The Ruin, the Occupant, and the Context: Thesis by Paul Arduini

The Ruin, the Occupant, and the Context: Looking Beyond Preservative Methodologies in Architecture to Elicit a Relationship Between Perceptive Users and the Context in which a Ruin Lays

by Paul Arduini Bachelor of Science in Architecture Wentworth Institute of Technology, 2017 Submitted in partial fulfillment of the requirements for the degree of Master of Architecture from Wentworth Institute of Technology, April 2018.

..........................................................................

Paul Arduini Author Department of Architecture

..........................................................................

Certified by Anne-Catrin Schultz, PhD Thesis Supervisor

..........................................................................

Accepted by Kelly Hutzell Director of Graduate Program Š2018 Paul Arduini. All rights reserved.

The author hereby grants to Wentworth Institute of Technology permission to reproduce and to publicly distribute copies of this thesis document in whole or in part using paper, electronic, and any medium now known or hereafter created.

01

02

PLAGIARISM STATEMENT Plagiarism is the submission or inclusion of someone else’s words, drawings, ideas, or data (including that from a website) as one’s own work without giving credit to the source. When sources are used in a paper or drawing, acknowledgement of the original author or source must be made through appropriate references (footnotes, endnotes) or if directly quoted, quotation marks or indentations must be used. Even if another person’s idea, opinion, or theory is paraphrased into your own words, you can be accused of plagiarism. The same holds true for drawings. Only when information is common knowledge may a fact or statistic be used without giving credit (https://www.wit.edu/catalog/2017-2018/academic-honesty).

Plagiarism is a serious issue and it is important for all to be able to rely on the integrity of student work. The use of content prepared by another person or agency engaged in the selling of papers or other academic materials constitutes plagiarism. Plagiarism does not only refer to written work but also to computer data, drawings, sketches, design concepts, code, musical scores and visual arts.

Plagiarism can be inadvertent, so please become informed about the forms it can take. While we are all using precedents and study the built work to get educated and inspired, it is not acceptable to use entire concepts or appropriate drawings, sketches, 3D models or any other representation thereof and claim them as your own.

I, .........................................................................., am aware of the serious nature of plagiarism and of the fact that it includes design concepts, images, drawings and other representations beyond the written word. I will not intentionally use someone else’s work without acknowledgement and will not represent someone else’s work as my own.

Signature.............................................................Date........................

03

04

00

PREFACE

Acknowledgments I wish to acknowledge my: Thesis Advanced Topics Professor Anne-Catrin Schultz

Thesis Prep I Professor Linda Weld

Thesis Prep II Professor John Ellis

Independent Advisor Michael Goorevich

Thesis Special Topics Professor Mark Klopfer

High-school Advanced Studio Art Professor Paul Aubin

Mother Brenda Arduini

Father Robert Arduini

Brother Alexander Arduini

Preface | 07

Fig. 01. Form finding through a destructive methodology.

Abstract Adapt.

Reuse.

Reinterpret.

Time as design.

Old. New. Destroy to create.

Inside.

Outside.

In-between.

Attach.

Change.

Conglomeration.

Layer.

Stratify.

Support.

Liberate.

Complete.

This thesis will explore the multiple approaches of adaptive intervention within the context of architectural ruins. Time, in this case, is the ultimate designer; through its destructive qualities something new emerges to establish a basis for the next layer. These ruined structures once served a function that is now antiquated, therefore presenting the opportunity of reinterpretation. Through reinterpretation, ruins maintain their groundedness in historical context while serving as a foundation for something new. The stratification of architectural elements as well as historical artifacts strengthens the fundamental idea of reinterpretation. The proposal of new architecture integrated with ruins poses an invasive methodology to reinterpret and reuse something that is otherwise lost. There will be an investigation of the tectonic nature of material joinery between new and old. Looking to the works of twentieth century architects who are noted for their radical reconstructive or sensitive and conservative approaches to the issue of adaptive intervention, it is apparent that the joint plays a significant role in a design intervention both at the scale of a detail and of the architectural work as a whole.

Preface | 09

Structure of Investigation Literature Review The literature review will delve deep into the investigation by explaining related research, along with making connections between authors. The connections that are made help to support the thesis investigation. Beginning with the concept of anastylosis as a means of restoring ancient ruins, a closer look is given to the general direction that architecture is headed; technologically advanced design methods and parametricism.

Patrik Schumacher’s lecture based on his book about parametricism plainly tells us the direction that architectural design is reaching, and within the next few years, there may be a unified method as well as a theory behind architecture. This brings up the ever-present question of whether or not this new direction is going to be successful or whether it will receive criticism as did each and every previous architecture theory.

Moving away from method of design and conception, we look into methods of adaptation. There is a scale of which humans intervene on ancient structures, and theorists / architects take a position on this scale at different degrees of invasiveness, some being more radical than others. The methodology used on an adaptive reuse project will give an insight as to the degree of intervention.

Design as Research This section provides a methodology to the investigation by first setting up frames of research. Design criteria are then introduced to set up a method of investigation, which allows us to measure the successes and failures of a project. Precedents are studied as a means of understanding the different methodologies of intervening within an ancient or dilapidated structure. Looking at works of architecture that utilize a variety of methods, one is able to measure their successes and failures in respect to their approach. Tests are executed as design interventions to yield a series of results, which are then evaluated based on the established criteria. One design test includes a recent studio project based in Rome, Italy. The project takes ideas from multiple methodologies including building outside and on top of ruins.

10 | Preface

Table of Contents 00 - Preface Acknowledgments 07 Abstract 09 10 Structure of Investigation

01 - Introduction Thesis Statement 17 Argument 17 Contextual Relevance 18 Personal Statement 19 Audience 20 Closing 21

02 - Literature Review Introduction 25 Anastylosis and Falsified Tectonics 26 Material Duality 28 Restorative Methodologies and the Ontological Presence 30 Scars of the Past 31 Imitation 32 Conclusion 33

03 - Design as Research Discursive Images 38 Framing 43 Criteria 59 Design Test: Ludus Magnus, Rome 65 Design Test: Charrette 79 Site Location 90 Urban Scale 92 Island Scale 96 Focused Design Criteria 102 Problem & Program 106 Framing 01 111 Framing 02 115 Framing 03 123 Critical Reflections 128

12 | Preface

Table of Contents (Cont.)

