These Book: Public Space as Performance Space by Michael-Scott Coon

Public Space as Performance Space

Enhancing Portlandâ&#x20AC;&#x2122;s cultural district by extending the hours of vitality and increasing use through individuals of diverse age and economic background

Michael Coon

Master of Architecture Thesis 2014 School of Architecture College of the Arts

Public Space as Performance Space Enhancing Portlandâ&#x20AC;&#x2122;s cultural district by extending the hours of vitality and increasing use through individuals of diverse age and economic background

Thesis document submitted in partial fulfillment of the requirements for the degree of Master of Architecture at Portland State University Portland, Oregon June 2014

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PORTLAND STATE UNIVERSITY SCHOOL OF ARCHITECTURE COLLEGE OF THE ARTS The undersigned hereby certify that the Masters thesis of Michael S. Coon has been approved as partial fulfillment of the requirements for the degree of Master of Architecture

Thesis Committee: Advisor: Jeff Schnabel Assistant Professor in the School of Architecture

Date

Nora Wendl Assistant Professor in the School of Architecture

Date

Acknowledgements In the following section, I not only want to thank those who have contributed directly to my thesis work but I want to thank everyone who has contributed to my development as an emerging professional and designer throughout my time at Portland State University. Thank you Jeff Schnabel. I am constantly amazed by your knowledge and way of thinking. There is no way for me to tell you how much I appreciate your patience with me as I struggled to find and express the right ideas. You are a strong mentor, a great critic and a good friend. Thank you Nora Wendl. Your never-ending positivity, engaging energy, and willingness to explore a variety of ideas always inspired me to push the boundaries. Thank you John Cooney. Whether I was distracting you from your studio or presenting my work to your studio, you were always willing to meet with me and help develop my ideas. Thank you for your enthusiasm, abstract concepts and vast knowledge. Many thanks to the entire faculty at the School of Architecture, particularly Clive Knights, Rudy Barton, Travis Bell, B.D. Wortham-Galvin, Corey Griffin and Aaron Whelton. I am amazed by your dedication and your unending patience. I could not have asked for a better set of professors to assist and influence my development as an emerging professional and designer than those of you at Portland State University. Thank you for putting up with our rambunctious lot throughout this journey. Itâ&#x20AC;&#x2122;s been fun. Thank you Timothy Eddy, Paddy Tillet, and Michele Reeves. I know that you have rescheduled meetings, and gave up your free time to meet with me and/ or attended a review. I am forever grateful for your expertise, philosophy, and incredible talent. And finally, thank you to my friends and family. Without your love and support I would never have survived this journey. Most importantly, thank you mom and dad for instilling in me the work ethic I carry and for always believing in me. I know that I have tried your patience but you stuck by me and encouraged me the whole way through. I love and thank you both. This has truly been an indescribable ride.

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Abstract Nationally, the live performance of arts are in jeopardy and in need of immediate attention to ensure their artistic and financial vitality. In the last ten years, U.S. adult attendance in the performing arts has declined by 14.4%, while attendance in the visual arts has also declined by 16.5%. Attendance is at its lowest since the survey began back in 1982. Currently, 71% of U.S. adults are accessing the arts through electronic media instead of physically attending. It is now more vital than ever, for arts organizations to attract and engage new audiences. Within downtown Portland there exists a nine block area designated as Portlandâ&#x20AC;&#x2122;s cultural district. Tasked to promote civic and cultural life the district looks to improve the city economically and impact the city culturally. This district in its current state is not meeting its full potential. While the cultural venues within the district do function as promoters of cultural life, their experiences do not extend past the building facades. Their patrons are primarily affluent and older. Limited programming outside of the venues leads to a non-active daytime environment and a desolate, often fearful nighttime condition. In regards to the idea of civic and cultural life, the human element is just as important as the audience, and currently the human element seems to be missing from this district. This proposal seeks to transform the park blocks that currently run through the center of this cultural district from empty space into lively territory that supports and is supported by the adjacent performing and visual art institutions. These park blocks lack any connection to the adjacent cultural institutions and serve primarily as open space. This is an unrealized potential. By redesigning these blocks to serve as space for public performance, they will be able to support art that is accessible to the public, as well as provide the means necessary for the surrounding cultural venues to bring their programs out into the public realm, thereby encouraging participation by institutions outside of the cultural district. â&#x20AC;&#x153;Extending the experience of art from internally focused to externally focused helps to beautify public spaces, educate the young and old, and ultimately create economically vital districts full of vibrant communities and innovative thinkers. -Oregon Arts Commission (OAC)â&#x20AC;?

Table of Contents

Main Research Question ��2

1.0

Introduction: Existing Background Conditions and Cultural Phenomena ��4 1.1 1.2 1.3 1.4

2.0

A Nation’s Cultural Engagement Locating the Arts in Portland Diversity of The Arts Central City Plan 2035

Making The Case: The Unrealized Possibilities of Portland’s Downtown Cultural District �� 16 2.1 2.2

Daily Site Studies: Working Towards A Comprehensive Understanding of Portland’s Cultural District List of Unrealized Possibilities

3.0

Making The Case: The Reasons to Remedy Portland’s Downtown Cultural District ��22

4.0

Investigation and Evaluation of Public and Performance Based Case Studies ��24 4.1

5.0

Investigating Existing Program and Potential Responses ��34 5.1 5.2 5.3

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Initial Intervention Proposal Providing Means for Performance Establishing A Language for Design Generating Through Collage

Design Proposal: Designing A Cultural District for the Performing Arts �� 60 7.1 7.2 7.3

8.0

Methods for Making Successful Public Performance Space Reprogramming The Cultural District Extending The Hours of The District

Telling The Story: What The District Could Be ��44 6.1 6.2 6.3 6.4

7.0

Case Studies

Comprehensive Design Proposal: A Cultural District for the Performing Arts Opportunities for Cross Collaboration Between Art Forms Daytime and Nighttime Design Perspectives

Supporting Materials & Research ��82 8.1 8.2 8.3

Researching the Nighttime Environment Nighttime Case Study Investigations Cultural District Patrons and Community Stakeholders

Summary ��90

List of Images and Diagrams �� 91

Bibliography ��93

Fig 1: View of the cultural district (8:11 PM)

How can architectural and urban interventions revitalize the performing arts culture within Portlandâ&#x20AC;&#x2122;s downtown cultural district?

Fig 2: 1948 photo of Broadway Avenue (Portland, OR)

1.0 Introduction: Existing Background Conditions and Cultural Phenomena This thesis was initially composed as an investigation into the nighttime phenomenon and the lack of attention it receives from the design world. Through a series of investigations into the nighttime environment and rituals that are directly associated with it, pertinent commonalities and differences have emerged that served as inspiration for design explorations for this thesis. Commonalities discovered include the use of artificial lighting specific to the program and people of the area, the use of exterior public spaces, and the connection to the arts, the most unifying of all commonalties. The arts have a long history associated with the nighttime as most performances happen at night. This has a led to many nighttime-specific rituals associated with the performing arts. For example, guest’s inhibitions lower with the dimming light; and as a result, the attire they often wear becomes more revealing. They further accent their ensemble with perfume or cologne, heightening the fragrance of their step. Guests tend to gather into larger groups more so than throughout the day, as it raises ones sense of safety to be in the company of others. Men acquire a more authoritative role, as they are perceived as protectors. Traditions before and after performances have even encompassed rituals of sustenance, specifically dinner or drinks. Research into these rituals has led to the conclusion that patrons of the arts go to see performances for the experience this is tied to the actual attendance of performances. However, according to a survey of public participation in the arts by the National Endowment For The Arts from 1982-2012, in the last ten years the percentage of U.S. adults attending performing art events is at it’s lowest since the survey began back in 1982. The same goes for U.S. adults attending visual art events. In light of the same survey, the authors of Building Deeper Relationships: How Steppenwolf Theatre Company Is Turning Single-Ticket Buyers Into Repeat Visitors concluded, “the arts audience has grown older than the general population. This message is clear: Arts organizations need to attract and engage new audiences to ensure their artistic and financial viability.” Consequently this thesis specifically deals with the following conclusion: nationwide, performative arts are in jeopardy and in need of particular attention for transformation and that there is a direct link between public accessibility and the declining participation in the arts.

In a place like Portland, where most of the days in a year are engulfed in darkness before the end of the workday, architectural and urban environments that can accommodate the nighttime culture are necessary. Within downtown Portland there exists a district designated as Portlandâ&#x20AC;&#x2122;s premier cultural district. This district, as designated in the Central City 2035 Concept Plan is tasked to promote civic and cultural life impacting the city both economically and culturally. This cultural district encompasses approximately nine blocks in the center of downtown Portland and includes a variety of arts organizations including the Northwest Film Center, the Portland Art Museum, Oregon Historical Society, the Arlene Schnitzer Concert Hall and the Antoinette Hatfield Hall which together contain four of the five performance venues that make up the performing arts center the Portlandâ&#x20AC;&#x2122;5 Centers for the Arts. The plan outlines two primary goals, the first one being to improve access to art. To accomplish this the city plans to expand arts education in K-12 schools, increase access to the arts in neighborhoods, increase public funding for the arts, and foster the diversity of arts and culture in Portland. The second goal is to enhance art as an economic development engine in which they wish to grow a strong arts and cultural infrastructure. This is achieved with the development of thriving creative industries and cultural tourism and by improving access to space for artists and organizations. This district is currently not meeting its full potential and by revitalizing the urban and architectural elements within this district, it can become an urban environment that satisfies the varying needs of the Portlandâ&#x20AC;&#x2122;s nighttime performing arts culture.

