The Ephemeral Effect: Temporary Architecture as Urban Catalyst

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Abstract

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Thesis Prep I (Fall 2009)

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Thesis Prep II (Fall 2009)

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Thesis Studio (Spring 2010)

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First Design Iteration

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Second Design Iteration

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Third Design Iteration

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Final Design

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Exhibition Poster

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Bibliography

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Conclusion

Table of Contents


It is a common for urban settings to have residual sites. Residual sites are overlooked spaces within an urban setting. They happen for a variety of reasons, but proximity to infrastructure such as public transportation, major thoroughfares, or public works are common reasons for residual sites. These sites are often overlooked and their full potential is not realized within the urban fabric. A common practice in the art world is using installation art to have a quick, catalytic effect to change a viewer’s perception. In my research I found examples of installation art being used to showcase the beauty and potential of typically overlooked spaces. Other artists use their installations to change the perception of how unused space can be programmed. In these cases artists take a space and transform it in a way that changes the perception of the viewers over a specific period of time. That is because a large majority of installation art is temporary. An artist is given a short period of time to present their ideas and to make an impact. The temporary quality of the work is important in its creation, its existence, and how the public interacts with it. Temporary works bring a large number of people to a space in a short period of time because there is new interest and a limited lifespan in which to experience it. This thesis looks at how temporary architecture can be used to change the perception of residual sites. Temporary architecture has an opportunity to bring a large number of people to a site in a short period of time. However, this temporary quality has an opportunity to be further expanded, which is why I prefer to refer to it as “The Ephemeral Effect.� Ephemeral suggests a more emotional connection to the temporary nature of architecture. By using ephemeral materials, forms and structures architecture will not only attract a large number of visitors during its limited lifespan, but will also create a resonance of the site, space and experience in the minds of the visitors. Once the architecture is removed the ephemeral nature will create a sense of remembrance with the public and will further aid in the eventual development of the residual site.

Abstract 1


Thesis Prep I (Fall 2009) 2


THE EPHEMERAL EFFECT: TEMPORARY ARCHITECTURE AS URBAN CATALYST

Many cities have residual spaces, neglected areas and urban decay. These sites cause breaks or holes in the urban fabric and leave areas of less than desirable sites as well as activities. They can cause separation between different areas of a city or fissures within a neighborhood. These residual spaces need catalytic solutions to call awareness to their potential. This thesis will explore how temporary architecture can provide the catalyst needed to reach a large audience and leave a resonance of the potential of the site in the minds of the public. Temporality in its material sense will be explored through emerging areas of textiles and fiber arts as structure and skin, merging together ephemeral ideas of craft with often permanent ideas of structure, which can inform the design process as well as the final intervention. Objectives 1. 2. 3.

Analyze and understand the potential of an urban residual site, and its importance within the larger urban context. Utilize the experiential qualities of the temporal and catalytic momentum in the design of an intervention for the residual space. Through the intervention create a renewed presence of the site within its context and leave a resonance of its potential.

Definitions

Figure 1.1 Janet Echelman’s, “Her Secret is Patience” an installation in Phoenix, Arizona. This work provides an ephemeral experience to a downtown park. Source: Christina O’Haver.

Temporality – Temporality is a quality of experience rather than duration of use. It is the antithesis of traditional architecture and urban planning which strives for permanence. Gaining its strength from its limited existence, it creates a desire and urgency that may be lacking from long-term solutions.

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Catalyst – An architectural catalyst serves as an element between two sides, whether it is a viewer and its context, a culture and a city, or in the case of this thesis, the people and a site. The purpose of the catalyst is to create something with an active force or momentum. Working in tandem with a method of temporality a result should be expected in a quick, effective manner. Residual Spaces – These are spaces within an urban context, which have become neglected and forgotten. They are often the result of infrastructure or city growth, which bypassed a certain area. The result is a space with potential to be brought back into the city fabric. Resonance – This is the effect sought through the process of the temporary as a catalyst. Much like reverberation of noise, the impact of a temporary intervention should resonate throughout the public, spreading the idea or message of the work. Permanent Research on Temporal Space Temporary architecture is a new way of exploring residual spaces in the urban fabric and creating an instant awareness of these sites. The momentary existence of a piece of temporary architecture can quickly reach a large audience through its ideas of form, place, materiality and message. This experience can become a catalyst for the site, leaving behind a resonance in the minds of the public after the built form is gone. This memory should open the door for new life and uses of a site. The main focus of this thesis is that temporality and architecture merge to create a catalyst for the site. The temporality should be enhanced through the selection of materiality, which will embody the ephemeral quality of the architecture, such as textile or fiber arts. Since the structure and program will be temporary it is important that the site and its potential is exemplified in the intervention. The selection of site will be based on finding a residual space in an urban fabric. The catalyst created by the temporary architecture will create an opportunity to knit the site back into the surrounding context. Many disciplines examine the idea of temporality, catalyst, and residual sites as it relates to urbanity, architecture, art, history and philosophy. An increasing number of emerging

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explorations have begun to look at the possibilities of textiles and fabric as architectural elements. This group of ideas is linked through the ideas of the ephemeral, however; their ideas and concepts are more closely related to an experience, rather than a fixed amount of time. This is the most important concept to understand in relation to this thesis. The diversity of projects and disciplines examining this idea give a wide variety of documented examples which, when combined, create a solid basis of research. Together they show the existing and emerging interest in temporality as a solution. Temporality