04 - Outcome Approach 134 142 A Narrative of Experience

05 - Reflection Reflection 158

06 - Notes and Bibliography Literature Review Bibliography 162 Notes 163 Figure List 166

01

INTRODUCTION

Fig. 02. The stratification of architectural style.

Thesis Statement In an attempt to preserve memory through restorative actions, we erase the physical presence of truth and create a nostalgic representation of what once was. How may we reinterpret architectural ruins through the process of stratification to allow the continued passage of time while not erasing memory? In doing so, a ruin must be grounded within its context. As the surroundings evolve, the ruin must maintain its contextual relevance both conceptually and physically.

Argument Between the rather conservative stance of preservation and the act of restoration lies the position of reinterpretation. Restoration confuses the truth of material with and leads us towards imitation. To reuse is to truly become more grounded in the history in which ruins lie; conservation or preservation places us aside a ruin merely to observe and maintain a hands-off principle while disconnecting history from its context.

Introduction | 17

Contextual Relevance The bulk of this research is aimed at ancient structures, with a particular focus on Roman architecture. I will attribute this to my personal connection with Italy, along with my experiences while conducting research in Rome. The research done while overseas culminated in a design project in which each student was tasked with choosing a site and program to implement a design intervention in the city of Rome. This project helped to propel me in a direction for my thesis, as it maintained certain parallels, both conceptual and physical.

There was a shift in focus between first and second semesters; I was challenged to locate a site that still meets a certain criteria, yet is more mundane than the pristinely preserved ancient ruins in Rome.

The location deals with the same methodologies and problems, but at a different scale and form.

18 | Introduction

Personal Statement Although the majority of my life has been spent in Upstate New York, not far from the border of Massachusetts, my family ancestry closely ties me to the historically rich country of Italy. Through the graduate program at Wentworth Institute of Technology, I was able to fuel my thesis investigation by traveling to Rome for 11 days with a small group of 14 peers. Having been to Italy on multiple occasions to visit family, I began the travel period with a very basic firsthand knowledge of ancient Roman architecture. I believe that what intrigues me the most is the ability of the Roman antiquities to still serve their fundamental purpose to this day.

I acknowledge the positionality of myself as a designer rather than a preservationist; my background is not of the technicalities and unspoken rules of architecture, but of the free and self exploratory world of art. From my very early years until the present I have dedicated myself to art as I desire to create, to build, to draw, to paint, to design, to think, and to love. I am fortunate to have discovered at a young age the beauty of designing for the human experience; for their participation, enjoyment, and anticipation.

Introduction | 19

Audience To designers who wish to express their creativity to its fullest extend no matter the context; I urge you to, of course, give respect and gesture to the site that is allowing you to break its ground, but to do so in a manner that breathes new life into the location rather than placing the site on a pedestal that cannot be touched or altered.

To users who wish to remember; always keep in mind that our memories are in fact just that; something of the past. To build upon a memory is to be merely nostalgic, while creating a false representation of an idea that simply does not exist anymore.

Now I look to everyone; I hope to inspire the preservationist ideology to go beyond conservation, and to approach antiquity with an intent to use rather than observe.

20 | Introduction

Closing How did we become a generation of perfectionist re-creationists to the point of imitating architectural elements? The following research will address issues of technological implementations within the archaeological realm. These issues begin with the progression of technology in general; parametric design makes designers salivate at the thought of form-finding through the documentation of data. Data driven design is pushing all architecture related fields in the direction of computerization and computation. Hoping to revive the methodologies of twentieth-century architects, this research will discuss the desire to go beyond restoring something to its original state. The method of restoring through new means allows us to further stratify history while not simply building a nostalgic monument. The following research will discuss methods of two sides; radical reconstructionism and extreme conservationism.

Introduction | 21

02

LITERATURE REVIEW

Introduction The act of simply discarding something that is either unused or decrepit has always been a topic of concern for me. I believe this movement of non-reuse and starting “new” is concurrent with a time of wastefulness and instant gratification. On the other hand, preserving every structure that seems to be in a state of irrecoverable decay to the point of monumentalisation is a falsity to be avoided as well. As an increasingly innovative generation, we must reinterpret our past structures to stratify history. In a world where we monumentalize every excavated piece of history, we must be open to exploring options of reinterpretation and reuse through stratification rather than approaching history with a “hands off” method. The “old” and the “new” hold a duality that becomes superior to the meaning of each piece individually.

I have always been very intrigued by the intricacy that the “joint” can propose, especially when joining two otherwise different materials. This topic can be looked at on a particularly tectonic level, as physical connections between differing materials creates an opportunity to express the beauty of an exposed joint. This literature review will look through the same lens of examination that I have placed historic artifacts of architecture under while focusing on the duality of new and old. The following research will articulate methods of stratification between new and old architecture and the importance of the tectonic nature of layering. The connections made between authors will begin to answer the question that is posed by ancient structures; how can they be reused rather than simply preserved as nostalgia?

Literature Review | 25

Anastylosis and Falsified Tectonics

Fig. 03. Anastylosis in context.

The root of my concern is tethered in the principle of anastylosis. The goal of anastylosis is to “reproduce a hypothetical copy of the original model.”1 Anastylosis in this application is essentially the restoration of ancient ruins or architectural artifacts to what is thought to be their most original condition, typically through 3D scanning techniques. Modern techniques utilize 3D scanning technology to map surface patterns and textures which are then stitched together to produce a digital 3D model. This method tends to take the side of William Morris and his stance on the preservative qualities of architectural restoration.2 Morris once wrote in a letter that “Ancient buildings are... sacred monuments of the nation’s growth and hope...”3, which signifies the importance that the role of ancient architecture plays in the endurance of a nation. The issue with this is the question of authenticity; to replicate an ancient artifact, must we use such advanced methods that require modern tools to produce an artificially ancient piece? There is an apparent shift from the skills that the builders and craftsmen possessed when creating these structures that we perceive as ruins to the current generation of digital thinkers who “build” though digital media. Is something more authentic because it

1. M. Canciani et al., “A Method for Virtual Anastylosis: The Case of the Arch of Titus at the Circus Maximus in Rome.” ISPRS Annals of the Photogrammetry, Remote Sensing and Spatial Information Sciences, Vol II-5/W1. (2013), 61.

2. “Morris as Preservationist | William Morris.” n.d. Accessed November 19, 2017. https://www.lib.umd. edu/williammorris/morris-as-preservationist.