71% of U.S. Adults accessed the arts at least once during a 12-month period through electronic media

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59% of U.S. Adults went to the movies at least once during a 12-month period

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Fig 3: Percentages of U.S. adults participating in the arts at least once during a 12-month period by category (2012)

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Fig 4-5: Top: Declining percent of U.S. adults attending at least one performing arts event or activity (1982-2012) Bottom: Declining percent in visual arts event or activity (1982-2012)

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Fig 6: Demographic distribution of U.S. adult guests attending at least one performing or visual arts event or activity (2008)

1.1 A Nationâ&#x20AC;&#x2122;s Cultural Engagement Nationwide, performative arts are in jeopardy and in need of particular attention for transformation. According to a survey of public participation in the arts by the National Endowment For The Arts from 1982-2012, in the last ten years the percentage of U.S. adults attending performing arts events has declined 14.9%, while the percent of U.S. adults attending visual arts events has declined 16.5%. Both are lower than they were since the survey began back in 1982. In addition to the decline of adult attendance, the arts audience has grown older than the general population in that 69.4% of adults attending the arts are over

the age of thirty-four. As a result, art organizations are needing to build deeper relationships with their current audience, as well as attract and engage a new audience. The way we think about the arts needs to change if we are to ensure their artistic and financial viability for future generations.

Fig 7: Map of downtown Portland and pearl district showing arts-related non-profits and arts-related businesses

1.2 Locating the Arts In Portland Locating the appropriate area within Portland for this proposal was difficult given Portland’s range of classical performing arts institutions, stages, and small-scale music venues. With venues scattered largely around the City Center, Central Eastside, and inner SE neighborhoods the decision was made to find an area that had a larger than normal accumulation of venues. This and the Central City Plan 2035 goals for downtown Portland’s cultural district helped determine downtown Portland as the area of interest. This area has a large concentration of arts-related non-profits, arts-related businesses or institutions, and public spaces contributing to Portland’s reputation for cultural and civic life. Roughly nine institutions and public spaces make up a wide variety downtown’s arts institutions while five institutions at the heart of this gathering represent a dedication to the performing and visual arts. All this information together led to the decision to investigate this area further.

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1.3 Diversity of The Arts Located within five blocks north-south and two blocks east-west of the cultural district are at least nine major institutions offering a wide variety of visual and performance art forms. In addition to those venues, there are numerous other restaurants, retail shops, and hotels contributing to the rich culture of this area. 1. Pioneer Courthouse Square Comedy Festivals and Exhibitions Community Events Fundraising Events and Benefits 2. Director Park Community Events Arts and Culture Events Recreation Events Dance Theatre Meetings Private Events Volunteer Opportunities Fundraising Events Business Events Training & Education Events 3. Regal Fox Tower Stadium Cinema Art Bollywood Faith Based Film On-screen Events Family Picks Limited Engagement Films

4. Northwest Film Center Festivals and Exhibitions Camps and Classes Documentaries Animated Features Narrative Features New Directors Shorts Educational Classes Youth Outreach Programs 5. Arlene Schnitzer Concert Hall Concerts Dance Film and Visual Arts Lectures Music on Main Opera Poetry on Broadway Symphony Theatre 6. Antoinette Hatfield Hall Broadway Comedy Concerts Dance Film and Visual Arts Lectures Music on Main Opera Poetry on Broadway 7. Portland Art Museum Lectures, Artist Talks, and Workshops Object Stories Exhibitions Public and Family Tours

Fig 8: Left: Diagrammed satellite image of downtown Portland

8. Oregon historical society Lectures, Workshops, and Tours Ceremonies Research Archives Exhibitions Object Stories 9. Lincoln Performance Hall Student Organized Events Ceremonies Short Plays Music Symphony Orchestra Opera Theatre and Film Visual Art Sculpture Installations

Mapping Key Primary Arts Venue Potential Site for New Development Secondary Program Existing Above and Below Ground Parking Public Transportation Routes Culture and Entertainment District

Portland Opera Relocated to Central Eastside PICAâ&#x20AC;&#x2122;s Time-Based Art Festival Launched

Portland Jazz Festival Launched

Portland Art Museum Renovates Mark Building

Portland Center Stage Relocates to Gerding Theater City of Portland Percent for Art Increased to 2%

Creative Advocacy Network (CAN) Established

CENTRAL CITY 2035 PROJECT LAUNCHED

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Portland Art Museum Opens Gilkey Center for Graphic Arts

Portland Art Museum Main Building Refurbished

Regional Art and Culture Commission (RACC) Established Portland Institute for Contemporary Art (PICA) Established

White Bird Dance Launched Non-Profit Dance Organization

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OMSI Relocated to the Central Eastside Portland Farmers Market Established

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Portland Art Museum Renovates Hoffman Wing Oregon Ballet Theater Relocated to the Central Eastside MusicFestNW Launched

Oregon Ballet Theater Established City of Portland Percent for Art Increased to 1.33%

Oregon Symphony Moves to Arlene Schnitzer Concert Hall

Metro Passes 1% for Public Art Program

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City of Portland Percent for Art Program Enacted at 1%

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Portland Center Stage Established

Portland Art Museum Incorporates Northwest Film Center

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CENTRAL CITY PLAN ADOPTED

DOWNTOWN PLAN ADOPTED

Fig 9: Timeline of important civic and cultural milestones (1972-2010)

1.4 Central City Plan 2035 Since the 1972 Downtown Plan was conceived, the City of Portland has been working towards a plan to revitalize its city center. Aiming to create an inviting and exciting place to inhabit, the plan includes pedestrian amenities, transit improvements, waterfront reclamation, retail core definition, residential improvements, culture and entertainment, historic preservation, and parking policy. The plan has since evolved and in 1988, they adopted the Central City Plan. Regardless of the plan name, it has always advocated for the development of the cultural landscape. Significant events related to civic and cultural life have occurred over the last 40 years including the creation of non-profits, the relocation of art organizations and programs in and out of the district, and even the constant increase of a funding percentage for art programs. Goal 1. Improve Access to Art A. Expand arts education in K-12 schools B. Increase access to the arts in neighborhoods C. Increase public funding for the arts D. Foster the diversity of arts and culture in Portland Goal 2. Enhance Art as an Economic Development Engine A. Grow a strong arts and culture infrastructure, with thriving creative industries and cultural tourism B. Improve access to space for artists and organizations

Fig 10: View of the cultural district (1:47 PM)

2.0 Making The Case: The Unrealized Possibilities of Portlandâ&#x20AC;&#x2122;s Downtown Cultural District To establish an idea of how Portlandâ&#x20AC;&#x2122;s cultural district behaves both in relationship to the pedestrians walking through the district and the patrons of the arts institutions there for a performance, it was important to go and study the district first hand. Daily site studies were done three times a day for seven days in a row to gain a deeper understanding of human activity and any overarching patterns that make up the districts environment. The most obvious pattern that came from the study was the obvious lack of pedestrians in the district outside of the primary show time of 7:30PM. Another study monitoring pedestrian activity in which approximately 800 pedestrians were counted and monitored over the course of a week on whether they were passing through or staying in the district, only five percent actually stayed in the district for longer that 30 minutes while ninety-five percent passed through. Additionally, performance rhythm diagrams were created to establish a monthly accounting of performances for the institutions directly effecting the district. These diagrams provided evidence needed to understand that while the institutions themselves are successful, their engagement with the district is minimal and they are currently biased toward internal experiences leaving with shortlive bursts of human activity before and after performances. All diagrams and studies led to the development of a list of unrealized possibilities summarizing relevant issues of the district. Thesis unrealized possibilities were than compared to the Central City Plan 2035 goals as well as the nationally declining trends in performing arts attendance to narrow down which uncharacteristic possibilities to address. It was at this point the thesis got its main goals to extend the hours of vitality and increase the use of the district through individuals of diverse age and economic background within the public realm.

Fig 11: Grid of photographs depicting daily site conditions

2.1 Daily Site Studies: Working Towards A Comprehensive Understanding of Portlandâ&#x20AC;&#x2122;s Cultural District In an effort to better understand the human activity, daily rhythms and overarching patterns that make up the district, daily hour-long observations of the site were executed at 11am, 7pm and 11pm for seven days. The 11am daytime hour was chosen to establish human patterns near lunchtime, as the site is a popular destination spot for many office employees in the area. The two nighttime hours of 7pm and 11pm were chosen in part to reflect the most popular starting show time of 7:30pm, as understanding the patterns before a performance would be critical; while the 11pm hour would accurately reflect district activities during the nighttime.

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Beethoven’s Symphony No. 7 A Storm Large Valentine

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Schnitzer Feburary 1-28

AIDA

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Brunish Feburary 1-28

Jitney

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Winningstad Feburary 1-28

Charlotte’s Web

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Newmark Feburary 1-28

Public Tour

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Portland Art Museum Feburary 1-28

Fig 12: Performance rhythm diagrams

7:30

Despite being the fifth largest performing arts complex in the U.S., its engagement with the city does not reflect this and currently is biased toward an internal experience.

The quality of the public realm is dark with few amenities creating a non-ideal condition for pedestrians.

Performances usually have a 7:30 start time, which creates a brief burst of human activity, but is shortlived before and after performances.

The current appeal of the existing venues is primarily affluent, older, and white audiences.

The district is relatively active with pedestrians during day but at night the presence of pedestrians drops and what pedestrians are there are merely passing through.

The cultural/performance experience of the district is primarily enjoyed by the more affluent.

Public space in this area currently does not support performance-based activities despite being adjacent to the cultural venues within the district.

The territory between venues/cultural institutions is not being utilized to facilitate collaboration between art forms. Fig 13: Icons representing eight unrealized possibilities of the district

2.2 List of Unrealized Possibilities Based on critical observation, a list of the unrealized possibilities was created (list above) that summarizes relevant issues of the district with regards to the national decline in performing arts attendance, the city of Portlandâ&#x20AC;&#x2122;s vision for the district and the desire for more night specific design.

