Constructing the Vamp

CONSTRUCTING THE VAMP

CONSTRUCTING THE VAMP

Christopher Moy Instructor: Gia Daskalakis TA: Lauren Field Design Thinking Spring 2012

Introducing the Memory

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What Memory is Being Preserved?

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A Midwest Music Conservatory

Site: Laclede Powerhouse

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CONTENTS How Can and Act Change a Place?

Bibliography

Source Citations

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Introducing the Memory This is not a book about preservation or restoration. It is a book about

memory and the role it plays in the context of a collective urban

identity. When a building falls into disuse over time, it is necessary to understand the essence of a place and what makes it unique because it stands as a visible remnant of the past with historical traces in the collective memory of culture.

This book evaluates the zone between the presence of built reminders, memories, and the absence of habitation in St. Louis. By studying

the history of a place, one can set up a framework in which a new architectural proposal can become a catalyst for future growth and development without discounting things of the past.

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HISTORY “An authentically effective past is always a backwards-looking present.”

4 Proposals: culture image mobility uses

integrate knowledge of history and modern day responding appropriately to existing context appropriately connecting historic and modern scales creating compatible programs between the historic and modern

JOY “An advanced architecture is an extrovert architecture.”

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Key Words: open, unfinished, flexible, exultant, interactive, expressive, trusting Joyful design can lead to unexpected anticipated.

results and hybrid uses that may not have been

TERGIVERSATION “Tergiversation is the use of a new unit of pre-existing artistic elements...Tergiversation is a mechanism”

2 Laws:

i. parts become a unified whole, losing their individual meanings ii. organization in such a way that the existing elements take on new

meanings

The old and modern coexist to create a third and more complex relationship.

3 Strategies: collage, sampling, recycling

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VAMP 1. [noun] something

patched up or pieced together.

2. [verb] to give (something) a new

patch or piece.

3. [Jazz] to

appearance by adding a

improvise.

St. Louis Exposition and Music Hall built at 13th and

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Olive streets.

1904

1901

Scott Joplin moves to St. Louis, bringing ragtime music to the city.

St. Louis is incorporated as a city in the state of Missouri.

St. Louis hosts the World’s Fair and Summer Olympics.

1904

1849

1822

TIMELINE: HISTORY OF ST. LOUIS

1764

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T HI IME ST LI O NE RY : O F

M

US I

C

IN

ST

.L O UI

S

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Laclede Powerhouse built.

1894

The 1st settlements in St. Louis are started by traders, most notably Pierre Laclede and Auguste Chouteau.

The World’s Fair brings many new types of music to the area.

St. Louis Fire destroys approximately 430 buildings in the downtown area.

St. Louis Gateway Mall project is completed.

1965

Decline of Gaslight Square.

After WWI, St. Louis is home to a diverse industrial economy.

Gateway Arch is completed.

Ambassador Theater is demolished.

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St. Louis Blue Devils Band

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Fox Theater is closed.

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St. Louis reaches its highest recorded census population with 856,796 inhabitants.

13 2000

1970

1965

1953 1950

1920

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194 0

is an incubator for many local musicians who went on to have professional music careers.

Fox Theater is restored.

Fabulous Fox Theater opens.

Louis Armstrong records “St.

Louis Blues�

Gaslight Square becomes a popular entertainment district in the city.

1926

Ambassador Theater opens.

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Chuck Berry born.

Miles Davis born.

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Powell Symphony Hall opens.

The population of St. Louis drops significantly due to white flight.

2000

1929

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The population of St. Louis begins to rise due to new construction and renovation projects.

The Pageant opens.

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What memory is being preserved?

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Urban Memory “Therefore, the space becomes everything, because the time has no ability to animate the memory.�

- Gaston Bachelard Urban Memory refers to collective memory made up of individuals’ experiences within a place and the history and social environment of that place. When a major change occurs in a physical or social environment, this could result in a loss of urban memory. As a result, an urban identity must be dealt with in a way that does not take away from the memory of the place. Rather, something should be added or modified to give the urban memory a new life or new interpretation.

The observer, when experiencing these reformed spaces, selects what he sees and shapes the views according to his own past memories. Therefore, by referencing certain images, historical memories, etc, a space can reflect the urban memory of a place while being transformed into something new.

