20AC;&#x153;machine for livingâ&#x20AC;? was designed for the optimal lifestyle of its inhabitants, but failed to respond to the actual lives of the user and the environment. The inability of the form to accommodate and resist natural forces caused the owners to abandon the structure. The building continued to decay as it was used by German and Allied forces during the Second World War. The sleek enclosure of the modern international style sought to deny weathering, but instead it accelerated the process.9 If it were not for the restoration of this home, we would not be able to still experience this place today.

Weathering as Situation and Place: weath路er verb 1. to wear away or change the appearance or texture of (something) by long exposure to the air. 2. to be worn away or altered by long exposure to the air.

Weathering is the situation formed between a material and an element. A material is a substance or composition of substances. An element is a substance or force acting on a material. Wind, water, air, sun, and 每 re are natural elements but other factors, including human activity, also weather materials.

Additive Additive weathering occurs when an element stains a material and traces of the element remain.

Subtractive Subtractive weathering occurs when parts of a singular material are removed from repeated contact and friction with an element.

Additive & Subtractive Additive and subtractive weathering occurs when an element stains a material and traces of the element remain. These traces are then removed from repeated contact and friction with a second element.

Exposure Exposure occurs when parts of a multi-component material are removed from repeated contact and friction with an element. This reveals previously hidden components.

Transformative Transformative weathering occurs when an element stains a material, causing a new material to be formed through a chemical or biological reaction. Transformative weathering can be formed from either natural or chemical elements.

Chemical Process On a micro level, the chemical process of corrosion or oxidation is a reaction to the movement of electrons from a level of high energy to a level of lower energy. This process is assisted by the presence of oxygenrich water to facilitate the electron transfer. Once the corrosion process begins on a material, it initiates an exponential growth of the process until the entire material is consumed. iron + water + oxygen 4 Fe(s) + 6 H2O(I) + 3 O2(g)

rust 4 Fe(OH)3(s)

ee-

Fe e-

Fe ee-

Fe3+ e-

Fe3+

OH-

H2O Fe(OH)3 (rust)

ee37

Weathering as Situation and Place: mark verb 1. 2. 3. noun 4. 5. 6.

to be a distinguishing feature of to take notice; give attention; consider to show the position of a visible impression or trace on something, as a line, cut, dent, stain, or bruise an indication or record of something a level or stage that is considered signi每 cant

Weathering is the situation formed between a material and an element; the rhythms of multiple situations catalyze marks that de每 ne place. A rhythm is a measured movement that recurs overtime.

Threshold A threshold is a mark itself, indicating the transition between two spaces. Weathering indicates the rhythms of travel through this boundary.

Joint A joint is where multiple materials come together at a point. The meeting of multiple materials and elements activates the weathering process.

Aperture An aperture is an opening which can begin to control weathering. Apertures can reveal and measure the rhythms of an elementâ&#x20AC;&#x2122;s relationship with a material.

Path A path is the space between one and a destination. Weathering can reveal the rhythms of elements moving along a path.

The Path of Least Resistance Weathering is a reaction to the relationships of people, the environment and buildings. It reveals the tendency towards a path of least resistance. This path discloses the activation of space. Just as electrons move from an area of high energy to one of low energy, so do people and elements. Both are drawn to the most efÿ cient route and both are in° uenced by previous acts. This entropic movement is regulated the natural laws including gravity (the ° ow of water), access to sunlight (the growth of plants), and human behavior (movement through a space).

Weathering: Intention & The Expected Palazzo Querini Stampalia “The hesitancy of water reveals architectural immobility.” -JUHANI PALLASMAA, MELANCHOLY AND TIME

Weathering: Intention & The Expected Palazzo Querini Stampalia Carlo Scarpa was commissioned to transform the ground level of the Fondazione Querini Stampalia. Located in Venice, the ÿ rst level continually ° ooded, previously disrupting the use of the space. Scarpa’s design shapes the space to allow for the free-° owing ° ood waters to interact with the space without impeding the visitor’s movement or experience. This interaction celebrates the water through a series of steps at different heights and marks the high-water line with the walkway’s surface.12

Cultural Weathering Weathering can activate space on a more complex level. The combination of multiple reactions and relationships of materials and experiences inform the spaces, architecture, and urban fabric we inhabit. Cultural weathering further traces the movement and behaviors of people through construction, adaptation, deconstruction, and abandonment of architecture and space.