PUBLIC ART GIVES A SENSE OF PLACE, ENGAGES THE PEOPLE WHO USE THE PLACE; GIVES A MODEL OF IMAGINATIVE WORK, AND ASSISTS IN URBAN REGENERATION. - Art for Public Places: Critical Essays by Malcolm Miles

CIVIC AND CULTURAL LIFE CAN HAVE MANY ECONOMIC, ENTERTAINMENT AND EDUCATIONAL, SOCIAL AND CIVIC BENEFITS FOR A CITY. - Central City Plan 2035

ART BRINGS PEOPLE TOGETHER, STRENGTHENS COMMUNITIES, IS CRITICAL FOR OUR STUDENTS, ADDS VALUE TO OREGON’S ECONOMY AND FINALLY, IS FUNDAMENTAL TO A HEALTHY SOCIETY. - Oregon Arts Commission (OAC)

WE VALUE A COMMUNITY THAT CELEBRATES AND SUPPORTS ITS ARTISTS, AND ITS ARTS AND CULTURAL ORGANIZATIONS AND FINALLY WE VALUE ARTS AND CULTURE AS KEY ELEMENTS IN CREATING DESIRABLE PLACES TO LIVE, WORK AND VISIT. - Regional Arts & Culture Council (RACC)

EXTENDING THE EXPERIENCE OF ART FROM INTERNALLY FOCUSED TO EXTERNALLY FOCUSED HELPS TO BEAUTIFY PUBLIC SPACES, EDUCATE THE YOUNG AND OLD, AND ULTIMATELY CREATE ECONOMICALLY VITAL DISTRICTS FULL OF VIBRANT COMMUNITIES AND INNOVATIVE THINKERS. - Oregon Arts Commission (OAC)

Fig 14: Graphic depicting the support for public art by various arts organizations and affiliates

3.0 Making The Case: The Reasons to Remedy Portland’s Downtown Cultural District After establishing the unrealized possibilities of the district and the primary goals for this thesis, it was critical to understand why the district was worth revitalizing. This was done by gathering, from a variety of sources, a list of reasons that would craft the argument for revitalization and further emphasize the district’s desperate need for it. These reasons include the initial concern, in that the city has designated this area an entertainment district and it currently does not embody this identity, as well as the financial gains of Portland’5 Centers for the Arts, a booming cultural institution generating an average of $60 million in regional spending every year. Additional information taken from these sources; Oregon Arts Commission (OAC), a non-profit dedicated to the allocation of grants for artists, The Regional Arts & Culture Council (RACC), a nonprofit creating an environment dedicated to flourish and prosper arts and culture, essays from Malcolm Miles, an author who advocates for the benefits of art in the public realm and the Central City Plan 2035 were utilized given their support for civic and cultural life. These sources in particular were identified in the 2035 plan as not just supporters of civic and cultural life but also as positive and important contributors to Portland’s movement towards a better civic and culturally rich lifestyle. All sources suggested the same idea. Public art economically, socially, and educationally benefits the city and helps establish a sense of place which accomplish goals set by the Central City Plan 2035. The diagram on the left portrays a few of the established reasons for the remedy of this district from different arts organizations, city plans, and authors specializing in public art.

LIGHTING

CLIMATE CONTROL

PROGRAM TRANSPARENCY

SCALE

Fig 15: Graphic illustrating the analysis of Director Park using evaluative themes

4.0 Investigation and Evaluation of Public and Performance Based Case Studies In order to understand how public space associated with art institutions function and with that its relative success or failure, a set of themes were development by which they would be studied. These themes were derived from Portland’s cultural district and the unrealized possibilities associated with it. Taking a variety of scales and types of institutions, all within the performing arts realm, six case studies were identified from Portland, New York City, and Montreal, Canada. These case studies were studied in an attempt to gain a better understanding of how seating, lighting, spatial qualities, paving, etc. effect public use. These themes are a criteria for analysis by which case studies that specifically have a connection to performance could be evaluated and understood. The initial list was developed based on research done by the Project for Public Space (PPS) on issues related to characteristics and qualities that make for successful public place. It was altered to reflect places for the occurrence of performance and/ or art as well as spaces designed specifically for the nighttime condition. The list of themes includes: Climate Control, Transparency, Spatial Qualities, Lighting, Seating, Activity, Paving, Scale, Hierarchy, Program, and Proximity. These themes were chosen because of their relevance to Portland’s culture, climate, and accommodation for pedestrians during the nighttime; when performance primarily happens. After the initial analysis, the case studies were further investigated through the lens of how they address performance and audience in public space. Based on the “see and be seen” concept, public space often utilizes different elevations creating spaces for pedestrians to sit which essentially creates an audience, as well as spaces for people to stand, often on display as a performance for the audience. The case studies were studied based on this concept and overarching patterns emerged in the way pedestrians changed their normal arrangement as audience members or performers when daytime changed to nighttime. For example, Alice Tully Hall, a case study from the Lincoln Center in New York, has a changing setting depending on the time of day. During the daytime, the exterior public seating acts as a stage for the audience in the restaurant while the natural daylight serves as a spotlight of

sorts on the performers in the seating. During the nighttime, the people inside restaurant become the performers with the restaurant being a glowing source of light for the pedestrians, now as the audience in the dark exterior space. These investigations were carried throughout all case studies and led to conclusions about how to create naturally changing environments based on the shifting between daytime and nighttime. Additionally, I was able to conclude that dynamic changes in elevation, specific lighting conditions, unique ways of seating that encourage grouping of people, and active adjacent programming led to exterior spaces that were more active both in the daytime and nighttime. For Instance, successful seating throughout these case studies was often large stepped seating or large open quads instead of traditional bench seating which usually implies seating for one or two people. Active adjacent programming also led to more successful spaces as with Alice Tully Hall. The restaurant adjacent to the public space was often the contributor to the activation of the space and similarly, restaurants and even a movie theater activate Director Park during the daytime and nighttime. Unique lighting conditions often contributed to active exterior spaces as in the case with the Plaza of Festivalsâ&#x20AC;&#x2122; and Director Parkâ&#x20AC;&#x2122;s prominently lit pavilions and water features. Rotterdam Theater Squareâ&#x20AC;&#x2122;s large operable lights created a unique condition for pedestrians to adjust the lighting to meet their needs and in turn made it a more active destination.

SPATIAL QUALITIES

CLIMATE CONTROL

Building and edge seating establishes boundaries for public space

Building protects against the elements

LIGHTING

Building provides lighting for plaza

TRANSPARENCY

Large transparent volume allows for illumination of public space

SEATING

Seating faces in towards building program and plaza

ACTIVITY

Activity of plaza is linked to activity of program and allows public to participate in program

Fig 16-18: Above: Images of Alice Tully Hall at the Lincoln Center for the Performing Arts (New York City, U.S.) Below: Plan diagram of “see and be seen” concept

4.1 Case Studies: Alice Tully Hall The Alice Tully Hall is a concert hall located at the Lincoln Center for the Performing Arts in New York City that hosts numerous performances and events. Towards the front of the venue lies a restaurant and set of public steps that face in towards the restaurant. The transparency of the front side of the venue paired with a program that is often inhabited, allows a unique space to be created by the interplay of the building and public steps; thus forming a unique “see and be seen” condition in which the roles of the audience and the performers switch depending on whether its daytime or nighttime.

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Size of space creates a close proximity between strangers

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Elevation and railing establishes boundary for space

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HIERARCHY

Softscape (grass) invites sitting and the use of blankets

Elevation of space creates a see and be seen scenario and provides views

Fig 19-20: Above: Image of Illumination Lawn at the Lincoln Center for the Performing Arts (New York City, U.S.) Below: Plan diagram of “see and be seen” concept

4.1 Case Studies: Illumination Lawn

Alice Tully Hall

The Illumination Lawn is a relatively new addition to the country’s largest performing arts complex in New York City, the Lincoln Center for the Performing Arts. It is a large elevated lawn that sits on top of a restaurant that opens out on to the center’s main plaza. The elevation of the lawn creates unique daytime and nighttime differences with regards to the “see and be seen” concept. During the day, the lawn acts as a setting for the audience allowing them to observe the pedestrians walking on the main plaza; while at night, the lawn becomes the stage for the pedestrians in the adjacent buildings to observe.

Avery Fisher Hall

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Pavilion lighting creates identity, establishes meeting spot for city, and extends hours of program

CLIMATE CONTROL Pavilion helps protect against elements

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Water feature creates activity and establishes a reason for going to park

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SEATING

Multiple spaces are established by canopy, water feature and seating

Varied seating provides options for mixed use of the space

Fig 21-23: Above: Images of Director Park (Portland) Below: Plan diagram of “see and be seen” concept

4.1 Case Studies: Director Park Director Park is a city park in the heart of downtown Portland, Oregon. Featuring a fountain, a café and a distinctive city landmark in the form of an illuminated glass canopy, the park offers a variety of uses and functions as it is programmed to complement downtown by supporting arts and culture. With an apparent stage established by the large canopy and the slight lift in elevation at night, it is clear which section of the park is inhabited by performers and which part is occupied by the audience. However, this condition becomes less clear during the day, as all areas of the park are occupied.

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Variety of type of seating provides options and allow for mixed use of space

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Size of trees and seating establishes human scale

SPATIAL QUALITIES Trees and benches establish boundary for space

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Ground lighting and down-faced bench lighting creates drama and sense of ceremony

Fig 24-26: Above: Images of Barclays Capital Grove at the Lincoln Center for the Performing Arts (New York City, U.S.) Below: Plan diagram of â&#x20AC;&#x153;see and be seenâ&#x20AC;? concept

4.1 Case Studies: Barclays Capital Grove The Barclays Capital Grove at the Lincoln Center for the Performing Arts in New York City is a large, slightly raised portion of the plaza and bordered by a long, curved concrete bench establishing sitting areas on two sides and it is protected from the sun by a large grove of trees. In addition to the peripheral benches, chairs are placed about on the inside of the grove in small clusters for gathering in a relaxed setting. These peripheral benches face outward as do the chairs on the inside, thus the role of the audience is clearly established to those sitting under the grove. Similarly, the way the lights shine onto the stage coupled with the way in which the sun shines down on the rest of the place, designates an area for the stage.

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Water features create activity in space and create a reason for going to the place

Large operable lighting extends hours of activity

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Paving, benches, and overhead lights establish spatial boundaries

Fig 27-29: Above: Images of Rotterdam Theater Square (Rotterdam, Netherlands) Below: Plan diagram of “see and be seen” concept

4.1 Case Studies: Rotterdam Theater Square Theater Square is a public plaza at the heart of Rotterdam and is surrounded by the city theater, Rotterdam’s largest movie theater complex. Large crane-like lights make for an interactive public plaza, as they are operable by park users. The operable plaza lights and benches on the perimeter clearly establish where the stage is and where the audience is. In addition to the plaza lights, the water feature built into the plaza helps reinforce the plaza’s role as the stage.