PRIMARY MEMORY SECONDARY MEMORY

INDIVIDUAL

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“To

perceive is to remember.� ~ Maurice Merleau-Ponty

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Built: 1899 [original building] | 2007 [Herzog & de Meuron addition] Size: 10,000 square meters Relevant Ideas: adaptive reuse of an old electric power station

ORIGINAL BUILDING

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Caixa Forum [Herzog & de Meuron]

REMOVE ORIGINAL BASE

STACK NEW ADDITION ON TOP

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Memory Networks Memories are networked throughout many regions of the brain, creating a complex system of organization that is made up of synapses. When a memory is recalled, the brain activates a whole group of synapses that are associated with the specific information that is being remembered.

In the urban environment, a complex network also exists between the buildings of the city. They may be linked by age, use, or physical location. This interconnectivity between buildings means that the city acts like a woven fabric, codependent upon many “threads� of buildings. To remove a piece of this fabric would disrupt the continuity of the city, erasing the relationship between urban spaces. However, if one of these threads were altered or strengthened, it could act as a catalyst for further renewal in the city.

The network of musical venues in St. Louis is part of a complex urban fabric.

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Adding a Node The idea behind this project is to try to create a new node within the city of St. Louis. In doing so, a new group of projects could emerge as a result, adding more depth and complexity to the existing network in the city.

Using existing abandoned/derelict buildings in the city may be a way to speed up the process of developing a new network of relationships in the downtown area while also expanding existing networks.

NEW NODE [SECONDARY]

PO

TE

NT

IA

LN

ET W

OR K

RE

LA TI ON S

HI

P

NEW NODE [PRIMARY]

EXISTING NODE EX

IS

TI

NG

RE

LA

TI

ON

SH

IP

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A Midwest Music Conservatory To connect the tradition of music in St. Louis with the history

of its buildings, the program of a music school will serve as the central node that stimulates activity within the site. This particular program provides an interesting opportunity to explore new urban and architectural conditions that will be specific to the character of the city and its spatial contexts.

The unique programmatic requirements of a music school, when paired with the existing/historic urban environment in St. Louis will generate a perception and familiar.

of a place in the midwest that is both new

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Built: 1969 [original building] | 2009 [DSR expansion] Size: 650,000 square feet Relevant Programs: 1087-seat auditorium, recital hall, theater, rare-texts reading room

ORIGINAL BUILDING

CONSTRUCT ADDITION

Juilliard School | Alice Tully Hall [Diller Scofidio + Renfro] SECTION A-A

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CUT ELEVATIONS

SECTION B-B

SECTION A-A

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Built: 2008 Size: 16,000 square meters Relevant Programs: 400-seat auditorium, 200-seat concert hall, 50-seat theater, canteen, library,

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Conservatorium van Amsterdam [Frits van Dongen]

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LISTENING (SPECTATOR)

OTHER MUSIC VENUES IN THE CITY

32 OTHER OLD BUILDINGS IN THE CITY

OTHER SCHOOLS IN THE CITY

RECORDING (TECHNICIAN)

EATING (VISITOR)

PLAYING (PERFORMER) SEC

ON

DA

RY

CO

NN

ECT

ION

O

ARY C

PRIM

CONDUCTING (LEADER)

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C

AR

C

TE HI

AL

CO

E NN

N

IO

CT

R TU

OLD

N

TIO NNEC

NEW LEARNING (STUDENT)

Programmatic Connections

PERFORMANCE SPACE AMPHITHEATER CONCERT HALL BLACK BOX THEATER

PRACTICE SPACE LARGE ENSEMBLE PRACTICE ROOM (1) SMALL ENSEMBLE PRACTICE ROOM (2) SOLOIST PRACTICE ROOM (11)

CLASSROOM SPACE 34

CLASSROOM (8)

OFFICE SPACE OFFICE (8)

CAFE SERVICE SPACE STORAGE ROOM LIBRARY

RECORDING STUDIO

TOTAL SQUARE FOOTAGE

13560 SQUARE FEET 4680 SQUARE FEET 6000 SQUARE FEET 2880 SQUARE FEET

1680 SQUARE FEET 768 SQUARE FEET 192 SQUARE FEET 48 SQUARE FEET

2640 SQUARE FEET 330 SQUARE FEET

1568 SQUARE FEET 196 SQUARE FEET

784 SQUARE FEET 1608 SQUARE FEET 804 SQUARE FEET 804 SQUARE FEET

1206 SQUARE FEET

23052 SQUARE FEET

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Program Breakdown

LIBRARY

PRACTICE ROOMS

CLASSROOM

OFFICES

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STORAGE

How to Take Advantage of Program Relationships Programs for a music conservatory tend to overlap in terms of use and resources, therefore permitting spaces to be organized purposefully for maximum effect.