Cultural Weathering 65 125th Street, Harlem, New York “I found that images of the physical communities in which people live often better reveal the choices made by residents and city ofÿ cials over the long haul. When presented together as a series, photographs of the built environment constitute the essential element of an urban history told from the ground up.” -CAMILO JOSE VERGARA, IMAGES AS A TOOL OF DISCOVERY

Photographer Camilo Jose Vergara uses time to record the cultural weathering of a place, documenting the situations of living in Harlem. An ever-changing landscape reveals the temporal and reactive nature of the city despite the implied permanence of building materials.

1980

1983

1990

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2009 57

Weathered City St. Louis is a weathered city. In its many years, layers of social, political, economic, and climate change have made marks on the city. This palimpsest of change informs the city as it evolves overtime.

1903

1837

1857

1895

1933

1940

1987

Weathered Revelation Cultural weathering is a measure of the 째 ux of the city. As the weathered building reveals the past and present, the city unveils a history and rhythm. People, architecture and infrastructure weather the city, revealing life through its traces.

Cultural Palimpsest in Grand Center Since the early development of downtown St. Louis, Grand Center has served as a social hub of the city. At the turn of the twentieth century, Grand Center was home to several social and fraternal organizations and churches. As St. Louis continued to grow, an entertainment district was formed ÿ lled with theaters, vaudeville houses, movie palaces and a network of streetcars and buses. As the population migrated to the suburbs, many of the district’s theaters closed their doors, leaving vacancies for many decades. The district was revitalized in the 1980s as the city invested in improvements in the area. Since then, the area has become a magnet for the arts, entertainment and education for the St. Louis area. This history of growth, decline and rebirth has fostered a collection of old, new, and renewed architecture revealing the past, present and future of this city center.12

Arts, Entertainment, and Education Nexus Grand Center is home to St. Louisâ&#x20AC;&#x2122; premier museums and performing arts venues. There are also several education institutions ranging from early childhood to university. While there are some after-school program offerings to students, there is little opportunity for students to engage and explore the wealth of art available to them in the area as part of their school curriculum.

Grand Center Museum/Gallery Performing Arts Venue School After School Program Center Spring Church

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Grand Center Schools Grand Center is home to several educational institutions of various ages, sizes, and programs. With the exception of the Grand Center Arts Academy, an arts magnet school, the schools lack an established art program. The small schools are all within close proximity, allowing for a potential shared facility. 1. 2. 3. 4. 5. 6. 7.

Cardinal Ritter College Prep Loyola Academy Montessori Lab School Urban League of Metro St. Louis Head Start Metro High School Cole Elementary School Grand Center Arts Academy

Museum/Gallery

Performing Arts Venue School After School Program Center Spring Church

N S p

rin

g A v

ter

N G ran

d B lvd

2 3 5 7

Lind

ell B lvd

North Spring Avenue Schools Cardinal Ritter College Prep Cardinal Ritter is a Catholic high school, grades 9 through 12, with a population of 306 students from all over the St. Louis Metro Area. The school offers both visual and performing arts (choir) as well as an “art appreciation” class that meets at the Contemporary Art Museum across the street. Students are required to take one ÿ ne arts credit.14 Loyola Academy Loyola Academy is a Jesuit middle school for boys, grades 6 through 8, with a population of 58 students from all over the St. Louis Metro Area, particularly those whose progress may be impeded by economic or social circumstances. The school offers some after-school enrichment courses in performing arts (band, choir and keyboarding).15 Montessori Lab School The Montessori Lab School is an early childhood education center for children ages 2 through 6, with an enrollment of 30 students. This program incorporates both visual and performing arts (singing) into the daily activities of the classroom.16 Urban League Metro St. Louis Head Start Head Start is a national program that provides early childhood education for 80 children, ages 3 through 5, of low-income families. The program provides a curriculum focused on preparing students for kindergarten. As a part of the Creative Curriculum, students participate in music & movement and arts & crafts.17

Cardinal Ritter College Prep

Loyola Academy

Montessori Lab School

Urban League Metro STL Head Start

The Spring Church 460 North Spring Avenue I propose an arts education facility that would provide space for both visual and performing arts programs. This space could be used by the surrounding schools to incorporate the arts into their curriculum as well as provide supplementary after-school programs. Through the use of the existing church structure on the site, the structure will create a meeting of the past and present and further extend the lifespan of the structure on site. Within the context of Grand Center, the Spring Church Art Center can serve as a threshold to the many art institutions of the area, allowing for more engagement between the two communities.