1. David Couzens Hoy, The Time of Our Lives: A Critical History of Temporality (Cambridge: MIT Press, 2009), 2.

Temporality in relation to this thesis is best defined by its qualitative experience rather than its quantitative value. This is beneficial in not setting a specific lifespan for a project, but rather an event where existence is based on the necessity and on maximum exposure for the site. When the purpose of the project is reached the ephemeral quality of the design has achieved its goal. David Hoy looks at the qualitative experience of temporality in his book, The Time of Our Lives, A Critical History of Temporality. In his research, temporary, fleeting occurrences have the most impact and become some of the best experiences of ones life. Hoy attempts to get at the heart of what really makes these moments the “time of our lives.�1 To Hoy these experiences are valued higher because we understand that there is a lifespan to an event. Humans can relate this to their life experience and the uncertainty that comes with non-permanence. This psychological research gives validity to the idea that a temporary architecture, event or program could leave a lasting impression on viewers, even more so than a permanent solution. The fleeting quality of temporary architecture allows the public to relate with it and its limited lifespan. Ideally this will foster a desire to see the space while there is still time, and condense the number of visitors, which may experience the architecture, reaching a larger audience more quickly. Barbara Chabrowe takes a look at the history of temporary architecture in her article On the Significance of Temporary Architecture. Dating back to the middle ages there are examples of temporary architecture and design playing significant roles in shaping events and celebrations. As these occasions were an important source of entertainment and memories for the public the

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Figure 1.2 Add On, is an example of a temporal space in an urban context. Vienna, Austria. Source: Peter Fattinger 2. Barbara Chabrowe, “On the Significance of Temporary Architecture,” The Burlington Magazine 116, no. 856 (jul. 1974): 385-91. 3. Florian Haydn and Robert Temel, Temporary Urban Spaces: Concepts for the Use of City Spaces (Germany: Birkhauser, 2006), 77.

architecture became immortalized as well. Printed flyers commemorating events almost always included examples of the tents and gathering spaces, which were constructed specifically for the event. Similar to David Hoy’s ideas on temporality, Chabrowe asserts that “temporary structures are valuable not despite, but because of their fleeting, popular character.”2 Again this further emphasizes the effect that a temporary space could have making it a valuable resource for creating memories for the public. In their book, Temporary Urban Spaces, Florian Haydn and Robert Temel compile the works of the European group “Urban Catalyst.” This group researches the amplified benefits of temporality in projects throughout major cities such as Berlin, Vienna, London and New York. In their works, “temporary uses were interpreted as interim uses.”3 This is important to note, as it is possible for temporary uses to occasionally take on permanence, making their existence less successful, loosing their catalytic effect and slowing to a static state. Without an end to a space or event, there is no chance for reflection. The beauty of temporality is to serves its purpose as a physical entity and then to shift into the realm of memory. Combining architecture in their projects the Urban Catalyst Group have several successful precedents. One, entitled Add On, is a particularly interesting example designed and assembled by Peter Fattinger, Veronika Orso and Michael Rieper in Vienna. Here, for six weeks, the city was given front row seats to the private lives of individuals living in a square. A conglomeration of interesting modules was inserted in a scaffolding to give the illusion of home, including an RV, bedrooms, bathrooms and a hot tub. This social experiment attempted to blur the lines between public and private activities. Its method of catalyst was shock value, of seeing suspended hot tubs, as well as experiencing living in a public square. The work served to make the public confront their ideas of stereotypes and functionality. It created first hand views of how ordinary people go about their lives, amazingly no different from how a viewer might in the privacy of their own home. While this was a successful and innovative way of bringing this idea to the public it would have lost its significance if left to become permanent. Realistically if the demonstration had been extended it would have fallen into disrepair, and the public would have gotten bored or used to it and eventually paid it little attention at all. The original goal of the designers would be lost. Add On served its purpose through its temporality and later through memory, being documented in the book as well as creating a lasting impression for the

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participants and the viewers. This variety of examples dealing with the temporal showcase an area of research and design being used to promote the powerful effect generated from this form of experiential work. Treating the ephemeral aspect of the project and the experience as one is the most efficient way of reaching a large number of people at one time. The memories and experiences they take away from the architecture will generate ideas that resonate after the work is gone. The public’s connection with the piece will be created through their understanding of a limited existence and their desire to experience as much as possible. This combination of desire, memory and experience will be the culmination of the temporal and is what will make this project successful. Catalyst A catalyst is a thing, action or person, which provokes a significant effect or reaction. In relation to architecture a catalyst should create a cause and effect relationship between any variety of elements, space and a user, space and site, or space and surrounding context. Using architecture as a catalyst is different from simply assigning a program or purpose to a design. It should facilitate an active affect rather than simply assigning the activity that will happen within a space. In the case of this thesis the effect between the intervention and the site will be a resonating awareness of the potential of a previously residual site. While the purpose of the project is the end result of a raised awareness, the catalyst is the fleeting existence of the space, which showcases this potential. Janet Echelman understands how art and form can be used as a catalyst for everything from revitalizing a space to inspiring a culture. Echelman is a sculptor and installation artist, and uses large knotted fabrics to create ethereal forms, which move and react to the environment. Her large knotted forms can be transported in a duffle bag, but when displayed can fill the space of courtyards, parks, and underpasses. Each project is designed in such a way that it moves and sways in the changing wind. While interpretation is left to the viewer a connection can be made to an anthropomorphic representation of a jellyfish in its movements, and need for a substance, such as air, to give it form. While some of her works have begun to move toward permanent installations her choice of material and form create a very ephemeral experience as it

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Figure 1.4 Zaha Hadid uses iconic form as a catalyst to create an “instant cultural hotspot. Source: Zaha Hadid Architects