3. Morris as Preservationist.

26 | Literature Review

is replicated in the exact image of what it once was? Or is it more authentic to use the same method to create something that would have inherent imperfections? This brings up the subject of the digital age becoming the inevitable future, as Patrik Schumacher states in his book “Parametricism And the Autopoiesis Of Architecture.” He states that “parametricism is the way we do urbanism and architecture now.”4 While trying to construct principles of design that determine a certain physiognomy5, which can be thought of as a “face,” the focus of a project is placed simply on the representative aspects rather than the tectonic relationships within.

On the matter of parametricism and its constraints of solely representation, Harry Francis Mallgrave, in his article “Cognition in the Flesh...the Human in Design,” quickly brushes aside the notion of being able to experience architecture through its representational qualities; in fact, he implies the very idea of representation without an experiential backing results in a flimsy idea.6 Instead, we perceive a space in a much deeper sense; through unwilling emotion that occurs from instinctual and evolutionary processes. An emotional and physical response is induced as humans encounter something unusual; we respond to a stimuli rather than simply observing and acknowledging a difference.7 When shifting atten-

tion during the design process from the user experience to the overall shape or form, designers lose sight of the major purpose of the architecture; to occupy, to dwell, observe, and to be.

The largest contributor to this steady assembly line of non-perceivable buildings is computer design. Once again, is anastylosis the answer to dealing with ancient ruins? “Architecture is inherently a multisensory experience on multiple levels involving memories and a joy of play and anticipation, one that defies and deterministic or reductive prescriptions.”8 We must ask ourselves if Patrik Schumacher‘s ideally parametric “new age” of architecture will be able to uphold the values that users must experience and anticipate. While considering modern technologies as a method of replication rather than reinterpretation, what does the implementation of anastylosis have on the future of historic and ancient architecture?

Although Schumacher does not seem to concern himself with the ancient ruin, his point holds some truth when considering the applications of digital technologies to an ancient building typology. We are not attempting to use old methods, but rather the most advanced methods to restore, reconstruct, and conserve ancient structures. Relating to Kenneth Frampton’s “Rappel à L’ordre: The Case of the Tectonic,” the very notion of tectonic can be

4. Patrik Schumacher. “Parametricism And the Autopoiesis Of Architecture,” (2011), 7.

5. Schumacher, Parametricism, 9.

6. Harry Francis Mallgrave, “Cognition in the Flesh...the Human in Design,” ed. Tyler Stevermer, Thresholds 42 Human, (2014), 83.

7. Mallgrave, Human in Design, 82.

8. Mallgrave, Human in Design, 83.

Literature Review | 27

traced back to a Greek word which signified a carpenter or builder.9 So much weight (metaphorical and physical) was placed on the builder because the tectonic nature of building was seen from the very smallest detail to the structure as a whole. The principle of tectonics takes on a poetic meaning as the builder himself becomes the poet.10 This notion is lost when digital techniques of restoration take over; it strips the builder of their skill and poetics.

The conversation between the works of Frampton, Schumacher, and Mallgrave discusses the scale of which technology should be apparent in the design process.

Fig. 04. Scarpa places “light” and “dark” materials alongside each other.

Fig. 05. Interfacing new and old at Fondazione Querini Stampalia.

28 | Literature Review

Material Duality Stratification is often a product of material relationships. Kenneth Frampton describes the most common materials as seen throughout history and how they may be characterized; light materials such as wood and its equivalents, and heavy materials such as brick and its compressive equivalents.11 “These gravitational opposites, the immateriality of the frame and the materiality of the mass, may be said to symbolize the two cosmological opposites to which they aspire: the sky and the earth.”12 The “light” materials metaphorically reach to the sky, while the “heavy” materials embrace the groundedness of the earth. Anne-Catrin Shultz, in her book Carlo Scarpa Layers, states that material layering may appear as multiple

9. Kenneth Frampton, “Rappel a L’ordre: The Case of the Tectonic,” Architectural Digest 60, (1990), 23.

10. Frampton, Case of the Tectonic, 23.

11. Frampton, Case of the Tectonic, 24.

12. Frampton, Case of the Tectonic, 24.

layers that culminate into a singular element.13 In this case, multiple pieces, either similar or dissimilar, are able to work together to create a whole. This “whole” must not be solely thought of as a singular element, as its parts and pieces are still able to be read as separate. The focus is not on varying surfaces or patterns, but rather the tectonic relationship between parts. Materials tend to stratify based on their placement and relation to each other.

When layering mechanics are thought of as different types of clothing, “one [type] completely clothes the space provided by the structure, follows its contours and forms a type of ‘outer or inner lining’...[as] it shows the aspect of clothing space only in parts. The other type of clothing is independent of existing conditions, forms its own spatial configurations - slabs and panels - and is visible in joints and side views, demonstrating its stratified character.”14 This is essentially where new and old oppose each other; there is more desire to utilize Frampton’s theoretically “light” materials that “reach to the sky” to clad the structure verses Frampton’s theoretically opposite “dark” materials that express the tectonic detail in their truthfulness.

his mid twentieth-century renovations at Castelvecchio in Verona, Italy, was drastically opposite of the principles of anastylosis; where anastylosis attempts to return an ancient ruin to its original state through a hypothetical copy of the original model to the greatest degree possible16, “Scarpa’s approach when making this ‘radical restoration of the castle’ was at once subtle and aggressive, accepting and working with certain previous renovations, but also removing sections of historical fabric and making modern constructions throughout.”17 On his renovation of the Fondazione Querini Stampalia, Scarpa strategically joined two materials together. For example, the existing Istrian stone stairs were adapted to accommodate the new marble; the nosing and moulding was cut away to accept a new material. The new marble fused with the old stone, preserving the old material beneath rather than replacing it entirely, as typical restoration would have required. This technique allows for the “new and old to coexist simultaneously in our everyday use.”18 Scarpa radically restores a structure through invasive methods of removal and addition, while reinterpreting through the stratification of material.

Carlo Scarpa uses successful examples of material duality. His renovative work places him on Viollet-le-Duc’s side of radical restoration.15 The restorative method that Scarpa uses during 13. Anne-Catrin Schultz. Carlo Scarpa: Layers. (Stuttgart: A. Menges, 2007), 10.