The Spring Church 460 North Spring Avenue

purchases property 2010

and it burns down Grand Center, Inc.

Lightning strikes building 2000

1990

1980

1970

moves in

Church of God in Christ 1960

1950

National Memorial

Townhouse is demolished 1940

1930

1920

adjacent to site 1910

1900

Townhouse is built

moves into building

Wetzels Delmar Avenue Church is

constructed New Jerusalem Church 1890

1880

Land is purchased by the

Constructed in 1884, the Spring Church was used by several congregations over time. At the turn of the twenty-每 rst century, lightning struck the building and 每 re destroyed most of the building in 2001. The masonry shell of the church remained and in 2003, Grand Center purchased the church with the intent to create an urban sculpture gallery. This site was exposed to all scenarios of weathering. The cultural exchange of the different congregations, the addition and subtraction of a structure, and the natural force of the lighting strike, ultimately bringing the church into a state of decay.18

Site Conditions 1909 North Spring Ave & Washington Blvd

N 77

Spring Church

Grandel Theater

Grandel Square

Powell Symphony Hall

Grand Center Arts Academy

Urban League of Metro St. Louis

Delmar Boulevard

Site Conditions 2015 North Spring Ave & Washington Blvd

Olive Street

Kranzberg Arts Center

The Fabulous Fox Theater

Sheldon Concert Hall and Art Galleries

Contemporary Art Museum

Pulitzer Foundation for the Arts

Washington Avenue

Bruno David Gallery

47’

22’

57’

142’

Site Conditions North Spring Ave & Washington Blvd

70’

Grandel Sq

North Spring Ave

Grandel Sq

1910

2015 Site Plan 1/32” = 1’0”

Reversal of the Ruin Condition Mill City Museum in Minneapolis, Minnesota The Minnesota Historical Society sought to develop the Mill City Museum through the reuse of the ruins of the Washburn A Mill on the Mississippi riverfront. Originally constructed in 1874, the ° our mill was destroyed by a ° our dust explosion shortly after in 1878. Rebuilt in 1880, the mill produced ° our for the baking industry until 1965, when the technology became obsolete. In 1991, the building was once again destroyed by ÿ re. Until the construction of the future museum began in 2000, the ruin walls were left untouched. The museum’s new construction reactivates the ruin shell, while still maintaining its weathered character. By addressing the site as a ruin, its charred and battered walls reveal its past. 19

1874

1878

1991

2000

Education is a Process of Impermanence and Response. “Let us never be betrayed into saying we have ÿ nished our education; because that would mean we had stopped growing.” -JULIA H. GULLIVER

Education of our minds parallels the systems of the built environment in that we are never ÿ nished learning. Our mind continues to develop throughout our lifetime, responding to both internal and external forces. Childhood education is able to shape the minds of young people, however, teachers and schools can only in° uence their students with the resources available to them. The inclusion of art in the school curriculum has been found to enhance a student’s performance across all subjects, as well as increase their desire to learn and continue their education. Despite these ÿ ndings, schools all over the country, including those in Grand Center, struggle to include a variety of art programs in the curriculum. While the schools in the Grand Center area have small enrollments, collectively their resources, along with support from Grand Center, Inc. could be used to form a shared art facility providing opportunities for students to experience the visual and performing arts.

Creation

Discovery

Collaboration

Performance

A Study of the Art School Manchester School of Art, Manchester, United Kingdom by Feilden Clegg Bradley Studios For its 175th birthday, the Manchester School of Art, constructed a new building to celebrate the multidisciplinary character of its students. The open, ° uid space promotes collaboration and crossover between different studies. A “working heart” serves as the open studio, workshop and teaching space. Smaller classrooms and specialized spaces sit on the edges. The proximity of the different workspaces encourages an environment of sharing ideas and methodologies.21