Figure 1.3 Graffiti knitting group, Knitta, uses colorful yarn to areas of often overlooked beauty. Source: Unknown 4. See figure 1.1

is constantly changing and moving. Her Secret is Patience 4 is the title of a recently opened public sculpture in downtown Phoenix, Arizona. Part of a master plan to revitalize downtown Phoenix, the site is a park, similar to a town square, with the sculpture acting as the anchoring point. Here Echelman’s work acts as a catalyst, creating a sense of wonderment, and fantasy in the space. Once simply a transition space, Echelman’s work has prompted people to stop, sit, and ponder. The site is now used for professionals to take their lunch and college students to study. Echelman’s work served as the catalyst creating a new revitalized connection between the people of Phoenix and this downtown site. While this piece is permanent it is easy to imagine the combination of material, form, site and environment creating the same effect in a temporary condition as well. Another kind of temporal art is made by the graffiti knitting group Knitta. Using colorful yarns and patterns, akin to something out of a Dr. Seuss book, the groups main purpose is to create a momentum of individuals beautifying urban space. Their anonymous presence throughout cities is their way of operating as a catalyst, which gets people to talk and think about their works. Nameless creation, colorful designs, and the limited length of time each knit piece will last, generate conversations, making their efforts successful. Their message can be used to revitalize site, or at least an object or space, which is often overlooked. The everyday such as light poles, bus bumpers, handrails and columns can all be beautiful, according to Knitta. Their material choice, soft yarn, also creates an attitude about temporality, something easily removed, once the message has been passed on, unlike traditional spray paint graffiti. Involving temporality at the architectural scale is Zaha Hadid’s Temporary Guggenheim Museum. This project is an un-built exploration into temporality and creating a catalyst for “an instant cultural hotspot.” It is designed to be temporary, with a ten-year life span, on an artificial island off of Tokyo, Japan. Rather than showcase a site through architecture, a site is created to showcase the design. However, Hadid’s projects can be looked at within the context of this thesis as an example of rapid development and broadcasting what she calls “instant-ness.” This “instant-ness” is due to Hadid’s design where the form will be the icon, rather than the surroundings, site, or culture. The materials looked at were lightweight and low cost, allowing for construction to be fast and for the public to gain access as quick as possible. If built, its goals to create an instant cultural hotspot would create a resonance of trendsetting in the newly created

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artificial landscape, as well as iconography, even after it had expired. Catalysts have been utilized to create change for everything from telephone poles to urban metropolises like Tokyo. Whether they are to inspire beauty, create an instance, or transform a space they are all meant to encourage contemplation and a reaction from those that view it. Utilizing this force along with the temporal quality of a space will take an ordinary visitor to a space, engage them in an experience with a site they would have previously ignored, contemplate the further potential, and be forever reminded of this encounter after the architecture is gone. Combining these ideas presented by installation artists, graffiti artists and architects it is clear how these ideas could merge together to create a resonance of a residual site. Residual Sites

Figure 1.5 Kawamata calls attention to Roosevelt Island using wooden structures to create an ephemeral quality. Source: Elizabeth O’Connell 5. Claudia Gould, Kawamata Project on Roosevelt Island, ed. Minoru Kimura, Mika Koike and Mitsuyoshi Sakano (New York: On the Table, inc., 1993), 212.

Residual sites are forgotten, neglected or decaying urban spaces, which have potential to be enveloped and integrated into the urban fabric. These spaces need to be knit back into the urban fabric to create cohesive cities and neighborhoods. This idea of knitting or enveloping the site back into the urban fabric is welcome in comparison to urban renewal and urban planning as both carry negative connotations of unsuccessful spaces and architecture. Tadashi Kawamata is an installation artist that specializes in finding controversial or residual sites. In his project on Roosevelt Island he found both. In the book Kawamata Project on Roosevelt Island, Claudia Gould documents the idea behind the project, which called attention to a site that has been abandoned for years. Originally the home of the Small Pox Hospital, the architecture has begun to crumble into disrepair. Kawamata’s choice of the site brought ideas of isolation and quarantine to today’s society. This choice was fairly controversial and delicate, as the site is considered historical, even though it has been left to decay. Kawamata’s project had to be careful to portray his message without ever physically touching the historical structure. Kawamata’s process, which is to construct wood framed spaces, bordering on architectural representation, has a rather short life cycle. Its ephemeral quality felt in its construction, and then quickly there after in it’s dismantling. One critic, Yve-Alain Bois, likened it to “dealing with a potential ghost.”5 In this way however Kawamata does not “erect a monument” but “is able to memorialize.”5 This way of approaching and dealing with site is a precedent worth

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examining in the context of this thesis. To Kawamata a residual space is important to showcase for its history, or social meaning. It brings something forgotten and ignored to the foreground for examination and contemplation. Another precedent coming from Temporary Urban Spaces and the Urban Catalyst Group is a project titled Hirnsegel #7. Their residual site was in Vienna, an area under a railway bridge filled with concrete columns supporting the trains above. The goal was to call public attention to the potentials of the unused spaces of their city. The columns were plastered in event posters spanning years of concerts, expos, sales, and music releases. Using the idea of this ‘poster-ing’ effect, the designers, known as the Poor Boy’s Enterprise, wrapped the columns in a thin plastic to create spaces and rooms in and among the columns. Without assigning program these spaces were left for whatever uses a visitor saw fit for the duration that the plastic was there. Visitors were encouraged to discover uses suited to this residual space that they often paid no attention to. Over its seven-day existence the space received over 700 visitors. While the precedent does not go on to explain what these visitors used the space for it is easy to see that even for such a simple idea and set of design criteria this temporary space and its potential was called into question for 700 more occupants than it may receive in a year. This kind of quick, catalytic space created an emphasis for the site under the bridge that could potentially change it forever. Both of the previously mentioned projects take the ideas of this thesis, a temporal, catalytic intervention on a residual space and prove the potential success of this combination. Through these works people were reintroduced back into residual spaces. They did not provide answers or long term fixes. They simply opened the door to provide meaningful conversation and discussion about the situation of their chosen sites. This is the first step to solving the problem of rejoining a place of urban decay back into its surrounding context. It is through opening this door of awareness, understanding and potential that the public has the power to make the next move, and the purpose of the architecture is complete. Fiber Arts/Textile Explorations An important aspect in creating an ephemeral space will be the experience of the intervention as a whole. Therefore it is very important to take a look at materials, which provide