14. Schultz, Layers, 13 15. Robert McCarter. Carlo Scarpa. (London : Phaidon Press Ltd, 2013), 138.

16. Canciani, “Virtual Anastylosis,” 61.

17. McCarter, Carlo Scarpa, 138.

18. McCarter, Carlo Scarpa, 170.

Literature Review | 29

Restorative Methodologies and the Ontological Presence

In relation to this notion of a “symbol,” Spurr states that “for Viollet-le-Duc, architectural

The double sided battle of restoration can be

restoration was a new science, like those of

depicted through the ideas of John Ruskin and

comparative anatomy, philology, ethnology, and

Eugene-Emmanuel Viollet-le-Duc.19 In Archi-

archaeology.”23 Similarly, Kenneth Frampton

tecture and Modern Literature, David Spurr

refers to architecture in a scientific manner by

states that “the opposition between an aesthet-

using the term “ontology.” He suggests that

ics of architectural ruin and one of restoration

we may think of buildings as ontological rather

bears comparison with another burning issue in

than merely representational symbols that have

nineteenth-century art: the opposition between

a greater presence than that of scenographic

allegory and symbol.”20 In this case, allegory is

representation.24 He goes on to imply that the

defined as a translated abstraction of some-

form of the Doric column is a representational

thing hidden into a story while a symbol “uni-

being, while firmly holding his stance in favor

fies the material object with the metaphysical,

of the tectonic object versus the scenograph-

between the phenomenon and its essence.”21

ic, or representational tectonic. Perhaps the

Restoration implies another kind of

scientific correlation to the “ruin” rather than

abstraction...Where the aesthetic of

the restored artifact gives more meaning to the

ruins fetishizes the marks of time, res-

life of the past. While Viollet-le-Duc positioned

toration seeks to erase them. In this respect restoration belongs to the form of nostalgia that dreams of the timeless unity of the object with its ideal origins – the unity of the ‘symbol’ – whereas the ruin, as we have just seen, expresses the temporal disunity proper to ‘allegory’.

22

himself on the preservative side, John Ruskin opposed restoration of any kind.25 “For Ruskin, it is a matter of the impact of architecture on public life, of the manner in which a building becomes a permanent part of the landscape, and of a certain ethical responsibility of the architect toward the people.”26 The effective transi-

The ‘ruin’ allows for time to be observed at a

tion of an architectural piece into the landscape

non-static rate; no moment of pause is given as

in which it exists is indicative of a long life of

the ruin continues to age. The restoration pro-

uninterrupted decay. Any attempt to intervene

cess attempts to erase the visible passage of

on a structure with an intent to preserve is re-

time and return an artifact to its original image.

moving said architecture from its place in time.

19. David Spurr. “Figures of Ruin and Restoration: Ruskin and Viollet-le-Duc.” In Architecture and Modern Literature,142-61. (ANN ARBOR: University of Michigan Press, 2012), 142.

20. Spurr, Figures of Ruin and Restoration, 142.

21. Spurr, Figures of Ruin and Restoration, 143.

22. Spurr, Figures of Ruin and Restoration, 146.

23. Spurr, Figures of Ruin and Restoration, 148.

24. Frampton, Case of the Tectonic, 23.

25. Spurr, Figures of Ruin and Restoration, 150 26. Spurr, Figures of Ruin and Restoration, 155

30 | Literature Review

The very notion that architecture holds an ontological presence implies a certain humanistic quality or persona. Frampton states that “Inanimate objects may also evoke ‘being’, and that through this analogy to our own corpus, the body of a building may be perceived as though it were literally a physique.”27 “Viollet-le-Duc saw in the object of his study a ‘correlation of organs’ and the subordination of its different elements, so that every part could be understood in terms of its function within the overall structure.”28 Lebbeus Woods also compares architectural ruins to the human body. In his book Radical Reconstruction, he states that “the natural stages of healing may not be pretty, judged by conventional aesthetic standards, but they are beautiful in the existential sense. As art and life become one, the need to disguise the actual diminishes, until the actual not only appears beautiful, but is [beautiful].”29 Essentially, we must embrace the scars that time has made; we must not cover them in an attempt to restore them to their original condition, but rather allow them to express their stories through a visible imperfection. The theories of Woods tend to align with Viollet-le-Duc over Ruskin, however, there seem to be some moments of overlap.

Scars of the Past The richness of historic events that are baked into architecture is undoubingly present in architectural ruins. Spurr states that “ruins testi-

fy to the irreversible effects of time even as they mark the rupture of the object with its origins...

The aesthetic of ruins can thus be seen as an authentic nostalgia, as the melancholy cult of the past arising out of the space of rupture, and conscious of the irremediable absence of its object.”30 A very powerful meaning is brought to ancient structures. We are able to observe the inevitable nature of time and the effect it has on built projects. The fact that even part of the ruins still stand today is a testament to the builders that implemented their tectonic and poetic knowledge into their work.

Woods speaks of a particularly destructive nature that occurs in locations of heavy warfare.

The scars of warfare are self inflicted by humans, willingly or unwillingly, not unlike ancient ruins; in most cases, the structures were destroyed by looters who removed stones for the purpose of reuse in other structures over the span of many years. Woods states that a scar is a “mark of pride and of honor, both for what has been lost and what has been gained.”31 In this case, the scar becomes a symbol for the strength of a community to overcome and survive. “Wherever buildings are broken by the explosion of bombs or artillery shells, by fire or structural collapse, their form must be respected as an integrity, embodying a history that must not be denied.”32 For example, in the war torn city of Sarajevo, Lebbeus Woods proposed the High Houses; they were meant to occupy

27. Frampton, Case of the Tectonic, 24.

28. Spurr, Figures of Ruin and Restoration, 149.

29. Lebbeus Woods. Radical Reconstruction. (New York: Princeton Architectural Press, 1997), 16.

30. Spurr, Figures of Ruin and Restoration, 145.

31. Woods, Radical Reconstruction, 16.

32. Woods, Radical Reconstruction, 15.

Literature Review | 31

the air space above the city which was previously occupied be the elements of war, including artillery shells, stray bullets, and aircraft.

By the houses rising up from the ground, they reclaim the city for the people. Being poised on reclaimed steel cables and beams allowed the High Houses to become rooted in their place, yet appear to fly high over the city.33

Imitation

Fig. 06. The High Houses are poised on reclaimed materials and occupy the sky.