Art Education Program Requirements As a facility shared amongst four schools, ranging from early childhood to high school education, the center needs 째 exible spaces. While some art programs require specialized space and equipment, some studio-based programs, such as drawing and painting can share the same space with the use of adaptable furniture. The space would form around open art and performance studios with specialized studios on the perimeter. These centers of creation and performance will encourage collaboration across disciplines and age groups.

art history create scuplture painting drawing

discover

graphic design photography orchestra printmaking

collaborate

band drama

general classrooms (4 @ 600 SF) art studios (6 @ 600 SF) computer labs (2 @ 400 SF) dark room (400 SF) printmaking studio (600 SF) group practice rooms (2 @ 1200 SF) stage (2400 SF, shared) individual practice rooms (8 @ 80 SF) open studio spaces (2 @ 1200 SF) changing rooms (2 @ 400 SF)

choir

of每ces (1500 SF)

dance

storage (1500 SF)

perform administration

service (1500 SF)

Inclusion of Past, Present and Future Marks

Spaces

Performance

Gallery &

Service

Administration &

Spaces

Open Studio

Spaces

Specialized

The Spring Church Art Center is organized around creation, discovery, collaboration and performance. Recognizing art as both an individual and group experience, the space is centered around open, multidisciplinary collaborative spaces, surrounded by more specialized spaces. This allows for interaction across disciplines and programs. The North side will be composed of the studio and classroom spaces. Preserving the past, the church space to the South will remain a sacred space for performances and the display of student work. As a whole, the Spring Church Art Center serves as a threshold to the many art institutions of Grand Center.

Bilbiography 1. Ruskin, J. The complete works of John Ruskin. --. New York: F. DeFau. 1912. Vol VIII, pp. 233-234. 2,4,11. Pallasmaa, Juhani. “Melancholy and Time.” Encounters: Architectural Essays. Ed. Peter MacKeith. Helsinki, Finland: Rakennustieto, 2005. 308-19. Print. 3,5. Mostafavi, Mohsen, and David Leatherbarrow. On Weathering: The Life of Buildings in Time. Cambridge, MA: MIT, 1993. Print. 6. “Joukowsky Institute for Archaeology Home.” On Architecture and Memory. Joukowsky Institute for Archaeology Home, 01 Jan. 2009. Web. 11 Feb. 2015. <http://proteus.brown.edu/architectureandmemory/>. 7,8,9.Handa, Rumiko. Allure of the Incomplete, Imperfect, and Impermanent: Designing and Appreciating Architecture as Nature. New York City: Routledge, 2015. 74. Print. 12. “Carlo Scarpa.” Fondazione Querini Stampalia, n.d. Web. 19 Apr. 2015. <http://www.querinistampalia.org/eng/contemporary/architecture/ carlo_scarpa.php>. 13. Vergara, Camilo Jose. “Image as a Tool of Discovery.” Invisible Cities (2005): n. pag. 28 June 2005. Web. 15 Feb. 2015. <http:// invinciblecities.camden.rutgers.edu/Images%20as%20a%20Tool%20of%20Discovery.pdf>. 14. “History.” Grand Center The Intersection of Art and Life Saint Louis Missouri Grand Center News RSS. Grand Center, Inc., n.d. Web. 13 Apr. 2015.<http://www.grandcenter.org/about/district/history/>. 15. Cardinal Ritter College Prep. Cardinal Ritter College Prep, n.d. Web. 13 Apr. 2015. <http://www.cardinalritterprep.org/>. 16. “Highlights.” Loyola Academy of St Louis. Loyola Academy of St Louis, n.d. Web. 13 Apr. 2015. <http://www.loyolaacademy.org/about-loyolaacademy/highlights/>. 17. “What Can a Montessori Education Offer Your Child?” MTC Lab School. Montessori Lab School, n.d. Web. 13 Apr. 2015. <http://www. mtclabschool.org/>. 18. “Head Start.” Head Start. Urban League of Metropolitan St. Louis, Inc., 2013. Web. 13 Apr. 2015. <https://www.ulstl.com/head-start/>. 19. “The Light Project :: Artists :: Kehres Hungerer, Chorus.” The Light Project RSS. Pulitzer Arts Foundation, n.d. Web. 13 Apr. 2015. <http:// lightproject.pulitzerarts.org/artists/progress/kehres-hungerer/>. 18. “Building History.” Mill City Museum. Minneapolis Historic Association, n.d. Web. 13 Apr. 2015. 20. “Julia H. Gulliver.” N.p., n.d. Web. 13 Apr. 2015. 21. “Manchester School of Art / Feilden Clegg Bradley Studios” 16 Dec 2013. ArchDaily. Accessed 13 Apr 2015. <http://www.archdaily. com/?p=458040>