For example, the recording studio is best located close to performance spaces so that concerts can easily be documented. In addition, storage spaces close to the performance and practice spaces will allow easy transport of equipment such as chairs, music stands, pianos, and percussion instruments.

Spatial exposure is also important. By arranging certain programs in close or far proximity to others, more opportunities for impromptu practice spaces or performances may emerge.

AMPHITHEATER

CAFE

LIBRARY

CAFE

RECORDING STUDIO 37

RECORDING STUDIO STORAGE

BLACK BOX THEATER

CONCERT HALL STORAGE

MUSIC VENUES

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The Big Bang Bar BB’s Jazz, Blues, & Soups Beale On Broadway The Bistro at Grand Center Broadway Oyster Bar Chaifetz Arena The Crack Fox Bar Fabulous Fox Theater The Firebird The Gramophone Hammerstone’s The Jive and Wail The Loft lola.

Old Rock House Peabody Opera House Powell Hall Scottrade Center Sheldon Concert Hall

TYPE

AVERAGE # OF SHOWS PER YEAR

SIZE

Piano Bar Jazz/Blues Jazz/Blues Jazz/Blues Jazz/Blues Stadium Rock Theater Rock Rock Jazz/Blues Piano Bar Jazz/Blues Jazz/Blues Rock Theater Theater Stadium Theater

Weekly Daily 120 Daily 300 24 120 192 276 120 Daily Weekly Weekly Daily 288 72 72 36 156

Medium Small Small Medium Small Large Small Large Medium Medium Small Medium Medium Medium Medium Large Large Large Large

MUSIC SCHOOLS Egeston Piano Studio St. Louis School of Music Online

Small Small

MUSIC RELATED PROGRAMS J. Gravity Strings Jupiter Studios Phat Buddha Productions Shattinger Music Co.

Small Small Small Small

# OF SHOWS: DAILY

# OF SHOWS: 100-300

# OF SHOWS: > 100

Mapping Music: Downtown St. Louis

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“To provide

meaningful architecture is not to parody history but to articulate it.� ~ Daniel Libeskind

PROPOSED SITE EXISTING BUILDING SECTION A-A

LUMIERE PLACE EDWARD JONES DOME AMERICA’S CENTER

LACLEDE’S LANDING

JEFFERSON NATIONAL EXPANSION MEMORIAL

500 YR FLOODLINE +50’-0” MAJOR STAGE +40’-0” MODERATE STAGE +36’-0” FLOOD STAGE +30’-0” FALL LEVEL +15’-0”

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FLOOD STAGES

SECTION A-A

FLOOD STAGES

Site: Physical Conditions

GATEWAY ARCH

LUMIERE PLACE

EADS BRIDGE

EDWARD JONES DOME

MLK BRIDGE

I-70

LACLEDE’S LANDING

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EXISTING BUILDING ON PROSOSED SITE PROPOSED SITE RIVERFRONT TRAIL

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Mapping Programs: North Laclede’s Landing

DICKSO N ST

ON ST

O’FALL

Y ST

ASHLE

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PROPOSED SITE

MISSISSIPPI RIVER

MULLANPHY ST

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N

Site Plan 1/128” = 1’

2ND FLOOR

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1ST FLOOR

BASEMENT

ROOF

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4TH FLOOR

3RD FLOOR

Floor Plans 1/64” = 1’

EAST 50

WEST

SOUTH 51

NORTH

Elevations (not to scale)

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How can an act change a place?

VEIL

HIGHLIGHT

PUNCTURE

DIVIDE

REMOVE

LIFT

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SPLIT

How to Alter an Existing Building Existing buildings have specific memories and histories embedded within them. Various architectural acts will distinctly preserve remnants of the past while constructing something new.

This can be done through direct interventions on the building, altering one’s perception of how the building is experienced.