Imitation is a severe obstruction that architecture must avoid at all costs. “Ruskin tells us that the architect must avoid the suggestion of a means of structural support other than the real one, as well as the painting of surfaces to represent a material other than that of which they are made.”34 Even the act of decorating a column is an act of false representation, however, Ruskin concerns himself more with the material identity of a structural support that does not imply that it is anything other than what it is. Spurr tells us that, like Ruskin, Viollet-le-Duc much prefers a material to be true to its own identity; a material should not attempt to appear as a different material.35 The notion that one architectural object can be covered to falsely imply and imitate a different architectural object brings us back to the restoration of ruins; restoring would mean the introduction of an inherently different material through an incredibly different method (technology).

Frampton tells us that architecture has always avoided “anti-functionalism” and the imitative art of natural form; there should be, and has always been, a gap between architecture and the

33. Woods, Radical Reconstruction, 18.

34. Spurr, Figures of Ruin and Restoration, 147.

35. Spurr, Figures of Ruin and Restoration, 147.

32 | Literature Review

“figurative arts, even if its form can be seen as paralleling nature.”36 Architectural form sometimes attempts to have similarities to natural form, yet it is important for the architecture to not subject to pure imitation.

On the imitative nature of falsified elements, Harry Francis Mallgrave states that “our focus on representational values has concealed the fact that architectural design is, on a primal level, simply the play of materials, colors, forms, patterns, and textures...”37 Essentially, architecture may be stripped down to its most basic elements while still maintaining the fundamental values of material and how they are curated to work together. Buildings which fail to acknowledge the fundamental property of structural units is a falsity that turns its back to architecture. Imitation is the worst form of this as it implies, in the most false sense, that the importance lies in the purely aesthetic quality of a fundamental element such as a structural system. Lebbeus Woods is successful in his theoretical implementation of the “High Houses” in Sarajevo, as the concept is to reclaim the city while using reclaimed steel beams that act as their true identity and nothing else.38

Fig. 07. Column orders evolved to serve a purpose other than structural.

Conclusion The notion of restoration in terms of bringing ancient structures back to their original, purely visual appearance is a scenographic attempt at preserving memory; this false action diminishes the true nature of the “ruin” while using impossibly advanced technologies to complete

36. Frampton, Case of the Tectonic, 25.

37. Mallgrave, Human in Design, 87.

38. Woods, Radical Reconstruction, 18.

Literature Review | 33

a rather primitive task. The ruin is personified through time as it is marked by historic events, and it leaves its mark on the context in which it situates itself in. While considering the ruin to have qualities not dissimilar to humanistic values, one must question the degree in which we intervene; do we attempt to take control and fully preserve a human body during the aging life cycle, or do we accept the inevitability of the eventual retreat of life?

We must embrace the essence that an architectural ruin stands for. Its ontological presence tells a story that must not be falsely restored and recreated through uninformed techniques of a disconnected generation. By fully restoring an architectural artifact to what we presume is its ideal condition, we are, in a sense, participating in the act of imitation. Parallel to the theoretical “scale� of restoration that is capped at either end by John Ruskin and Viollet-le-Duc, there exists a method of intervention that both restores and preserves. By taking an alternative approach that invasively intervenes upon an architectural ruin, but allows for the ruin to continue to exist without restorative interruption, we may reach a degree in which we become involved that allows us to reinterpret the structure through stratification on a tectonic level.

34 | Literature Review

03

DESIGN AS RESEARCH

Discursive Images Fig. 08. This image speaks to the idea of producing new forms through a destructive process.

Fig. 09. Another example of creating a form through the process of demolition.

38 | Design as Research

Fig. 10. An early concept of attaching a dense neighborhood to a piece of existing infrastructure.

Fig. 11. Another example of utilizing existing infrastructure by the housing of dense neighborhoods.

Design as Research | 39

19 12 Fig. 12. A timeline of the Basilica di San Clemente in Rome, Italy, mapping important additions.

18 57

FURTHER EXCAVATION

Fr. Louis Nolan began further excavation in 1912 to find the fourth buried layer; the buildings that were destroyed in the Great Fire of Rome.

EXCAVATION OF ST. CLEMENT

Fr. Joseph Mullooly began excavation in 1857 and discovered the 4th Century basilica below and the 1st Century structure below that.

11 THE THIRD LAYER 08

Due to the existing church being badly damaged in 1084, a new church was built above it. The existing building was already sunken into the ground, providing a foundation for the new church.

399 BUILDING CONVERTED TO BASILICA C.E. 395 C.E.

MITHRAISM OUTLAWED

380 CHRISTIANITY PROCLAIMED SOLE C.E. RELIGION OF THE ROMAN EMPIRE

~220 C.E.

~90

SECOND LAYER ADDITION

In the early 3rd Century, a Mithraeum (Temple of the Persian sun god Mithras) was added within the courtyard of one of the existing structures.

THE SECOND LAYER

C.E. In the late 1st Century, houses were built above the previous foundation, separated by a narrow street.

80 COLOSSEUM IS BUILT C.E.

64

C.E.

THE GREAT FIRE OF ROME

The city of Rome burned, thus devastating many buildings including the first layer of what would become the Basilica of St. Clement. The destroyed building was filled in and used as a foundation for new homes.

s R use s YE , ho iou LA ry rev a D entu e p d by ONst C e th ate ECte 1 abov par E Se la ilt , se t.

TH th bu ion ee In ere dat str w un w fo arro n T

H

E

S EC

O

N

D

L

A Y

ER

T Th HE F w e IR Fi as firs ST fi re de t l LA fo lled of R stro aye YER r h in o y r ou a me ed of t se nd in du his s. us 6 rin b ed 4 C g uil as .E the din a . It Gr g fo w ea un as t da tio n

TH

E

T Du HE T b e H a eing to IRD T ne b the LA su he e w c adl ex YER a nk xi hu y d ist fo en st rc a in un i in h m g da nto g b wa ag ch tio t ui s ed urc n he ldin bu in h fo gr g ilt 10 rt o w a 8 he un as bo 4, ne d, p al ve i w ro re t. ch vi ad ur din y ch g .

Fig. 13. Exploded axonometric view of The Basilica di San Clemente, showing the reinterpretation of the building through stratification.

R

RD

TH

E

I TH

ST

R FI

YE LA

R

YE LA

Design as Research | 41

Framing A frame is meant to narrow an investigation by focusing on certain elements. An example of a frame would include choosing to study a singular architectural style within a distinct location. I chose to frame my investigation around ancient ruins of significant importance. More specifically, the ancient ruins of interest are located in Rome.

Design as Research | 43

44

Fig. 14. The new sits inside the old.