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Figure 1.6 Debbie New’s Lace Knit Coracle pushes the limits of knitting. Source: Debbie New

Figure 1.7 Peter Testa uses new textile technologies to design a fourty-story carbon fiber tower. Source: Peter Testa Architects

a feeling of temporality in their architectural qualities. Fiber and textile as a material and a process provide some sense of a temporary space. From nomadic huts made of woven grasses, fair tents, and emergency shelters, experience with a “fabric” material is often associated with the temporary. Present works and research are being done to prove that this process in an architectural sense doesn’t have to be so temporary in its lifespan, but still evokes that experiential quality this thesis is looking for. There is a large push in the fiber arts community toward pushing the limits of knitting, weaving, and textiles. Debbie New, a knitting artist has experimented with how this traditional craft can be turned into objects that are watertight, such as teacups and boats. Through a process of knitting dipped in resin her works retain their shape, and become vessels. Her boat is actually a lace knit coracle dipped in resin. A coracle is defined as a small round boat typically made of a wicker construction. Since wicker is a pattern very similar to weaving it is easy to see the correlation into a knit lace. Able to float with an adult inside it blurs the lines between something as delicate and beautiful as lace with a structural material, while still achieving both qualities. Textiles are being pushed to their architectural limits as well. In the book Extreme Textiles – Designing for High Performance, Matilda McQuid has assembled a collection of works, which were on display at the Cooper-Hewitt National Design Museum. The exhibit showcased the wide range of emerging fabric and textile technologies. With examples of everything from embroidered surgical devices, space suits and architectural design, Extreme Textiles provides examples of how craft, process and flexibility are being incorporated into present day design. One important architectural discussion is whether these technologies can be integrated as skin, structure, or both. One precedent from Extreme Textiles is Peter Testa’s Carbon Fiber Tower. In this un-built project a weaving method of carbon fiber strands would be used to create a forty-story office tower. Through the integration of weaving on in the façade, the floor plates, and central cores, the building would remain in tension and each fiber in the structure would work interdependently with the others to support the structure. Each carbon fiber strand would be one foot wide by one inch thick, and would be pultruded on site and woven together. While the technologies are not quite there to test the full potential of this, it will exist in the near future. The use of the woven textile fabric not only would create a situation where the skin, structure,

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systems, and circulation would all be created through the strength of a single material, but also an experience of the ephemeral, seeing the process of the woven carbon fibers and how they delicately are designed to work in tension. The ephemeral, experiential quality of fabric and fiber relates to the ideas of this thesis in a way that provides an area of exploration of form, materiality, process, and methodology. While the design is not dictated to a specific material, the qualities of fabric architecture are desirable to the final goal of a temporal space. Through exploring the process as well as possibly fabric as an option will further enhance the result created by the combination of temporal, catalytic architecture for a chosen site. The Ephemeral Effect The combination of the qualities of catalytic design and temporal experience are important to the success of this thesis. The catalytic nature of a space, and the temporal experience of message and materiality, will be brought together and will be the driving force behind revitalizing residual urban space. The research has proven there are many successful applications of temporary spaces and possibilities still unexplored. Bringing together the ephemeral with an exploration of the fiber arts will further create a temporal experience. Through a careful selection of a residual site it will be possible to employ these ideas, this ephemeral effect, to create an effective, successful, and resonating space. The work done by the Urban Catalyst’s and Zaha Hadid prove on the urban level how temporary design can renew a wide variety of spaces. Various other artists such as Kawamata, Knitta, and Echelman do the same at a reduced scale. Through the merging of these ideas a new urban design focus is created. It provides the opportunity to create urban space without stagnant urban design, and unused spaces. By creating a focus on the temporal experience and catalytic effect that a place can have, a site or piece of architecture only continues to grow and transform as it passes through different use and form. This allows the urban fabric, neighborhoods and cities surrounding the site to grow and change with it. It provides a new breadth of opportunities for cities and communities as well as architects and designers to combat residual spaces and urban decay. Through this almost instant revitalization new potential can be found in any urban space.

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Findings The significance of the thesis will be to look at new ways of thinking about city planning and urban design in an updated, and less static way. This method of temporary design may be thought of as creating opportunities for designing cities in contemporary urban space. The significance is that more successful spaces will be created for a purpose, but not left to ruin, because a new use or purpose can take its place. This cyclical idea will reduce the number of areas of urban decay within a city, and create areas of interest that move, grow, and are a dynamic as the people of a city desire them to be. Criteria for Evaluation 1. 2. 3. 4.

Did the final project embody the goal of the creation of a successful catalytic temporal space? Was the final project successful in creating an awareness and instant revitalization of a residual urban site? Did the full-scale temporary event create an appropriate point of melding together the explorations of knitting/fiber arts with the realities of architecture? Was the exploration of knitting/fiber arts as a process rigorous enough to be present in the final design?

Ideas for Future Research The next area of exploration for temporal catalytic architecture is researching the potential of the same catalytic results at a larger urban context. Could this solve the problem for Boston’s City Hall, or a political issue? Could temporary urban architecture be used to bridge the gender gap, or call attention to gay rights? Can this idea of the temporal catalyst permeate the urban context and be an everyday method of architectural design?