COLOR

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architectural restoration, it is necessary to be selective of what is preserved of the past. The rest is the historical present.�

“During a work of

~ Lina Bo Bardi

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Olafur Eliasson: Color

Labyrinth

In this exhibition by Danish artist Olafur Eliasson, large color panels are used as

The concept behind the installation deals with the notion of the afterimage, the counter image that remains in the retina after exposure to light. This temporary effect is remembered a way to transform the SESC Pompeia in S達o Paulo, Brazil into a labyrinth.

by the cones of the eye due to overstimulation and loss of sensitivity.

By placing these colored panels within the interior of the SESC, the spatial experience of the room is completely changed, as visitors must navigate through the panels and adapt to the interrupted flow of the space.

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OMA | AMO | Rem Koolhaas: Cronocaos Cronocaos is an exhibition that examines the idea of preservation and restoration in architecture and urban design. It argues that preservation alienates society from its past by reducing its essential elements into bland sterile spaces. The exhibition is divided into two sides, one rebuilt in a modern minimalist style and the other left raw and untouched. The contrast between the two ends of the room highlights Rem Koolhaas’ idea that we

are not retaining our history through preservation, but instead it is creating an artificial reengineered version of our memory.

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Two conflicting ideologies continue to subject preservatioin to a systematic schizophrenia between RUIN and RESTORATION. Preservation needs a ‘unified field’ theory to resolve the contradiction...

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Apparati Effimeri: Urban

Reflex

Apparati Effimeri or “emphemeral apparatuses� is the name for a body of work that experiments with blending

the past history of human vision with modern approaches to visual art. The works aim to change urban environments in a non-invasive way by using lights, sounds, and images to alter existing building facades. With these temporary works, people experience a new perception of their environment.

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STACK

HOVER

ATTACH

SEPARATE

SURROUND

ENCLOSE

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INSERT

How to Connect a New Addition The relationship between the existing building and the proposed addition will impact the perception and experience of the pairing of new and existing space.

Different spatial relationships emphasize certain qualities about the space such as materiality or scale, creating unexpected conditions that could provide unique opportunities for various interactions throughout the building.

EXTEND

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Built: 2003 Size: 51,460 square feet Relevant Programs: custom fabricated facade system, 22 residences, exterior lightbox system EXISTING BUILDING

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Porter House [SHoP Architects]

ATTACH ADDITIONAL BUILDING

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“Don’t play what’s there, play what’s not there.” ~ Miles Davis

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BIBLIOGRAPHY

89 Allen, Scott. “Architecturally Sound – Preservation helps St. Louis music scene.” 3 Minute Record. July 13, 2011.

Belford, Kevin. “Abdicating Our History: Saving the Palladium and St. Louis’ Cultural History.” NextSTL. May 25, 2011.

“Conservatorium van Amsterdam, Amsterdam.” CIE. Conservatorium van Amsterdam: Amsterdam School of the Arts.

“Cronocaos: An exhibition by OMA / Rem Koolhaas.” New Museum.

Daskalakis, Georgia, Charles Waldheim and Jason Young. Stalking Detroit. Barcelona: Actar, 2001.

Holladay, April. “How does human memory work?” USA Today. March 15, 2007.

Lentz, Linda C. “The Juilliard School.” Architectural Record. February 2011.

Lopez, David. “ The Tectonic Destruction of Memory.” Proceedings. Ed. Eleni Bastéa and Gia Daskalakis. St. Louis: Washington University in St. Louis, 1998. 22-24.

Merleau-Ponty, Maurice. Phenomenology of Perception. London: Routledge Classics, 1945.

“Olafur Eliasson: Your body of work.” Universes in Universe.

Ouroussoff, Nicolai. “Boxy to Bold: A Concert Hall Busts Out.” The New York Times. February 19, 2009.

Owsley, Dennis. City of Gabriels: The History of Jazz in St. Louis, 1895-1973. St. Louis: Reedy Press, 2006.

Pedersen, Traci. “For Memory, Brain Is a Network, Not a File Cabinet.” Psych Central. November 6, 2010.

“Porter House.” Architecture-Page.

Postalci, Ikbal Ece. The New Urban Memory. 42nd ISoCaRP Congress. “rem koolhaas / OMA : CRONOCAOS preservation tour.” Designboom.

Rojas, Andrea. “Urban Voids in Medium Size Chilean Cities.” Vague Terrain. March 1, 2009.

Stephens, Suzanne. “Alice Tully Hall, Lincoln Center.” Architectural Record. June 2009.

Zaleski, Amanda. “The Nights Goes Dark.” Riverfront Times. January 10, 2007.

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