Method 01: Inside

+ Keeps ruin intact + Maintains outward expression + Least Invasive

Design as Research | 45

Precedent: Dovecote Studio by Haworth Tompkins.

This project quite literally places itself within the constraints of ruin. The degree of intervention is very minuscule, proved by the diagram in Fig. 25. In fact, the new intervention is able to be placed within the old walls by simply lowering it by a crane. This method of fabricating off-site before dropping it in place is extremely opposite of the method most likely used to construct the old brick structure, which brings up the question, is this method of intervention meant to give a gesture to the old or to make a bold statement based on new technology and construction methods? No matter its intention, the intervention keeps the ruin intact while maintaining its outward expression towards the context.

The materiality of the new intervention does not attempt to imitate the existing ruin, yet metaphorically stands for an object that is visibly susceptible to the decaying attributes of time.

46 | Design as Research

Fig. 15. The new corten steel structure sits within the old brick walls.

Fig. 16. The method of construction tells us that the ruin remains almost untouched, as the new structure is merely dropped in place.

Design as Research | 47

48

Fig. 17. The new sits atop the old.

Method 02: Integrated

+ Expresses architecture from both sides + Alters appearance and function + Very invasive

Design as Research | 49

Precedent: Archaeological Museum Of “Praça Nova Do Castelo De São Jorge” by JLCG Architects.

This museum delicately situates itself on top of ancient walls in Lisbon, Portugal. New walls appear to float over the existing, and are defined by the layout of the previous structure. Spaces are re-imagined through a new material that does not attempt to replicate the material that was used for the ancient structure. This non-restorative action of re-building an existing wall by using an entirely different material to avoid imitation is a successful in that it acknowledges the artifact and gives importance to the spaces rather than materiality.

Where I believe this project lacks in success is the representational qualities that the white scenographic walls give to the underlying structure; the new walls merely sit as a backdrop to the replicated spaces determined by the ruins underneath.

50 | Design as Research

Fig. 18. The new structure interfaces with the old walls in a varying material.

Fig. 19. The new walls appear to hover above the old as they designate spaces determined by the geometry of the ruin.

Design as Research | 51

52

Fig. 20. A new structural system is introduced to an ancient ruin.

Example: Intervention in Pompeii, Italy.

Although minor, this intervention highlights many of the criteria that I am following during my thesis investigation. The attention to material duality is apparent; the choice to use a wooden roof supported by a light structure can be tied back to the ancient Roman construction method of assembling a wooden roof atop thick solid walls. The contrast between these two elements reminds us of the longevity of Roman architecture, and brings us back to Kenneth Frampton’s “Rappel a L’ordre: The Case of the Tectonic,” as the joint between old and new is celebrated rather than hidden.1 Excavated ancient Rome can be seen as a city of vertical walls; the roofs of each structure are long departed, as they were often made of wood.

The usage of a similar construction method is a nice gesture to the ancient city.

1. Kenneth Frampton, “Rappel a L’ordre: The Case of the Tectonic,” Architectural Digest 60, (1990), 29.

Design as Research | 53

54

Fig. 21. The new sits around the old.

Method 03: Outside

+ Removes ruin from its context + Most preservative qualities + Least invasive

Design as Research | 55

Precedent: Hedmark Museum by Sverre Fehn and the Cathedral Ruins of Domkirkeodden by Lund+Slaatto Arkitekter.

The Hedmark Museum can be seen as a landmark of two parts; the first is the intervention by Sverre Fehn that utilizes the first and second methods discussed previously. The new architecture interweaves itself within an existing barn, which had been built beside the ruins of a Cathedral. The materiality of the new intervention is concrete, wood, and glass, to give a contrast to the stone ruins of the barn. A long ramp was introduced that brings visitors through the museum at a higher elevation so that they may look down into the ruins. The focus on this precedent, however, is the 14th century Cathedral that sits near the barn.

Designed by Lund+Slaatto Architects in 1998, the glass and steel structure entirely covers the ruins of the Cathedral. “The oblique, twisted side walls capture both the asymmetric plane of the ruin and the adjacent terrain’s different climbing conditions. The double-glazed surfaces of the walls give the otherwise technological building a softness that corresponds to the great Mjøs landscape.”2 The geometry of the new structure is indicative of the historic church’s inner vault. Unlike Fehn’s addition, it is clear that this approach of intervention uses the third method of building outside of the ruin to completely cover it. This method inherently severs the ruin from its context; the architects used glass to combat this situation. Unfortunately, during the day, the twisting glazed face reflects much of the sky, further disconnecting the view of the ruin from the exterior. The new structure is formed by the shape of the old vault, yet remains unsupported by the artifact.

2. “Vernebygg For Hamar Domkirkeruin.” Lund+Slaatto Arkitekter.

Accessed December 10, 2017. http://www.lsa.no/vernebygg-for-hamar-domkirkeruin/.

56 | Design as Research

Fig. 22. The Cathedral ruins seem to disappear behind the reflective glazed surface.

Fig. 23. Besides being inside the glass structure, the most clear view is when the sun is not present.

Fig. 24. When inside, it is clearly visible that the new and the old maintain their distance from each other.

Design as Research | 57

Criteria Design criteria are introduced to set up a method of investigation for each frame. The criteria exist to measure the successes and failures of a project. Through extensive research, each criterion is established so that a project may follow a set of rules that may be anchored in fact and theory, while being critically analyzed.

Design as Research | 59

60

Fig. 25. Through layers, we see a significant change.

Layering / Stratification: Through research and observation, it is apparent that layering occurs naturally over long durations of time; Rome is an excellent example of this, as made clear by the previous study of the Basilica di San Clemente. As the layering of architectural elements is present, there must exist a sense of continuity between the new and the existing; a continuous methodology based on layers. The layers are not meant to be read in striations, but as a series of “parts� coming together to create a whole. Through stratification, there must be a revelation of what once was, as the old directly affects the new. The relationship between these layers (the old and new) is celebrated as a new relationship rather than covered and falsely hidden.

Reinterpretation: Through layering, the opportunity presents itself to reinterpret.

As we stray from the notion of restoration, we allow ourselves the greater opportunity to reuse something for a different purpose. The original intent of an ancient ruin is long irrelevant, as is the desire to return it to its original state. With each layer, a new meaning is given to the structure while using previous layer as a foundation, both physically and conceptually.

Design as Research | 61

62

Fig. 26. A ruin supports the structure of a wall that appears to float.