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Fountain lighting creates reason for going to space and helps illuminates plaza

HIERARCHY

Large fountain creates focal point and establishes meeting place for district

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Water features create activity in plaza and create reason for going to there

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Hardscape allows for mix use of space and accommodates large gatherings

Benches and greenspace establish plaza boundaries

Fig 30-31: Above: Image of the Plaza of Festivals at the Quartier Des Spectacles (Montreal, Canada) Below: Plan diagram of â&#x20AC;&#x153;see and be seenâ&#x20AC;? concept

4.1 Case Studies: Plaza of Festivals

Stage

The Plaza of Festivals is a new public plaza at the heart of the Quartier des Spectacles in downtown Montreal, a cultural district composed of over 80 cultural venues. The plaza is capable of hosting large gatherings and festivals and contains the largest array of interactive, lit fountains in Montreal making it a center of activity for the district. With large overhead lights and benches marking the rim of the paved plaza, the plaza edges are indicated and a clear sense of audience and performer roles are established; however during light shows a central fountain easily becomes a focal point and thus itself becomes the performer.

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Fig 32: Image of Portland Festival Ballet in Director Park

5.0 Investigating Existing Program and Potential Responses After the evaluation of case studies an evaluation of the district’s existing institutional programs and an establishment of potential responses for this district were generated. Placemaking diagrams were initially used as a way of understanding the various elements that make up this district, the elements and/or changes this proposal is going to introduce to the district and specific outdoor and nighttime elements that this district will need to understand and accommodate to be successful. This was done using research by Project for Public Space (PPS) in which they evaluated issues related to characteristics and qualities that make for successful public place. Additional research came in the form of Larry Houstoun’s site called Urban Public Spaces & Business Improvement Districts. Both concluded that the elements that are important to the success of public space were sociability, uses & activities, access & linkages, and comfort & image. These elements were then scrutinized under the lens of their contribution to performance and a new list was created. The new list included adjacent program and the introduction of additional program in relation to sociability & activities; establishing a ground floor identity in relation to access & linkages and comfort & image; and multi-sensory experiences in which it relates to the nighttime and its effect on the human senses. Investigation into the district’s existing programming was crucial to understand how to best extend the hours of vitality and increase use by individuals of diverse age and economic ground. The initial study of the adjacent institution’s monthly performances were extending to include the programming annually and hourly. Investigation into the annual programming showed large gaps by individual institutions as well as an overall lack of performances during the summer months by all institutions. In a discussion with Paul Stavish, who used to be the audience development manager for the Oregon Ballet Theatre stated this was because Portlanders do not want to be inside during the summer months but rather want to enjoy as much of the good weather as possible. This led to the conclusion that if the district had public performance space then the district could accommodate art institutions that have summer programs or camps and therefor activate the district during those periods lacking in activity. This also meant the opportunity for existing adjacent venues to being operating during the summer hours and utilizing these spaces.

Investigation into hourly programming of the adjacent venues showed 61.1% of performances happen on or within an hour of 7:30PM. This leaves a large portion of both the daytime and nighttime inactive. In response to the large portions of time in which this district is in active the decision was made to introduce a high school as a new programmatic element to the district. Introducing a high school will not only activate the district during the daytime hours in which it is currently inactive but also provide opportunities for later lessons and performances adding additional nighttime activity. The high school will add age and economic diversity to the district by primarily introducing grades 9-12 to the district while also bringing in other ages by means of siblings, parents, cousins, grandparents, etc. By offering free student performances as well as the addition of the school the district is potentially diversifying the economic ranges of the district.

MULTI-SENSORY EXPERIENCE PERFORMING ARTS HIGH SCHOOL

Dance

Music

Theater

Art

ESTABLISHING SUCCESSFUL PUBLIC PERFORMANCE SPACE

ESTABLISH GROUND FLOOR IDENTITY

ADJACENT PROGRAM

Cultural Institutions

Retail

Restaurants

Fig 33: Methods for successful public performance space diagram

5.1 Methods for Making Successful Public Performance Space Creating a successful identity that ultimately turns the district into a place people are attracted to and want to stay and hang out, requires more than just architectural and urban interventions. The diagram to the left illustrates the various elements that should be involved in order to successfully craft the public space in Portlandâ&#x20AC;&#x2122;s cultural district a performance based identity. The diagram includes the successful establishment of an identity for the district through the activation of the public space through the use of a performing arts high school. In addition to the establishment of an identity and the activation of public space, it is also important to establish a connection to the adjacent programming that in this case are cultural institutions, create multi-sensory experiences, and establish an active ground floor identity. In order to successfully create public space for the performing arts venues and their patrons, in takes all of these elements working together simultaneously.

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Annual Programming of Portland’5 Performances

Schnitzer

Newmark

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Winningstad

Fig 34: Annual programming of Portland’5 performances diagram

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Fig 35: Diagram illustrating how additional programming can create year long district activity

5.2 Reprogramming The Cultural District Being composed of five different venues, the Portlandâ&#x20AC;&#x2122;5 Center for the Arts, the nations 5th largest performing arts center juggles multiple performances occurring throughout the year. However, there are periods of the year where there is nothing happening in any of the five venues. For example, summertime in Portland (July-September) is a period in which there are a limited number of performances taking place if any. The top, right diagram illustrates the annual programming for Portlandâ&#x20AC;&#x2122;5 performances for each of their five venues including programming gaps shown in the pink outline. The redesigning of the Park Blocks, to create a series of outdoor performance and gathering spaces with a selfsupportive program, hopes to fill in the gaps in the Portlandâ&#x20AC;&#x2122;5 programming. As seen in the diagram on the bottom right, the design seeks to establish yearround programming. This will be achieved by introducing new performance based programs in the blocks coordinated by outside arts organizations that have summer programs or camps.

8:00 AM Daily and Hourly Distribution of Portland’5 Performances

9:00 AM 10:00 AM 11:00 AM 12:00 PM 1:00 PM 2:00 PM 3:00 PM 4:00 PM 5:00 PM 6:00 PM

61.1%

7:00 PM 8:00 PM 9:00 PM 10:00 PM 11:00 PM 12:00 PM FEBRUARY

Fig 36: Daily and hourly distribution of Portland’5 performances diagram

8:00 AM 9:00 AM 10:00 AM Additional Hours of Added District Activity

11:00 AM 12:00 PM 1:00 PM 2:00 PM 3:00 PM 4:00 PM 5:00 PM 6:00 PM 7:00 PM 8:00 PM 9:00 PM 10:00 PM 11:00 PM 12:00 PM FEBRUARY

Fig 37: Diagram illustrating how additional programming can extend district activity to cover more of the day

5.3 Extending The Hours of The District Despite having five venues with performances often happening the same day, 61.1% of performances happen at or within an hour before and after 7:30pm, as shown in the top left diagram. This is a very limited hourly distribution of performances and contributes to a very inconsistent district activity level. The top right diagram illustrates how the introduction of a performing arts high school will fill in the large gaps of hourly inactivity. With a typical school day running from 9am-3pm, students will be on site for a large period of the day. This coupled with the ability to have outdoor practices/rehearsals in the new adjacent Park Blocks will rid the site of hourly doses of inactivity. In addition to the typical school day, afternoon classes for non-students and evening classes for older audiences can be offered; diminishing the large quantity of hours of instability leaving only small periods of district inactivity.

Fig 38: Image the Center for the Creative Arts practice spaces by Diller Scofidio + Renfro

6.0 Telling The Story: What the District Could Be Based on the programming diagrams in the previous section, an initial proposal was created exploring further the idea of adding a performing arts high school to the district to help extend the hours of vitality and redesigning the three park blocks running through the district to provide public performance space for use by adjacent and outside institutions. The block directly north of the Portland Art Museum contains a parking lot currently owned by the museum, the Northwest Film Center and the registered historic apartment building, The Roosevelt. Following the move of the Northwest Film Center, a majority of the block excluding the The Roosevelt will be the site for the new performing arts high school. The park blocks running through the middle of the district will be redesigned to accommodate space for public performances. With the Arlene Schnitzer Concert Hall and the Antoinette Hatfield Hallâ&#x20AC;&#x2122;s primary entrances along Broadway and the Portland Art Museum and the new schoolâ&#x20AC;&#x2122;s planned entrance being on Park Avenue, it was decided early on based on the amount of patrons that use valet, it would be important to preserve the ceremony associated with the arrival to the adjacent venues. This led to the decision to preserve both Broadway Ave and Park Ave but meant that SW Park Ave currently on the east side of the park blocks could be eliminated thus giving the space back to the pedestrians or audience. Now allowing the public space to back directly up to the adjacent cultural institutions. In addition to the redesign of the park blocks and the removal of SW Park Ave, the two east-west streets running through the district would be removed as part of a second phase of design. This removal was due to the planned design of a performance and art corridor that would extend past the cultural districts boundary as a way of engaging the city further and lure more pedestrians to come to the cultural district. To ensure this proposal could do as planned, a programming diagram was created to depict the type of activities the school and new public performing spaces could facilitate. The hypothetical activities include morning practices to provide music for pedestrians during the morning commute. Lunchtime classes and practices could offer entertainment and engage pedestrians while eating lunch. Evening lessons could be taught using the public space to both elders and younger children. With public

performance space that not only provides access to art at night, more digital media and lighting exhibitions can be created as well as movies being projected for the public. These activities are an example of the new school, adjacent venues, and outside art institutions collaborating to extend hours of activity for the district. Furthering the design of performance based public space, research into the performing arts currently in the district (music, dance, theater, and art), led to the discovery of specific elements that could be used as inspiration for the architectural design of the district. These elements included concepts like the use curtains and the dimensions of the stage as well as the use of lighting specific to dancing, theater, music, etc., backdrops, scenography, and their relationships to the audience. The elements were then refined down to a list of six elements that could be incorporated into the design of the district as design elements for public space that would encourage public performance by use of professionals as well as pedestrians. This idea established a language that would be read through all architectural elements so that the district would not feel like three separate elements but rather an entire district, putting an end to the districtâ&#x20AC;&#x2122;s current problem of arts that do not extend past their block. For inspiration, a series of collages were created as a way of generating ideas that could be refined and used for the final design proposal. These collages utilized the established performance based elements previously mentioned. In exploring ways of promoting performance related activities, the schools practices spaces were added in the design of the districts public space. With six in total, each collage represented a different area of the district specific to an art form while still incorporating other arts forms as a way of promoting cross collaboration between the arts. For example, the idea to turn the roof of the music studios in dance floors allowed for dancers to respond to the music being played by students. This process was carried throughout the collages and led to the development of the final design proposal.