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Page 33 http://www.° ickr.com/photos/chinaphotoworkshop/6356990193/in/photostream/ http://www.wikihow.com/Prepare-Pointe-Shoes-for-Dancing http://inredningsdesigner.blogspot.se/ http://www.reddit.com/r/pics/comments/1hkciq/russian_superstition/ http://sweetpeapath.tumblr.com/post/13836892587/edenclareartfulfairytales-the-tales-those http://3.bp.blogspot.com/-fyPECf4BzBw/UwkOa-qjnmI/AAAAAAAAFmE/AcRlEEuk5Uw/s1600/DSCN3422.JPG http://www.dreamstime.com/stock-photography-peeling-wallpaper-damaged-wal-image18728742 http://reclaimednj.com/wp-content/uploads/2012/11/img_8243.jpg https://farm2.static° ickr.com/1130/1362614395_11c667249c.jpg

Page 35 http://grist.org/pollution/seriously-mindblowing-photo-of-toxic-spill-effects-in-hungary/ http://kropped.deviantart.com/art/3-Free-Rust-Textures-212801851 http://beautiful-portals.tumblr.com/post/3550266502/julesfalkhunter-decaying-window-by-liyen http://www.° ickr.com/photos/45765892@N03/4708903672/ http://www.fotocommunity.de/pc/pc/display/22687384 http://www.merrypad.com/wp-content/uploads/2013/07/boldt_boat_house_shingle_stain.jpg http://i61.tinypic.com/25he8hz.jpg http://lh3.ggpht.com/-2Bjh6yhw_FY/UbmDoQ-guhI/AAAAAAAATPA/X3Z2MnCDVOo/s1600/IMAG1242.jpg https://junknista.ÿ les.wordpress.com/2012/07/beautiful-rust_4a9875dc8ffa3_hires.jpg http://images.ÿ neartamerica.com/images-medium-large-5/rusty-chain-art-block-collections.jpg http://jessgibbsphotography.com/wp-content/uploads/2010/08/foot_worn_path_to_creek_through_long_grass.jpg?236d10

Page 51 http://archiobjects.org/wp-content/uploads/2014/10/IMG_3311.jpg

Page 53 http://presstletter.com/wp-content/uploads/2012/06/Scarpa-Carlo_Querini-Stampalia-Venezia_24_Sambo.jpg

Pages 57-59 http://invinciblecities.camden.rutgers.edu/intro.html

Pages 61-65 Historical Maps referenced from Washington University GIS Lab via ArcGIS

Page 67-69 ESRI Map referenced from Washington University GIS Lab via ArcGIS

Page 71 https://ssl.fastdir.com/~fastdir/loyolaacademy/School.jpg

Page 73 ESRI Map referenced from Washington University GIS Lab via ArcGIS

Page 75 http://hensonarchitect.com/wp-content/uploads/2014/03/01-stl-spring-ave-church-art-park-archpaper.jpg https://thedasslereffect.ÿ les.wordpress.com/2012/10/church-of-god-in-christ-1-small.jpg http://www.eco-absence.org/stl/cgc/heritage.jpg https://farm7.static° ickr.com/6189/6046924669_4f3ccdf237.jpg

Page 76-77 1909 Sanborn Map accessed from the University of Missouri Library ESRI Map referenced from Washington University GIS Lab via ArcGIS

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Page 83 http://www10.aeccafe.com/blogs/arch-showcase/ÿ les/2012/03/mill_city_museum_Page_13.jpg

Page 85 http://www.missionartcenter.com/images/orange-county-kids-art-780-1.jpg https://theskypac.ÿ les.wordpress.com/2015/02/041411_arts_education_617_347.gif http://www.thirteen.org/metrofocus/ÿ les/2011/12/charter2.jpg http://img.timeinc.net/time/daily/2011/1102/360_ps22_0215.jpg

Page 87 http://www.archdaily.com/458040/manchester-school-of-art-feilden-clegg-bradley-studios/

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