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Thesis Prep II (Fall 2009) 14


Method: My method is exploring space, form and materiality through the use of knitting and other fiber based techniques. Through the use of patterns, scripting, and repetition, various conceptual ideas will be modelled and explored. The goal is to obtain a clear idea for architectural form generation for the design project. Step one in the process is the exploration of knitting and techniques through UFO’s (unfinished knit objects) During this time different materials, stitches, densities of fabric, and finishing methods will be explored. An important factor is maintaining a very ephemeral quality to all objects produced in these early conceptual explorations. Step two of this process and methodology exploration will be experimentation with material in architectural form. The main goal of this step is to utilize fabric in a dynamic rather than static way. The third step will be taking the lessons and learned about structure, form and materiality during exploration and creation and designing an intervention at the urban scale. The goals will be to maintain an ephemeral quality in the work and to revitalize a residual site. To take lessons learned from the experimentation to create a successful catalyst which is able to resonate the potential of the site throughout the community. This method is meant to serve the goal of the creation of architectural form in which the feeling of temporality and the potential uses of a residual site are showcased and realized.

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A typical knitter will collects many UFO’s throughout the course of their knitting career. A UFO is a piece which is often started but never finished because the purpose was to work through a set of ideas or new skills rather than to create a complete object. These images illustrate a collection of UFO’s I have begun working on in relation to this thesis. Each object dealt with a different idea of stitching pattern and how it related to the density of the fabric or the form it created.

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One exploration during the fall development of this thesis was the use of scripting to create an interesting facade element incorporating knitting. A common practice in knitting is the use of beading and sequins to create interest to areas of a knit piece. Looked at these beads as an architectural element these adornments can become a kind of scale or skin. Using this basic idea I used this project to explore how a knit fabric could be used as a facade element. Using Rhino and Grasshopper I looked at different ways pieces could be made to create “sequins� that could be knit with a fabric to create a type of aesthetically interesting facade, with possible weatherproof benefits.

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Thesis Prep II - Method (Fall) 18


Urban Residual Site Gurney and Tremont St. Roxbury Crossing, MA This site on Tremont St. is perfect due to its relationship within the Roxbury Crossing neighborhood. It is highly visible as it is directly adjacent to the Roxbury Crossing Orange Line stop and bus stop for multiple routes. The space has become a large residual space due to its adjacency to the Orange Line and Commuter Rail tracks to the east. The Orange Line and Tremont St. act as a divide within this neighborhood, separating residential and small commercial areas from the Roxbury Community College, and other residential communities. Acting as a hinge point this site has the potential to create a solid bridge or connection between these two sides of the train line, and bring further cohesion at this intersection of Tremont St.

0’

Thesis Prep II - Site 19

64’

128’


Using a knitting pattern grid overlaid on the site it becomes possible to look at the site in its context and its surroundings at their simplest forms.

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Top: View of site from adjacent sidewalk. Middle: View from opposite Tremont Street. Bottom: Panoramic view taken from middle of site.

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Program: The program for the Roxbury Crossing site was developed simultaneously during the methodology explorations. However, it was important to create a sort of short list of possible program that could be beneficial to the site and community. To the right is a map of the immediately surrounding context. The site lies in a place where commercial areas meet across the Tremont St. intersection as well as a major transportation hub. Possible programmatic options: Cultural: Art, Music, Dance, Performance Space The neighboring Roxbury Community College houses a performance space, however it is in high demand and often over booked. Expanding space for performance and gathering of the community could be a great benefit. Commercial: Hotel, Restaurant, Shopping Area The surrounding area is heavily residential and the convenience of the Orange Line across Tremont St. could give this site reason to become a commercial hub for this neighborhood. Programs to avoid: Residential: High rises, Low income housing, Housing Complexes The area is already heavily residential. Something needs to be put in place to create at least 18 hour activity to allow it to become a safe destination for people inside and outside the immediate Roxbury Community.

Transportation Commercial/Institutional Residential Abandoned

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Peter Testa’s Carbon Fiber Tower is an unbuilt exploration in architecture which combines skin, structure and circulation as one system. Using pultruded carbon fiber the 40 story building would be constructed by a woven helical pattern of 24 strands. Where these strands cross pieces would be separated to create a woven floor. (see image top right) The floor plates would connect the tower to itself, and provide stability. Running the 40 stories would be two cores which would provide further lateral stability at the points where they penetrated and connected with the floor slabs. (See image bottom right) Also a shallower helix encloses the tower, acting as a ramp for circulation that weaves in and out of the building. This completes the structure providing even more stability in high winds. (See image bottom left). Image top left: Peter Testa’s model of Carbon Fiber Tower. Source: Peter Testa Architects Other images: Personal Rhino studies

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Wind Shapes by nArchitects is a temporary pavilion created in Lacoste, France for the Savannah College of Art and Design’s study abroad program. It created a public meeting space in the small town through the use of piping and aluminum collars for structure and threads pulled in tension to create ephemeral facades and barriers. (See image above) Depending on the tension used in each thread the structure moved and rippled in the wind. Again similar to the Carbon Fiber Tower the architects used a pattern of fibers to create and indistinguishable connection between what is structure, form and skin. Images right: Wind Shapes by nArchitects. Source: nArchitects. Image above: Personal Rhino study

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Rebecca Ward’s installations use electrical tape to create architectural form and space out of lines, beams and angles. Each work is site specific and is designed to the needs of the space. From design to create Ward’s works have an idea and feel of woven space due to their rhythm and color. Her designs are mathematical calculations of the numbers of lines that can fill a space and create form. Working with a flat linear material she is able to create objects which appear to be very volumetric. Images right: Examples of Rebecca Ward’s installations. Source: Rebecca Ward Image above: Personal Rhino study.

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Early concept model showing the site as a missing link between three neighborhood hubs, One Brigham Cirlce, Roxbury Crossing MBTA Station and Roxbury Community College.