SW Broadway SW Salmon

Performance Corridor

2 3

Sculpture Corridor

SW Jefferson

6.1 Initial Intervention Proposal Architectural and Urban Interventions The proposed architectural and urban intervention is composed of three distinct elements: the redesign of the three park blocks adjacent to the nearby cultural institutions, the location for the new school of performing arts, and the development of a performance and sculpture corridor as part of a second phase. A. Park blocks to be revitalized B. Proposed location for school of performing arts C. Phase II Performance and Sculpture Corridors Cultural Venues for Engagement Four of Portland’s most famous cultural institutions are going to be engaged directly with the proposed revitalization of the cultural district. These institutions are largely responsible for Portland’s world-class reputation as a place offering an eclectic mix of high-art and entertainment. The proposal’s concern in direct engagement with these institutions is fueled by a hope to revitalize and further their contribution to the city’s reputation. 1. Arlene Schnitzer Concert Hall 2. Antoinette Hatfield Hall 3. Portland Art Museum 4. Oregon Historical Museum

Fig 39: Left: Diagrammed satellite image of downtown Portland

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Fig 40: Diagram depicting how the addition of performing arts high school will provide day long district activity

6.2 Providing Means for Performance Perhaps the districtâ&#x20AC;&#x2122;s biggest fault lies in its lack of utilization of the park blocks that run through the district. By redesigning the park blocks so that they foster performance as well as the introduction of the performing arts high school, three things are happening that have the potential to positively impact the current conditions. The first thing is that the high school will now help populate the district with free, visually accessible performance and add a new age demographic to the place. Second, the newly design park blocks now feature architectural and urban interventions designed to promote public performance from outside institutions and pedestrians. Last, by providing performance based spaces that can accommodate a variety of art forms, the adjacent venues can now utilize these spaces all year around ultimately beginning to externalize their programs. The diagram to the right shows how these three outcomes together create a district that is active both throughout the day and week. Below is a list of hypothetical events that can now be provided to the district.

Activities Morning jams Saturday market A capella in the park Show and tell your stuff Lunch with a side of music Lunch with a side of dance Games in the park Music class Dance practice Drama Painting in the park Art display in the park School lectures Portland Ballet Company - Dance Artist lecture Break dancing in the park

Juniors acting lessons Elders acting lessons A Midsummer Nights Dream - Theater Poetry slam Evening painting lessons Improv in the park Evening games School Symphony performs - Music Elders dance class Juniors dance class Movie in the park Light dancing in the park Light, Media, & Art Exhibition Digital media art display

To encourage the use of non-traditional surfaces, attention was paid to qualities such as reflectance, texture, and even color. For instance, the decision for a smooth, seamless wood roof over the music classrooms was so that it could serve as an optional dance floor.

The concept of the frame was carried throughout the site in a variety of ways. Window mullions were dimensioned to support and display canvases. Another way the frame was used was in the form of steel structures that were wrapped with a sheathing material similar to the way a canvas would wrap a wood frame.

To achieve multiple improvisational experiences, different heights and dimensions were considered in designing elevated surfaces. Subtle elevation changes were exploited to create exaggerated changes thereby creating more stage-like settings.

Perforated metal screens and metal mesh curtains were used as backdrops for performances a as well as screens for projection and controlling light.

Lighting techniques were explored with reference to performance. For instance, up-lighting was used to encourage dance while overhead and often spotlight lighting was used for theater.

Curtains were used in the form of metal mesh, trees, greenwalls, and water features with the intent of cancelling both visual and audio access between areas of performance. The use of curtains also allow for the temporary creation of both front and back of house areas for performers.

Fig 41: Icons representing the six performance based elements used in the architectural design of the district

6.3 Establishing A Language for Design In an effort to understand how architecture and urban design can promote public performance, it was important to understand the nature of performance in its natural and cultural context. Based on critical observation, a list was developed by which the architecture could be developed. This list includes the notions of the stage, curtains, backdrop, the frame, lighting, and surface. These themes in particular were chosen based on how an audience member’s experience of a performance is extremely different depending on how the themes are used and with different intensities. For example, the notion of lighting is extremely powerful in performance and often unique depending on the type of performance. If you look at Degas’ painting Ballerina and Lady with a Fan, the ballerinas were lit from the ground up as were many of his paintings. Theater lighting is usually lit from above and directly on the performer’s faces where as in musical performances it’s usually on the music stands. The concept of the stage is also used throughout performance. Stages often served as space for the performance and as a focal point for the audience. According to Theater Projects Consultants, stages have a long history associated with many forms of performance as a way of designated hierarchy of attention specifically for the performances or productions. It can consist of one main platform or a series of platforms and is often raised. When applied, this research develops a language by which the district can speak to both its surroundings and to pedestrians. By using this language to design the public space it can begin to naturally create areas for performance and the audience. This results in architectural and urban interventions that not only accommodate performances by both those skilled and those not, but also encourage those merely passing through to stop and engage the district in a variety of ways.

6.4 Generating Through Collage Butt joint hardwood roof on music classrooms provide surface for dancing Uplighting on building roof hints at performative surface Large lighting poles offer atmospheric lighting for performance and provide infrastructure for the attachment of additional lighting Large quad style greenroof on auditorium establish audience seating for large performances on music classroom roofs Transparent building facades provide visual access to practices spaces Plaza accommodates gathering space for large audiences

Fig 42: Generative collage depicting music classrooms and performance space

6.4 Generating Through Collage Water feature helps cancel out traffic noise Water feature form derived from frame like form allowing it to accommodate the attachment of additional lights Falling water resembles curtains establishing space for performance Inward stepped seating established audience zone and encourages large gatherings

Fig 43: Generative collage depicting water feature being used for noise management

6.4 Generating Through Collage Elevated wood platforms create series of movable stages Moveable stages accommodate large and small performances Large light poles create infrastructure for the attachment of performance specific lighting and projectors Large slide-like seating accommodates large and small gatherings for performances Slide-like seating allows for multiple uses whether sitting laying or standing Openings in stages allow for collaboration between foreground and background performances Shading screen in dance studio provides backdrop for foreground performances

Fig 44: Generative collage depicting dance studios and moveable stages

6.4 Generating Through Collage Perforated metal facade allows daylight into pavilions while still protecting from the elements Frames serving as pavilion structure allows for the addition of performance specific lighting Attached curtains establish back of house for performances and projection surface Pavilions create opportunity to serve as either audience or performance space

Fig 45: Generative collage depicting multimedia and theater pavilions

6.4 Generating Through Collage Operable platforms create 2D and 3D surface for art and sculpture Moveable platforms can accommodate small or large audiences Attachable lighting to platforms provide art specific lighting Outdoor auditorium provides better acoustics for outdoor performances Stepped stage allows for space performance or audience

Fig 46: Generative collage depicting sculpture garden and outdoor auditorium

6.4 Generating Through Collage Interactive screen allows for multimedia performances Large stepped seating provides for large audiences for performances or leisure activities Multimedia facade allows for interactive performances and information Lighting poles provide atmospheric lighting and create infrastructure for the attachment of performance specific lighting and projectors

Fig 47: Generative collage depicting school plaza and facade

Fig 48: Aerial image of design proposal for district

7.0 Design Proposal: Designing A Cultural District for the Performing Arts The final design proposal needed to include a variety of elements previously explored including but not limited to the established architectural language based on performance, the spaces and elements considered through the constructing of collages, and previous planning strategies like decision to remove SW Park Ave. Together, this led to the design of the district as a whole and not three separate blocks. A current problem with the existing district is that none of the adjacent institution extend past their property lines thus contributing to the inactivity of the district. This condition also contributes to the three park blocks running through the district inactive, dark, and with few amenities creating a non-ideal condition for pedestrians. To make the district feel and function more like a district and not just six blocks with a similar programmatic function it was decided to redesign the park blocks so they function as a single element contributing to the activity and diversity of the district as a whole and not one institution specifically. This was also done as a statement to show that the adjacent venues should design beyond their property lines and start collaborating with each other. To further promote interaction between the newly added performing arts high school and the adjacent institutions it was decided to place the schoolâ&#x20AC;&#x2122;s practice spaces in the middle of the public space as explored in the colleges. The schoolâ&#x20AC;&#x2122;s program revolves around music, dance, theater, and art. Practice spaces were located next to the venues that host that type of art form primarily. For example, the music classrooms and auditorium are west of the Arlene Schnitzer Concert Hall, dance studios and theater pavilions are west of the Antoinette Hatfield Hall, and the art and sculpture classrooms are east of the Portland Art Museum. The main reason for doing this in addition to promoting cross collaboration between students and professionals was to increase district activity by having students walk through the district when going between classes. The promotion of cross collaborating between students of the school and the professionals employed by the adjacent venues is important because it allows for the tutoring and/or mentoring for students by professionals within their desired area of performance. It also allows professionals the opportunity to work with young talent and even the possibility to working with them ultimately energizing the