Tectonics: Through the expression of the newly formed relationship of new and old, we are presented with the opportunity to form tectonic assembly methods. The expression of the joint between both new and old, and altering materials, draws our attention back to the stratification of elements; how do these all work together to make a whole?

The method of joinery between two pieces must be designed in relationship to the structure as a whole; through the detail, we are enlightened on the entirety of the intervention.

Material Duality: There must be a sense of balance between differing materials when introducing a foreign element into an ancient structure. Ancient structures exist as heavy stone and concrete masses, or materials that embrace their groundedness within the earth. The implementation of a light material, or an immaterialized frame as Kenneth Frampton mentions1, balances the weightedness of the artifact while reaching towards the sky. There are often cases of architectural interventions which utilize the same category of material as the old by incorporating the old walls within the new walls of a like material and strength; they must not attempt to imitate the old material, but rather support the existing through a new means. The difference is visually evident yet still promotes the idea of strength and stability.

1. Kenneth Frampton, “Rappel a L’ordre: The Case of the Tectonic,�

Architectural Digest 60, (1990), 24.

Design as Research | 63

Design Test: Ludus Magnus, Rome During the 2017 Fall Thesis semester, students participated in a travel studio, pursuing the exploration and research of a foreign country. Of the seven travel locations (New England, Rome, London, Scotland, Shanghai, Bali, and Benin), I was able to travel to Rome with a class of 12 students, led by Professor Mark Klopfer. The goal was to explore the city of Rome and choose a site to implement a design intervention. I began to see many parallels between my developing thesis ideas and the potential that the city of Rome held; as the semester progressed, the studio project began to serve as a design test for my thesis.

Design as Research | 65

Fig. 27. Occupying the Roman public realm.

67

Fig. 28. The framed views of the Colosseum visually connect to the entrance of the Museo del Ludus Magnus.

Fig. 29. The Museo del Ludus Magnus connects to the large Colosseum through framed views.

“Historical landmarks are lost without a formal entry. The Ludus Magnus was the largest of four gladiator training schools in Rome. Beneath the ground was a 180 foot long tunnel leading to the Colosseum that allowed Gladiators to be easily transported from training to battle. Half of the Ludus Magnus and the entirety of the tunnel are currently hidden beneath the ground. The incredible notion of emerging from the ground to behold the magnificent Colosseum is soiled by the busy metro station. These two historical landmarks are currently not well served by any dedicated cultural/historic center.

The museum of the Ludus Magnus depicts two paths; the path of the native Roman and the path of the visitor. A long platform reaches out from the museum across the ruins to create a long processional path. The path can be occupied, observed, walked, sat on, and interacted with.

This path is meant to be a destination in itself; it visually bridges the gap between the massive

Colosseum and the subterranean ruins of the Ludus Magnus. To the native Roman, the walkway becomes a destination rather than a tourist attraction. Spanning the entire length of the excavated Ludus Magnus, the people of Rome may spend their time observing and spectating the flow of visitor movement from above. The visitor will enter from the street, as the museum is eager to disseminate its knowledge of the Ludus Magnus. Throughout the museum, the visitor is presented with metaphorical tunnels that proceed to the ground level of the ruins.

Tourists come from all over the world and cycle through quickly, in theory, to arrive once and never return; returning Romans spectate their entertainment from above, similar to the upper tier viewing platform of the ancient Ludus Magnus overlooking the gladiator training pit. This setup places the visitor in the location of the gladiator, who is then spectated by the Romans.�

-Excerpt from the Special Topics Rome Studio final presentation.

68 | Design as Research

Design as Research | 69

70 | Design as Research

Fig. 30. Exploded axonometric view of the proposed Museo del Ludus Magnus.

The building form acts as a cap to the site opposite of the Colosseum, while extending a pedestrian bridge over the ancient ruins of the Ludus Magnus. The occupiable path appears to gently touch the ruins while maintaining a separation of new and old.

Existing hotel and apartment buildings to be removed from the site, as they do not appear to fit within the Roman context. This placement makes the most sense with the overall concept and massing of the proposed museum.

The excavated remains of the Ludus Magnus; approximately one half of the amphitheater and the lower level of a two storey courtyard space with dwelling quarters.

Site with surrounding context; the street facade that peers into the Ludus Magnus is occupied by small restaurants and housing. The Colosseum is unseen in this sketch as the scale is simply too large to depict. The ancient ruins sit approximately 15 feet beneath the grade.

Design as Research | 71

Fig. 31. The diagrammatic process by which the form was conceived.

A gesture is first given to the ancient ruins by extending a pedestrian path across the length of the site. This space is given to the local Roman demographic, as it is an active yet leisurely space which promotes interaction, movement, moments of pause, and spectating. “Solid� masses rise from the ground and become the building blocks of programmed spaces.

As the masses layer, a shift is introduced to produce intermediate spaces (see Fig. 32.) in-between.

These spaces visually connect to the exterior views, such as the Colosseum and the ruins of the Ludus Magnus, while physically determining pathways within the interior of the building to become metaphorical tunnels.

72 | Design as Research

Fig. 32. A man stands in the intermediate space between galleries.

Design as Research | 73

Fig. 33. Looking up past the suspended stair towards the glazed roof of the Museum. The openness of the roof is reminiscent of the temporary nature of long decayed wooden roofs that were typical of ancient Roman structures.

75

Fig. 34. (Left) A circulation space highlighted by shifting masses.

Fig. 35. (Below) An interior gallery space with displayed artifacts.

Critical Reflection: This studio project mainly uses methodologies two and three from the previously mentioned framework; building on top and outside of ruins. The geometry that the Ludus Magnus posed was certainly something to figuratively build off of, as the elliptical shape was reminiscent of the interior of the Colosseum (rightfully so, as it was meant to serve as a near replica for training purposes). The strong geometry of the amphitheater, however, was met with decay and new layers that nearly prohibited any intervention atop the ruins. The opposing rectilinear ruins that once served as quarters as well as a foundation for an upper viewing platform proposed an opportunity to hold a new architectural form which could span the entire length of the excavated site. I consider the extended linear pathway and viewing platform to be a product of methodology two, because it meets

the new is build over the old with an attention to the connection in-between. Where this project fails, I believe, is the nature of the program that I chose.