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Close up of concept model showing the site as a being a void, lit from behind suggesting and illumination of the sites potential as a link within the Roxbury Crossing community.

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Concept model illustrating the idea of ghosted structure and texture behind a translucent material. The effect is a very beautiful effect of light and pattern that could be beneficial in creating a powerful, ephemeral space. The model is constructed of a bass wood frame, with a vellum screen in front of a piece of knit fabric, using a variety of stitches and needle sizes to vary the density of fabric.

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Capacity : 5000 Capacity : 20000

0’

128’

Capacity : 1000

256’

Capacity : 5000

Site capacity comparison showing other performance spaces at the same scale of the Roxbury Crossing site. Comparison sites from top left: The Hatch Shell, Boston, MA. Comcast Center, Mansfield, MA. Bank of America Pavilion, Boston MA. One Brigham Circle, Roxbury Crossing MA.

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Site model illustrating the size, contours and scale of the surrounding Roxbury Crossing context. Also shown is the proximity and depth of the adjacent MBTA train.

Thesis Studio - Programming 31


Programming Audience 40,000 sq. ft. Stage 2,800 sq. ft. Practice Space 900 sq. ft.

80,000 sq ft

Dressing Rooms 200 sq. ft. Lighting + Mechanical 200 sq. ft. Office 80 sq. ft. Bathrooms 2500 sq. ft. Total 46680 sq. ft.

Early division of programmatic space based on square footage.

Thesis Studio - Programming 32


Studies exploring the best arrangement of program across the site, with ideas of entrance points, desirable/ undesirable views, and framing of platform area.

Thesis Studio - Programming 33


The peacock became an analogy for the ephemeral. A beautiful bird in itself, the peacock becomes an even more beautiful and exciting sight when its plumage is open. The desire became to utilize this effect across the sight in terms of the excitement and intriguing beauty. Further explorations looked at the feather as a structural element, with a sturdy base extending outward and becoming thinner and more flexible as it extends from the body of the peacock.

Thesis Studio - Peacock Effect 34


Thesis Studio - Peacock Effect 35


Thesis Studio - Peacock Effect 36


Fabric explorations could be divided into two categories, dynamic and static uses. The dynamic allowed for movement of the fabric and a changing appearance depending on the day and the wind. Static uses pull the fabric in tension and create a very frozen look to the fabric. While both uses have a temporary feeling, the dynamic uses was desired for this project as it allowed the fabric to have a life and changeability which would add to the excitement of the ephemeral intervention. Image above: Curtain Wall House, Shigeru Ban. Source: Shigeru Ban Architects Image right: Fabric canopies. Source: Fabric Architecture, Samuel J. Armijos

Thesis Studio - Dynamic vs Static 37


Thesis Studio - First Design Iteration 38


Sketch Models These beginning sketch models showed a variety of ideas about how to beginning creating a space for gathering on the site. The top model explored an idea of a continuous piece of fabric wrapping to create entrance, covered space, and interesting form. The middle model looked at an idea of adaptability and creating a space which allowed for a variety of sized events. Larger events could open more panels to create more space for audience members to stand among the screens. This would also allow passersby to see the space “opened up� and would visually understand the size of event occurring within. The bottom model continued the idea of the peacock impacting a canopy enclosure idea. It also looked at framing a stage/platform, and a translucent material for the covering. All of these models were informative, but lacked the dynamic quality of fabric that I was striving for.

Thesis Studio - First Design Iteration 39


This sketch model took the idea of a fabric canopy and looked at how it could be both structural and dynamic. By scrunching the fabric of the canopy down a main spinelike structure, the fabric is allowed more movement and form, rather than acting as a flat plane.

Thesis Studio - First Design Iteration 40


This design iteration took the dynamic use of fabric developed in the small white foam core model and looked at creating a structure which could support a large span of fabric. The goal was to create as few contact points with the ground to minimize impact on the site as it would only be a temporary intervention. The platform was raised to appear to be floating and supported by the same

Thesis Studio - First Design Iteration 41


This iteration expanded on the previous model by creating a dissolving factor of the canopy, creating more volume and excitement at the entrance to the space. By creating the dissolving canopy it also changed the quality of light and shadow at the beginning of the site, versus when underneath the canopy. The stripes of fabric are attached both above and below the structure to create a ghosting in areas and full visibility in others.

Thesis Studio - First Design Iteration 42


Preliminary Design 0’

32’

64’

Early design drawing trying to determine the coverage of the canopy and the proportion of it to the stage. Both are large and out of scale in this drawing.

Thesis Studio - First Design Iteration 43


Summary This first round of design explored the idea of creating a gathering space and utilizing fabric in a dynamic way. The series of study models allowed for an evolution of the canopy design and creation of more volume, and interesting interactions with the structure. It was important in this phase to design in model to understand the quality and ability of the fabric. At the end of this iteration it became apparent that the scale of the canopy was too large and would need to be scaled down to work for the site, and to create a structure that was feasible. While some of the earlier models looked at the stage/platform as being a pavilion, it became evident through building models that the canopy and the platform should be the pavilion in itself, without any further enclosure underneath. There was also so discussion at this review about how to address the existing site context. Some suggestions were made to look at surrounding materials and textures.