profession with young talent. The two primary strategies for promoting this collaboration is through proximity and exposure. The first strategy is that the kids will be going to school so close to these institutions they will be encouraged and enabled more access to performers at these institutions. The second strategy is that by performing and practicing publicly, students will get exposure to what itâ&#x20AC;&#x2122;s like to perform in front of patrons and possibly even future employers. In addition to the various school practice spaces spread throughout the district, other performance based features were included to promote public performance by pedestrians and/or outside institutions. The features include movable platforms that can be pushed together to different sized stages both large and small or be pushed out of the way creating more space for pedestrians to gather for larger performances in an adjacent area. Frames are utilized throughout the district in a variety of ways to promote the attachment of performance specific lighting. Up-lighting through the district occurs on platforms or stages specifically designed for dancing. Water and vegetation was used in variety as a way of helping manage noise between performance areas and nearby noise from traffic. To help maintain an active district, performance areas all accommodate multiple forms of art to ensure that when one art form was not using the space a different art form could be. This translated into moves like the roofs of the music classrooms being dance forms so that even when there were not music students practicing, there could be dancers performing within the vicinity. To best show how these architecture features were extending the hours of vitality and increasing the use by individuals of divers age and economic background the decision was made to show daytime and nighttime renderings of the district. It was further decided that the daytime and nighttime rendering should be of the same space but represent a different time of day. This was done for four different areas of the district and was specifically designed to show how these spaces are accomplishing the goals to extend the hours of vitality and increase use by individuals of diverse age and economic background. Additionally this was done to show how the district is transforms and becomes specific to daytime and nighttime programming and use. The areas represented in the renderings are practices spaces associated mostly with the four art forms previously stated. To begin addressing the adjacent venues and community stakeholders, the design proposal begins breaking through the boundaries of the public space often connecting directly to the institutions. This was done in a variety of ways. For example, one of the roofs of the music classrooms extends past its facade and now connects to the Arlene Schnitzer Concert Hall allowing for protection from the rain as its patrons leave while also granting them visual access to the music practice space. Another example is the redesign of the regularly inactive terrace outside of the Oregon Historical Society. The terrace now connects to the rest of the district and offers stepped seating facing into the district and smallerscale pavilions dedicated for smaller performances such as poetry readings. Many of the building facades are now projected on with digital representations of the performance happening inside, further providing public accessibility to pedestrians.

SW Salmon

ARLENE SCHNITZER CONCERT HALL

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Fig 49: Site plan of design proposal

7.1 Comprehensive Design Proposal: A Cultural District for the Performing Arts The final design proposal for the district began by removing east-west streets and SW Park Ave. This decision was largely due to the fact that the adjacent venues do not currently extend past their property lines. This is contributing to the current condition where the park blocks are inactive and have few amenities, creating non-ideal conditions for pedestrians. Removing the streets between the blocks will allow them to function as a whole and thereby contribute to district activity, not just one institution within the district. Furthermore, with the removal of SW Park Ave. the newly joined three park blocks can back directly up to the institutions to the east. This enables the public space to begin connecting to the venues physically and programmatically, serving as encouragement for the adjacent institutions to design beyond their property lines and collaborate with each other and the public space. The addition of the school for the performing arts was a major programmatic move as it is the primary activator of the district during the daytime. The school is approximately 58,000 square feet and contains roughly nineteen classrooms. Making the school this size was necessary to ensure there would be enough students to significantly populate the district. Placing a school of this size into the district will significantly activate the district in a constant way so that it becomes vibrant, year-round district dedicated to the arts, a feeling it currently does not have. Perhaps the biggest programmatic move was the decision to take the practice spaces out of the school and place them in the public space. This was done for multiple reasons. The primary reason for doing this was so that when students are walking between practices and/or classes they are forced to walk through the district, thereby activating it. According to Michele Reeves, an urban strategist and consultant for Civilis Consultants with extensive experience in revitalizing mixed-use districts and placemaking, there are two ways of activating public space: people walking through the space and people hanging out in the space. By placing the practice spaces in the middle of the public space we make it so students are essentially hanging out in the district while hopefully attracting audiences, thereby activating the district even more. The practices were located within the public space according to their art programming and that of the adjacent venues. For instance, the dance studios and theatre pavilions are next to the Antoinette Hatfield Hall, which often houses

theater or dance performances. Despite the proximity of practices spaces next to institutions of the same art form, all art forms are encouraged to practice and perform throughout the entire district. To ensure these practice spaces were not monopolizing that area of the district for their specific art form, the established language for design mentioned in section 6.3 was used to creating multiple performance spaces of varying sizes throughout the district, often layering them on top of each other. For example, the sculpture garden at the south end of the district consists of a series of movable platforms that can either be flat to accommodate three-dimensional art or be flipped up to serve two-dimensional art. Typically an outdoor gallery for art, the movable platforms can be moved to the sides to create space for a large audience for the adjacent amphitheater. Another example is the butt joint wood roofs on top of the music classrooms for dancing. These ensure that two forms of art can utilize that space despite it being adjacent to the Arlene Schnitzer Concert Hall, which typically holds musicbased performances. While the embedding of the practice spaces in the public space gave the district its primary organizational strategy, the district was designed as a whole to avoid the existing condition where the blocks are physically and programmatically separate and isolated. While this choice is conducive to activating the district, it is not always ideal for performances as the noise levels between adjacent performances or traffic can be detrimental to an audience memberâ&#x20AC;&#x2122;s enjoyment of it. To alleviate this problem various noise management strategies were employed throughout the district primarily between large performance areas to help maintain noise levels for performances happening simultaneously. According to the Project for Public Spaces (PPS), the use of water features in public space is perceived as pleasant as well as it helps mask the continuous honks and bangs of traffic noise. The rustling of tree leaves has a similar effect. These elements were added for use with regard to performance specific conditions. For example, instead of using a row of trees to manage noise between the music classrooms and dance studios, a large elevated green wall was used as it will still manage noise but also act as a backdrop between performances. The water feature on the north end of the district cancels noise during performances but can also be turned off when no performance is in session, serving as a stage for students to use during rehearsals.

ARLENE SCHNITZER CONCERT HALL

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Fig 50: Enlarged plan of design proposal

Auditorium and Music Classrooms On the north end of the district adjacent to the Arlene Schnitzer Concert Hall lies the school auditorium seating 192 and music classrooms. North of the auditorium is a water feature designed to decrease noise pollution from nearby traffic. The smaller classroom is equipped with adjustable stage platforms and a storage room while the second and larger has a traditional symphony layout of chairs and four private practice rooms. Both classrooms have butt joint wood roofs for dancing while the auditorium has a large quad-like green roof for audience members to sit during performances on the classroom roofs. 65

1. Noise cancelling water feature 2. School auditorium 3. School performance quad 4. Performing arts high school 5. Inward facing stepped seating 6. Music classroom west 7. Music classroom east

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ANTOINETTE HATFIELD HALL

5. 7. Fig 51: Enlarged plan of design proposal

Dance Studios and Theater Stages South of the music classrooms are a series of moveable platforms that can pushed together to create multiple stages of varying sizes. South of that is an elevated green wall for managing noise. Two dance studios, a set of movable stages and a large-scale sloped bench are west of the Antoinette Hatfield Hall. Each dance studio has its own changing rooms as well as a stage on the south end for outdoor performances. The moveable stages slide to create a series of small stages or one large stage for larger performances. The sloped seating allows for a variety of uses and accommodates individuals or large groups.

N.T.S.

1. Adjustable platforms for large and small-scale performances 2. Noise cancelling leaf curtain 3. Adjustable performance stages 4. North dance studio 5. South dance studio 6. Large-scale sloped bench seating 7. Dance studio exterior stage 66

2. FIRST CONGREGATIONAL CHURCH PORTLAND

4. 5. 6.

ART MUSEUM SCULPTURE GARDEN

Fig 52: Enlarged plan of design proposal

Theater and Multimedia Structures Continuing south from the dance studios and stages are the theater and multimedia structures. With three in total, the pavilions create a series of small performance areas for multiple art forms because of their frame structures and metal curtains. The pavilions can be used either as a stage for guests looking in or as shelter for guests looking out. Surrounding the west pavilion is a tree grove designed to manage noise between performance areas. South of the theater pavilions is a plaza designed for large-scale sculptures at ground level for observation and to be used in performance. 67

1. Adjustable performance stages 2. Dance studio exterior stage 3. Noise cancelling tree garden 4. Theater & multimedia structure west 5. Theater & multimedia structure east 6. Theater & multimedia structure south 7. Large-scale sculpture plaza

N.T.S.

ART MUSEUM

OREGON HISTORICAL SOCIETY

7. Fig 53: Enlarged plan of design proposal

Art Studio and Sculpture Corridor In the south section of the district and east of the Portland Art Museum lies the open-air amphitheater which faces large frame-like structures for performances. East of the structures are a series of pavilions for poetry readings. In between the frame structures is the entrance to the art studios which are underneath the visual arts corridor above. The corridor is composed of a series of benches that bend upwards creating surfaces to display art. South of the corridor is a series of movable platforms that can flip up to accommodate both two and threedimensional art. On the south end of the district is a large amphitheater.

N.T.S.

1. Open air amphitheater 2. Visual and performing arts infrastructure 3. Poetry/small scale reading structures 4. Visual arts corridor 5. Art studios (below grade) 6. Adjustable two and three-dimensional sculpture garden

7. Large-scale performance amphitheater 68

SW Salmon

PHASE II:

SW Main

SW Broadway

SW 10th Ave PHASE II:

SW Jefferson 69

Fig 54: Diagrammed Site plan depicting architectural elements that support multiple forms of art

7.2 Opportunities for Cross Collaboration Between Art Forms To help ensure the design proposal is extending the districtâ&#x20AC;&#x2122;s hours of vitality, it was decided to create architectural interventions that support a variety of uses but still maintains specificity towards performances. This was accomplished by the layering of architectural features that promote use by specific art forms ensuring that when an area is not being used by one art form it can be used by another. For example, when the dance studios are not being used by dancers, canvas paintings can be displayed within the window mullions and the back stage can be used for musical or theatrical purposes. Similar architecture features used include the use of frames to attach performance specific lighting, multimedia pavilions allow for the audience to be underneath the shelter looking out of outside looking in, and designing the music classroom roofs with butt joint wood surfaces so they can be used as dance floors. While these features ensure use by a variety of art forms they also create opportunities for cross collaboration between art forms. For instance, the dance studios and the canvas paintings within the window mullions of the dance floors on top of the music classrooms. By creating opportunities for cross collaboration between the arts, the district can create innovative performances defining new opportunities for the area and likely produce unforeseen results.