Thesis Studio - First Design Iteration Summary 44


Thesis Studio - Second Design Iteration 45


This design iteration began looking for a way to scale down the size of the canopy and divide the site into different zones which would allow for different sizes of events. This plan shows the golden section being used as a division tool, creating a main space under the canopy and then the over flow space on the remaining site. Another consideration was the surrounding context. Rather than attempt to incorporate surrounding context materials, it became more about incorporating the people of the neighborhood into the site. A bridge was added to connect to the existing Southwest Corridor, a string of parks which run through a variety of Roxbury residential communities. Through this move it was able to complete the gesture of the spiral off the site and into the surrounding context, while providing a more intimate entrance to the site for the neighborhood. The area in the upper left hand corner of the site was designated for a temporary structure that would conceal temporary bathroom facilities. The goal was that this structure would also be temporary and made of similar fabric and structural elements as the canopy. The small objects on the back of the pavilion were envisioned as being moveable dressing rooms and storage spaces, built on wheels and designed to be moved around the site depending on the event being held. The structure of the canopy became and assemblage of steel elements supporting the radiating “fingers� which support the canopy. The canopy utilizes tension cables to allow for a long span of these fingers, and ties back to the ground plane behind the main tower of the structure.

Thesis Studio - Second Design Iteration 46


Section A 2’

8’

16’’

Site Section 4’

16’

32’

Thesis Studio - Second Design Iteration 47


Thesis Studio - Second Design Iteration 48


The perspective views of this design were created to incorporate an understanding of the variety of activities that could happen on the site. It is easy to envision the pavilion as a space for concerts or theatrical performances. But it is important that it be used as a space for 18-hour activity and events. Morning yoga, children’s theatre camp, community barbecues, local restaurant tastings could all happen seamlessly within this space.

Thesis Studio - Second Design Iteration 49


This drawing illustrates the elements that would be left behind once the pavilion was removed from the site at the end of the summer. It would remain in this state for the duration of time before a permanent developer would begin construction. The remnants would help serve as a reminder for the city of the potential of the site and its need for development as suggested by the ephemeral pavilion. The bridge would be left as a reminder to the next developer to consider the link to the rest of the Roxbury community when designing on this site.

Thesis Studio - Second Design Iteration 50


This image looks at the power of the spiral to draw the eye into the canopy structure and then out into the covered space.

Thesis Studio - Second Design Iteration 51


Summary While the structure of the canopy achieved its goal of lightly touching the ground it remained to piecemeal and disjointed to work as an object. The spiral worked to create a nice division and proportion within the site, and set feasible boundaries for the canopy to exist within. It also successfully grounded the site to an existing space within the Roxbury Crossing community. There remain a lot of elements to design, including the dressing/storage rooms, as well as the bridge and entrance to the site. The landscape idea of grass with stone inlay reflecting the structure of the canopy to the outer edge of the site is too harsh of a representation and creates too many “zones� within the site. Further work to develop the correct way to deal with landscaping in a minimalist way is needed.

Thesis Studio - Second Design Iteration Summary 52


Thesis Studio - Third Design Iteration 53


This third design iteration began looking at ways editing and evolving the gestures across the sight to their most simplistic and effective components. The radial components of the landscaping were removed and the idea was that within the spiral walkway would be grass and the overflow space would be hardscape. The main entrance from the street is designed as a smaller canopy marking the corner of the site. The bridge is designed with an idea of being a very simple structure, similar to a feather being laid across the opening for the train tracks. The spiral is tweaked as to position its ending point directly at the base of the structure of the canopy.

THE EPHEMERAL EFFECT Performance Space 8’

8’

32’

64’

N

Thesis Studio - Third Design Iteration 54


The structure of the canopy was redesigned to be a streamlined form that grew outward from the ground. The space frame was looked at as a metaphor for fabric in the structural sense. A piece of knitting or fabric under a microscope would have a very similar repetition of cells that make up its flexibility and texture. By using a space frame it allowed the design of the structural element to be fluid in its form and a lightweight structural element with visual interest.

Thesis Studio - Third Design Iteration 55


This model further evolved this structure to have each structural element be a continuous piece from ground to canopy, with an intermediary connection and tension cables holding the continuous elements in tension. As they would be arranged in a circular manner each would be in held in equilibrium against the other. This is further illustrated in the sections on the following pages.

Thesis Studio - Third Design Iteration 56


Site Section 4’

16’

32’

Bridge Section 4’

16’

32’

Thesis Studio - Third Design Iteration 57


Section A 2’

8’

16’’

Thesis Studio - Third Design Iteration 58


Thesis Studio - Third Design Iteration 59


Summary This design phase really focused heavily on the evolution of the canopy structure. From the disjointed design of the second design review to the more streamline, space frame inspired version of the this third review the structure evolved to be much more visually exciting and sculptural. However this was also a problem as all of the interest in the structure took away from the interest in the canopy itself. The canopied entrance to the site became too much of a mimicry of the large canopy and took away from the excitement of the main gesture. The simplification of the site elements improved the plan, but it was evident in section that there needed to be more change in level to denote hierarchy of space.

Thesis Studio - Third Design Iteration Summary 60


Thesis Studio - Final Design 61


Again it was back to the drawing board for the structure of the canopy. This time the goal was to simplify the elements to their most necessary pieces. The diagonal pieces were removed and simplified to create a more delicate connection between the continuous elements of the “fingers� and the tension cables holding them in place. The continuous elements would be made of a new material, a fiber resin polymer that would be pultruded into the individual shape and length of each finger element. It is very lightweight, and flexible as it is used in foldable space structures (as pictured above). It is also very strong as it is used to make the blades on wind turbines. It will provide the stability as well as the span needed to support the canopy fabric. It could easily be transported to the site and assembled and disassembled quickly without need for a very large foundation, or a lot of manpower. While the design was an improvement it still had a harsh structural quality to it, rather than an smooth streamline feel like the fabric.

Thesis Studio - Final Design 62


The structure became further refined by reducing the distance between the tension cables and the “finger� elements. This move refined the structure to its most simple, streamlined form. This design also allows for the simplest assembly to create a temporal feeling of elements in simple tension and compression.