Music / Symphony Art / Sculpture Dance Theater / Poetry

SW Salmon

SW Main

SW Broadway

SW 10th Ave

3 4

SW Jefferson 71

Fig 55: Diagrammed site plan labeling perspective views listed in chronological order following this spread

7.3 Daytime and Nighttime Design Perspectives With goals to extending the hours of vitality and increasing the use of individuals of diverse age and economic background it was important to show how the comprehensive design proposal accomplishes these goals. The best way of showing how the proposal is achieving those goals is by showing both daytime and nighttime perspectives of the district with individuals of diverse age and economic background utilizing the district as well as showing how the students of the school for the performing arts are helping facilitate use. To best show how the spaces are utilized differently between daytime and night and by who, it was decided to show daytime and nighttime perspectives of the same view. This resulted in the choice of four different areas of the district each with a daytime and nighttime rendering. Based on the diagram illustrating the daily and hourly distribution of Portlandâ&#x20AC;&#x2122;5 performances where 61.1% of performances happen on or within an hour of 7:30PM, the times represented in the perspectives were 1:00PM and 9:00PM. These times were chosen to illustrate how this proposal is increasing the hours of vitality. The views were chosen based on their representation of the four art forms expressed in both the district and the school for the performing arts. These include music, dance, theater, and art. The first view looks south at the auditorium and music classrooms with the second view facing southeast at the dance studios and theater stages. The third view faces northwest and concentrates on the multimedia and theater pavilions and the final view faces south and focuses on the art studios and sculpture corridor.

Fig 56: Daytime perspective of design proposal

Auditorium and Music Classrooms - 1:00PM During the daytime the moveable platforms have been pushed together to create several small and medium stages for music students to begin practicing on while lingering pedestrians sit down to enjoy listening to the free performance. The large quad serving as the auditoriums roof is still being used by pedestrians on lunch from neighboring institutions and office buildings. Music classrooms and their roofs are establishing practice spaces for students and seating for audience members and wandering students looking to get a glimpse of fellow studentsâ&#x20AC;&#x2122; progress.

Fig 57: Nighttime perspective of design proposal

Auditorium and Music Classrooms - 9:00PM During the nighttime the moveable platforms have been moved out of the way to accommodate a larger audience for the dance being performed by local professionals. Public lighting has been dimmed giving priority to the large light polls for atmospheric lighting as well as embedded lights in the classroom roofs have been turned on to highlight the dances bodies. The quad on top of the auditorium is more full with audience members as it provides a different view than from ground level. In the background, lighting designers get to publicly display their work on building facades for pedestrians passing by.

Fig 58: Daytime perspective of design proposal

Dance Studio and Theater Stages - 1:00PM During the daytime the moveable stages have been separated to create smaller stages for different use. On one stage, students with a free period decide to put on an improv music number that the students break dancing one stage over decide to dance to. Pedestrians walking by begin to gather to witness the collaboration between the two art forms. In the background students practice ballet while theater students dressed in their period costumes pause what they are doing to also watch the collaboration between art forms. With the nice weather, pedestrians begin to lounge on the large sloped bench and watch the students practicing.

Fig 59: Nighttime perspective of design proposal

Dance Studio and Theater Stages - 9:00PM During the nighttime the moveable platforms have been pushed together to create one large stage for this quarter’s school performance of A Midsummer Night’s Dream. The large sloped bench has created stadium-like seating for the audience with an overflow onto the plaza floor. Theater lighting and a projector has been attached to the large light poles to provide spot lights for the play and to project the play’s title on the perforated metal panel. Lighting integrated into the rails for the movable stages now light the way to the stage and establish a waiting area for other actors.

Fig 60: Daytime perspective of design proposal

Multimedia and Theater Pavilions - 1:00PM During the daytime the dance stage and stages set up under the theater pavilions provide outdoor practice space for different theater groups while also protecting from the sun. Chairs have been set out for the professor to watch and critique student performances and encourage pedestrians walking through to sit and enjoy the dress rehearsal. Metal curtains establish backstage for students to get into character.

Fig 61: Nighttime perspective of design proposal

Multimedia and Theater Pavilions - 9:00PM During the nighttime the metal curtains now serve as a background for projectors and lights attached to the theater pavilionâ&#x20AC;&#x2122;s frame-like structure. A violinist utilizes this multimedia technology to display his live performance on the curtain while adding digital effects for that growing crowd just released from a performance at an adjacent institution. On another curtain a family plays interactive games projected onto the metal curtains and just north of that another group of pedestrians gather around a large digital screen listing future performance show times both from the school and adjacent venues.

Fig 62: Daytime perspective of design proposal

Art Studios and Sculpture Corridor - 1:00PM During the daytime the large frame-like structures are used to attach large canvases for art students to paint publicly during class while outside artists are invited to paint exterior walls for year long exhibitions. The large structures also allow for the attachment of lights to highlight sculpture and two-dimensional art. The plaza north of the structures and art studios accommodates sculpture exhibitions co-curated by students and the adjacent Portland Art Museum.

Fig 63: Nighttime perspective of design proposal

Art Studios and Sculpture Corridor - 9:00PM During the nighttime the canvases are taken down to accommodate performance art. Tron dancers have closed the off the auditorium to the west of the large structures using metal curtains and used moveable platforms to create a medium sized stage for their performance. The large structures allow now feature neon purple light installed by the dancers luring pedestrians and patrons of adjacent venues. With the use of the metal curtains, other structures are closed off forcing pedestrians to gather closer creating a more intimate setting for the performance.

8.0 Supporting Materials & Research The following section includes supportive research and/or materials. Research includes investigations into the nighttime environment with opinions from Roger Ekirch, author of At Dayâ&#x20AC;&#x2122;s Close. At Dayâ&#x20AC;&#x2122;s Close explores the history surrounding the nocturnal world in Europe before artificial lighting. This section also includes specific case study investigations of the Quartier des Spectacles, a cultural district in Canada, The Worlds Largest Timepiece, a temporary art exhibition in Switzerland, and The Great White Way now known as the famous Broadway in Manhattan. The section concludes with research on patrons and community stakeholders of the institutions within the cultural district. This research has contributed to ideas and thoughts throughout the thesis process.

Fig 64: Image of a painting (The Procuress) by Gerard Van Honthorst

Fig 65: 1948 photo of a downtown Portland bus stop

8.1 Researching the Nighttime Environment In the book At Day’s Close, Roger Ekirch claims that the nighttime is not just the inverse of the daytime, but rather a condition rich in its own nature. Unique in ways of dress, travel, communication, social encounters, work rhythms, and attitudes towards sexuality, law, and hierarchical authority. Together these make up more than just the inverse of the day but the creation of a “night season.” Portland has a night season uniquely different from other places in the world because it experiences nightfall very early in the evening for a majority of the year. With a winter condition that invites dusk before the workday is over, nighttime is something that some Portlander’s have learned to embrace while others have learned to endure. Portland’s nighttime environment is a vivid world rich with a different set of rules, rituals, scents, sights, and sounds, all which await true realization. To be more specific, the nighttime condition contains exceedingly vivid characteristics in its relationship to performance. Because performances primarily occur at night, the rituals, scents, sounds and sights are specifically unique to that situation, and can not be replicated in a similar fashion during a daytime performance. For example, when attending a nighttime performance, guest’s inhibitions lower with the dimming light; as a result, the attire they often wear becomes more revealing. They further accent their ensemble with perfume or cologne, heightening the fragrance of their step. Guests tend to gather into larger groups more so than throughout the day, as it raises ones sense of safety to be in the company of others. The too man acquires a more authoritative role as he becomes even more of a protector. It is interesting to observe the way people interact with and inhabit the nighttime. It is the unique characteristics of these human interactions, that raise the question of what might happen if one were to enhance the characteristics of that condition, creating environments that like the nighttime, change to accommodate the culture that inhabits it. By embracing the nighttime environment and designing to that end, could darkness within the cultural district be transformed into an element embraced by a larger, more diversified demographic? If so, then truly one day Portlander’s might welcome the night season as they do the sun after a long winter.

Fig 66-69: Images of the Quartier des Spectacles (Montreal, Canada)

Fig 70-73: Images of The Worldâ&#x20AC;&#x2122;s Largest Timepiece installation (ZĂźrich, Switzerland)

Fig 74-76: Images of the Great White Way or Broadway, Manhattan (New York, U.S.)

8.2 Nighttime Case Study Investigations A series of case studies were identified to which relevant analytical criteria could be applied. Identifying pertinent commonalities and differences, these case studies served as inspiration for emerging thoughts and design explorations throughout the thesis process. 1. Quatrier des Spectacles (Montreal, Canada) Summary of precedent: In an attempt to redevelop an existing district that was once an exciting district of the arts, the Quartier des Spectacles uses a series of lighting interventions focusing on visual language to reveal the contrasts of the district’s different venues. Four different elements were used at various scales including the use of shared lighting signatures in the form of two rows of round red dots that light the sidewalks outside cultural venues creating a vibrant and intriguing red carpet at street level which indicates which venues are open to the public. Architectural lighting highlights the identity of each cultural venue allowing each venue to express its own unique character. Video projection on building facades allow for year round artistic projections and the illumination of crosswalks created a unique way of directing pedestrians between the cultural venues.

the nature of light is to be dynamic and not static, the designers used modern digital technology that could be highly flexible and informative. The installation incorporates illuminations that create a pattern among the band of lights that is generated by an algorithm regulated by the days as they get closer to Christmas. Using sensors, the image reflects the life of the street itself as pedestrians walk along the street, influencing the patterns in the curtain of lights. Key aspects in relation to emerging ideas: This project’s use of modern digital technology as a flexible informative medium provides a good example of how a street or area can be easily altered to interact with pedestrians. By allowing pedestrians to interact with installation they are creating an experience unique to that district thereby increasing the chance that people will return and intern turning the shopping district into even more of a destination place. 3. The Great White Way (New York, U.S.)

2. The World’s Largest Timepiece Installation (Zürich, Switzerland)

Summary of precedent: Broadway avenue is a street in New York, USA. It is the oldest thoroughfare in New York City that runs north-south and is known as the heart of the American theatre industry to the rest of the world. Broadway was nicknamed the “Great White Way” in 1880 when it became illuminated by brush arc lamps, making it the first electrically lit street in the United States. With the “The Great White Way” being known worldwide to describe Broadway’s profusion of theaters and signs in times square, the signs dominating the storefronts of Broadway made for an impressive glowing strip of light inbetween dark outlines of skyscrapers during the times of the World Wars and still remains one of the most brightly lit places on Earth. To this day, “The Great White Way” can be seen from outer space and is often involved in controversy with environmentalists who say the brilliance creates light pollution and negatively effects humans and animals.

Summary of precedent: The World’s Largest Timepiece was a response to a competition that asked for a Christmas installation that was both aesthetic and technological in the international shopping street Bahnhofstrasse. The installation consisted of several vertical rods down the middle of the street suspended above the street forming a spatial contrast with the surrounding building facades. The series of individual lit tubes often resembled a constantly changing curtain of light drawing pedestrians to gaze upwards. Under the belief that

Key aspects in relation to emerging ideas: The Great White Way provides a good example of an area within a city that developed an identity based on the program of adjacent institutions but over time maintained that identity even after the adjacent programs changed. Institutions change over time and districts with a strong identity as is the case with Broadway in Manhattan can ensure the vitality of the district regardless of the institutions by ensuring new programs are advantageous to the existing identity of the district.

Key aspects in relation to emerging ideas: This cultural district’s unique approach at using multiple lighting interventions (often specific to performance) allowed for the introduction of an art form that had previously not been addressed in this district (lighting design). Additionally, it offered a fun, colorful way of creating intensive people-oriented activities allowing for people to actually interact with the district.

845,600

People in Attendance at PCPA Events

Seven Hundred Jobs Created and Sustained by Operations

304,316 Visits to PCPA.com

Over 200,000 E-mail Subscribers To PCPA

1,500 KIDS

Nine Music on Main Performances

Participate in Summer Arts on Main

Fig 77: Infographics illustrating Portlandâ&#x20AC;&#x2122;5 Centers for The Arts annual report (2011-2012)

8.3 Cultural District Patrons and Community Stakeholders Given my current thesis title: “Night Performance: Enhancing the Cultural District of Portland for Public Accessibility, Audience Diversity, and Extended Hours of Vitality” it could be concluded that the target community are groups or individuals who regularly frequent performances in Portland’s cultural district. However, with the site already located in a culturally rich area of downtown Portland, not only will those attending a show be affected, but those who happen to be walking through the Park Blocks and/or on Broadway Ave. will also be impacted. Individuals walking longitudinally as well as those walking laterally across Broadway and the Park Blocks within the district boundary will be influenced in a unique and uncommon way. When walking longitudinally, one has a clearer line of sight pointing to the cultural district as opposed to those walking laterally, whom may not have a clear line of sight until they are already within the boundary of the cultural district. Regardless of destination, whether that includes a show or not, pedestrians walking downtown from every direction, be it to the north, south, east, or west, will be influenced differently than those who are driving along Broadway, who are restricted entirely to a north to south experience. When the cultural district is active, the streets that flank the Park Blocks may be closed, limiting the driver’s perspective and overall encounter when contrasted to an open street that allows passage through the district. Further, the experience one will have by car will diverge from the experience a pedestrian will confront in every case, regardless of the direction. Given that the Park Blocks are a common thoroughfare for bicyclists, they too will be affected. Regardless of the varying reasons one might visit or pass through the district, all will be impacted in one way or another. But it is not just those visiting and those passing through the site that will be impacted. Those who live within or nearby the site may also be impacted regardless of their intention to be or not. The reasons for which people will be within the district will also have different implications whether they are a renter, theater goer or staff at one of the many venues or retail shops in the area. The venues in the area will be affected as a whole; even those not active at night may be impacted by day. There will also be an experiential difference between those in the space for institutional arts who may be in a traditional venue and those who will be in the space for improvisational arts that may not occur in a nontraditional venue.

Fig 78: Photograph of Final presentation

Summary I find myself continually asking what the value is of public space that serves as an extension of adjacent building programs with the purpose to better serve the districts goals and character? Why would looking at and understanding how and when to do this create better public space in cities and overall improve district conditions for humans to inhabit? By revitalizing the public space in downtown Portlandâ&#x20AC;&#x2122;s cultural district, we can extend the hours of vitality, increase the use through individuals of diverse age and economic background and thereby accomplish the cities goals for the district. In contemporary design itâ&#x20AC;&#x2122;s easy to design with the tools already established regardless of the stakeholders that will be directly effected and by changing the way we think about public space, we may gain a deeper respect for the development of new tool sets by which we design. I acknowledge that it is not easy to create public space that is specific to adjacent programs as it is often a mix of different programs that do not always allow for collaboration. The process is often too safe and usually a mix of carried over ideas or thoughts from past explorations. Many times process is based less in research and more in typical conventions thereby contributing to the current conditions of non-specific public space. This contributes to difficulties in conceptual representation making it challenging to fully grasp the idea of public performance space where every design element needs to contribute to performance in one for more manners. What I will take with me is that if we design public space to respond more to the identity of adjacent programming then we create dynamic environments capable of encouraging new ways of thinking, create unique destinations that respond both poetically and pragmatically to district identities, and promote more civic, cultural, economic, educational, and social benefits for the city. As designers we must live with the choices made and while there are elements, considerations, and patrons of the arts left out of these explorations, every attempt has been made to maintain a realistic attitude about the true function of Portlandâ&#x20AC;&#x2122;s park blocks as accessible public space.

List of Images and Diagrams Graphic Images created by Michael Coon Figures 1, 3-6, 9-14, 18, 20, 23, 26, 29, 31, 33-37, 40-63, 77

Fig 30: http://www.landezine.com/wp-content/uploads/2010/09/place -des-festivals-montreal-06.jpg................................................................................... 32

Graphic Images created and/or owned by other sources

Fig 32: http://www.polarisdance.org/polariswp/wp-content/ uploads/2011/09/100_0237.jpg................................................................................. 33

Fig 2: http://208.56.96.178/images/Broadway%20photos%20Portland%20 Oregon%20Downtown%20photo%20photographs%20historic%20black%20 and%20white%20street%20photography%20noir%201948%201940s.jpg..........3

Fig 38: http://ad010cdnd.archdaily.net/wp-content/ uploads/2012/07/1297810712-06-diller.jpg............................................................. 43

Fig 7: http://www.artplaceamerica.org/wp-content/uploads/2013/01/ map97209.jpeg.................................................................................................................9 Fig 8: Google Earth Image.............................................................................................11

Fig 39: Google Earth Image......................................................................................... 47 Fig 64: http://upload.wikimedia.org/wikipedia/commons/d/d6/Gerrit _van_Honthorst_-_De_koppelaarster.jpg................................................................. 83

Fig 16: http://seatfiller.files.wordpress.com/2012/07/img_2478.jpg.................... 27

Fig 65: http://208.56.96.178/images/delay%20WJG%20480200%2001 cr%20Fifth%20Avenue%20at%20SW%20Oak%20Street%20February %201%201948%20Portland%20Oregon%20USA%20photos%20bw %20wsl%20horizontal%20historic%205th%20downtown%20night.jpg............ 83

Fig 17: http://s1.afisha-mir.ru/StaticContent/ Photos/101216225520/101219021130/p-1024x1024-linkoln-centr.jpg................ 27

Fig 66-68: http://www.quartierdesspectacles.com/en/discover -the-quartier/................................................................................................................ 85

Fig 19: http://www.sibeliusblog.com/wp-content/uploads/2013/08/h2 10533_IakiVinaixa16658.jpg........................................................................................ 28

Fig 69: http://medias.quartierdesspectacles.com/discover/eclairage _architectural_1.jpg....................................................................................................... 85

Fig 21: http://landscapeurbanism.com/wp-content/uploads/2011/08/ Simon-and-Helen-Director-Park_7.jpg...................................................................... 29

Fig 70: http://gubo.files.wordpress.com/2007/10/copyright-5.jpeg...................... 85

Fig 15: http://scenariojournal.com/wp-content/uploads/2011/08/Simonand-Helen-Director-Park_7.jpg.................................................................................. 23

Fig 22: http://www.downtownseattle.com/blog/wp-content/uploads/2010 /10/Portland.jpg............................................................................................................ 29 Fig 24: http://landscapeurbanism.com/wp-content/uploads/2011/08/ Simon-and-Helen-Director-Park_7.jpg...................................................................... 30 Fig 25: http://www.downtownseattle.com/blog/wp-content/uploads/2010 /10/Portland.jpg............................................................................................................ 30 Fig 27: http://media01.bigblackbag.net/22642/portfolio_media/lwsm_24 -08-09_job_0335b_9559.jpg...................................................................................... 31 Fig 28: http://www.soundlings.com/wordpress/wp-content/uploads/2012 /08/soundpiece.jpeg...................................................................................................... 31

Fig 71: http://b.vimeocdn.com/ts/136/002/136002245_1280.jpg........................ 85 Fig 72: http://www.dfab.arch.ethz.ch/data/bilder/03_Thumbs/017/ 051117_017_MG_4975_SEL2_RK_TB.jpg................................................................. 85 Fig 73: http://www.dfab.arch.ethz.ch/data/bilder/03_Thumbs/017/0 51117_017_MG_1310_SEL1_RK_TB.jpg..................................................................... 85 Fig 74: http://meier2k8.files.wordpress.com/2013/11/times_square.jpg............. 85 Fig 75: http://blogs.westword.com/latestword/curtis%202.jpg............................ 85 Fig 76: http://facingenergy.org/wp-content/uploads/2014/02/ manhattan301.jpg.......................................................................................................... 85 Fig 78: Photo Credit: Nada Maani............................................................................... 89

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