Thesis Studio - Final Design 63


The connections for the fabric were designed to be very simple as well, but to allow for the most dynamic movement for the fabric. The connection points in the fabric would be eyelets which would be fixed to a conical shaped rod. It would allow for a range of movement in the wind, along this connector rod. The rod itself is connected back to the finger elements with a pin connection to give a range of rotation and further allow movement of the fabric.

Thesis Studio - Final Design 64


This is the final plan showing the design of the entire pavilion and site. The spiral has been expanded to include a main entrance from the street that merges with the entrance from the bridge. It also denotes the areas of ground level changes as the space around the platform is sunken four feet and there is a graded, grass amphitheater space leading down. The majority of the site is grass, with the main pathways being grass pavers to allow for a softer transition from grass to path. The lights around the edge of the site act as an ephemeral site wall and provide a feeling of edge without taking away from the view or excitement of the main structure.

Ephemeral Effect 0’

32’

Thesis Studio - Final Design 65


Bridge Section 0’

16’

Canopy Section 0’

16’

Thesis Studio - Final Design 66


Thesis Studio - Final Design 67


This is an updated plan of what would be on the site, postephemeral intervention.

Post Ephemeral 0’

64’

Thesis Studio - Final Design 68


These panoramic images of the site show how the transformation from residual site to ephemeral gathering space would happen. These images further emphasize the importance of a light touch and simplification in the creation of a beautiful, ephemeral intervention.

Thesis Studio - Final Design 69


Examples of 18-hour activity that could occur within the ephemeral space created.

Thesis Studio - Final Design 70


Thesis Studio - Final Design 71


Thesis Studio - Final Design 72


The site model shows the fabric as the ephemeral pull of the intervention into the site following along the Southwest Corridor, across the bridge, into the spiral and expanding as into the canopy to cover the site.

Thesis Studio - Final Design 73


Thesis Studio - Final Design 74


Thesis Studio - Final Design 75


Thesis Studio - Final Design 76


Final Model: Acrylic, Aluminum and Silk

Thesis Studio - Final Design 77


Thesis Studio - Final Design 78


Thesis Studio - Final Design 79


Thesis Studio - Final Design 80


Thesis Studio - Final Design 81


Thesis Studio - Final Design 82


Conclusion Summarizing the success of the project based on the objectives laid out in the Fall semester: 1.

Did the final project embody the goal of the creation of a successful catalytic temporal space? Yes, the thesis ended up being a successful exploration of the ideas of temporal architecture as a creation of an urban catalyst for the Roxbury Crossing site. The main criticism of the project during the final review was that it created such a successful catalyst for not only the site, but the surrounding neighborhood that it seemed cruel to take it away. I stand by this not being the case because the program and design is created in a way to be powerful over a short period of time. If the pavilion is left for a longer time it runs the risk of not being effective as it will loose its momentum. One suggestion during the final review was that it may be an element which comes back seasonally. While I believe that this is an option, again it would leave the site relatively undeveloped three seasons out of the year, when it could take the momentum of the one event and be developed in a way that would be useful to the community year-round.

2.

Was the final project successful in creating an awareness and instant revitalization of a residual urban site? Again I think that this was a success in terms of creating an icon that would bring interest and attention to the Roxbury Crossing site. I think that proof of this is in the critiques desire for it to be kept for a longer time period. There was little question of the design, but the discussion mostly centered around if it would be reasonable to remove it if it was designed to be such a benefit to the community. This relates back to the last goal, but I believe that it was a successful in also creating a conversation and discussion about temporary architecture and its power, a topic which turned out to be fairly controversial for a majority of critics.

3.

Was the exploration of knitting/fiber arts as a process rigorous enough to be present in the final design? The exploration of fabric in temporary architecture was explored through the various designs of canopy, and further extended as a metaphor for structure. The multiple design iterations of the canopy and the goal of creating a dynamic use for the fabric was achieved across the semester and visible in the final design of the pavilion.

Conclusion 83


Exhibition Poster 84

EP Ma HE rga ME ret RA Ha rrie L t Ja cks on

TH E

EFF ECT : TE MPO RARY ARCH ITECT URE AS URBAN CATALYST

This thesis looks at how temporary architecture can be used to change the perception of residual sites. Temporary architecture has an opportunity to bring a large number of people to a site in a short period of time. However, this temporary quality has an opportunity to be further expanded, which is why I prefer to refer to it as “The Ephemeral Effect.” Ephemeral suggests a more emotional connection to the temporary nature of architecture. By using ephemeral materials, forms and structures, architecture will not only attract a large number of visitors during its limited lifespan, but will also create a resonance of the site, space and experience in the minds of the visitors. Once the architecture is removed the ephemeral nature will create a sense of remembrance with the public and will further aid in the eventual development of the residual site.

2010

MArch

0’

32’

Ephemeral Effect


Bibliography Chabrowe, Barbara. “On the Significance of Temporary Architecture.” The Burlington Magazine 116, no. 856 (jul. 1974): 385-91. Eakin, Julie Sinclair. “Knit Wit.” Cite: The Architecture and Design Review of Houston, Fall 2007. Echelman, Janet. “Fluid Movement.” Boston Society of Architects. Boston Public Library 10, October 2009. Gould, Claudia. Kawamata Project On Roosevelt Island. Edited by Minoru Kimura, Mika Koike and Mitsuyoshi Sakano. New York: on the table, inc, 1993. Hadid, Zaha. “Temporary Guggenheim Museum, Tokyo.” New Architecture, 2007. Haydn, Florian, and Robert Temel. Temporary Urban Spaces: Concepts for the Use of City Spaces. Germany: Birkhauser, 2006. Hoy, David Couzens. The Time of Our Lives: A Critical History of Temporality. Cambridge: MIT Press, 2009. McQuaid, Matilda. Extreme Textiles: Designing for High Performance. New York: Princeton Architectural Press, 2005.

Bibliography 85


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