My goal is to create something new through stratifying and reinterpreting. Unfortunately, this project sits on the far preservationist side by standing off to the side with more of a “hands-off� expression. Although the pedestrian path reaches over the ruins, the majority of program is situated off to the side and serves as a museum to further bring attention to the ruins for what they are rather than what they can become. This project fails because it is not invasive enough. As proven in the image below, the museum displays these ruins as artifacts that we should preserve in memory rather than allow them to become something new.

Design as Research | 77

Design Test: Charrette A short design charrette encourages the quick implementation of the fundamental idea within a specific site. This allows for the very basic, often most important aspects of an idea to be represented while not focusing on detail. The selected site is the Largo di Torre Argentina in Rome, Italy. This excavated site holds four Roman temples and the Portico of Pompey, where it is said Julius Caesar was betrayed and killed. Currently, it is home to approximately 250 cats.

Design as Research | 79

I chose to focus on the existing context of the site through a series of mappings and sketches. I began with drawing the site in an axonometric view to capture not only the location of the ruins within the piazza, but to also show the opposing facades and the dense Roman fabric. The context for this site is extremely important as the Largo di Torre Argentina connects to major landmarks such as the Palazzo / Piazza Farnese, the Campo de’ Fiore, Piazza Navona, the Pantheon, the Altare della Patria, and the Tibre River. To show this connection, I diagrammed the connections on a map by masking out everything except the surrounding landmarks and their connections.

80 | Design as Research

Fig. 36. Largo di Torre Argentina in context.

Fig. 37. Largo di Torre Argentina and the surrounding Roman landmarks.

Design as Research | 81

Fig. 38. A closer aerial of the Largo di Torre Argentina.

82 | Design as Research

Fig. 39. Exploded axonometric sketch of the Largo di Torre Argentina.

Design as Research | 83

Fig. 40. Experimenting with material through model-making.

As materiality duality and stratification serve as important design criteria, a design must be tested through a closer representation of material. I represent the old “ruins� as plaster.

This signifies the weight and solidity that ancient structures possess. A light wooden structure emerges from the plaster to represent the transparent and delicate form that is supported by history. The goal is to display a conceptual idea of how an ancient ruin may support a contemporary structure. It must not restore or preserve, but utilize and reinterpret. How can a space be reused through layering to ultimately give it a different purpose? Rather than stand off to the side and observe the ruins, how can we build on the memory of ancient structures through new materials and stratification to change not preserve but to reinterpret?

84 | Design as Research

Fig. 41. Casting process; chipboard, duct tape, plaster, and wood.

Fig. 42. New meets old.

Fig. 43. New structure spanning through an ancient arch.

Design as Research | 87

Fig. 44. Layered material relationships.

Fig. 45. The ruins support a new floor.

88 | Design as Research

Critical Reflection: This model works less as a design and more of a conceptual representation of an idea; the reason being it does not belong to a specific site. The model was created by generalizing the form of an ancient ruin, using aspects of arches, broken walls, openings, and geometric spaces.

Having worked with plaster before, I anticipated the form to cast very smooth due to it settling over the course of its dry time. If this were to happen, I would need to carve, chisel, and chip away at the form in order to reach the aesthetic of an ancient ruin. This, however, fails my entire thesis investigation due to it relying heavily on the act of imitation as I would need to purposely make the plaster look aged. I could have 3D printed the ancient ruin to automatically begin with a jagged shape, however, this too stands for everything that my thesis wishes to avoid (3D modeling technology to produce something ancient). Instead, I mixed the plaster to a thicker consistency so that the pour would not settle evenly, but rather be inherently imperfect.

This model follows the first and second methodologies that were described earlier; inside the ruins and on top of the ruins. On the lowest level, the wooden structure is suspended within the space designated by ruins. At no point does the new structure touch the old structure, besides the six anchoring points that were cast directly into the plaster. The new wooden walkway spans between an old arch, using the threshold as a constraint to the width of the path.

Above the ruins exists a structure with tectonic intent. The delicate nature of the wooden structure was reflected in the construction; compared to how liberal I was when constructing the plaster ruins, the wooden intervention was much more tedious to hold together and complete. There requires more attention to detail when it comes to the naturally light structure.

Casting wooden dowels into the form provided me a structure to adhere to; ideally, the new structure would be drilled into the ruins and inserted but I did not wish to destroy the plaster model altogether. The six vertical dowels are anchoring points for the new structure to hold on to.

Design as Research | 89

>Fig. 46. 1945 85th Anniversary catalogue. 1940.

Site Location Bannerman's Arsenal on Pollepel Island, Fishkill, NY.

Fig. 47. View of Bannerman’s Arsenal from the water in the 1900s.

Fig. 48. Robert Pearson. Bannerman Entry ca 1960. March, 2013.

Flickr.

90 | Design as Research

91

Fig. 49. Map of the Project location showing alternate routes of transit.

Urban Scale Pollepel Island, or more widely known as Bannerman's Island, is located in the Hudson River in New York State between Orange County and Dutchess County. Along the eastern river bed exits the Metro-North Commuter Railroad which terminates in New York City. The island sets itself away from the riverbank by approximately 700 feet. Approximately 3.5 miles North is the Dia:Beacon; a large contemporary art museum. There are two transit stops located to the North and South of Bannerman's Island; the Northern stop is Beacon Station and is close in proximity to the Dia:Beacon. A shuttle service is offered between the museum and train station due to the museums popularity and distance from a major means of transportation. To the South of Bannerman's Island is the Breakneck Ridge Train stop, which serves merely as a platform only open on weekends. The island itself presents a unique opportunity to solve the issue of connectivity, especially being located within the midst of many transit systems. The accompanying diagram depicts the many layers of transportation around the site.

92 | Design as Research

BEACON

[METRO-NORTH TRAIN STATION]

SHUTTLE BUS SERVICE

[BEACON STATION - Dia:BEACON]

NEWBURGH - BEACON [FERRY]

CARGO / OIL RAILROAD

9W

METRO-NORTH RAILROAD 9D

PROJECT SITE

BREAKNECK RIDGE

[METRO-NORTH TRAIN STOP]

TRANSIT MAP

Design as Research | 93

BEACON

[METRO-NORTH TRAIN STATION]

Dia:BEACON

ORANGE COUNTY

PLUM POINT PARK [ORANGE COUNTY PARKS]

BREAKNECK RIDGE [SUGARLOAF MOUNTAIN]

POLLEPEL ISLAND

DUTCHESS COUNTY

[CONTEMPORARY ART MUSEUM]

[BANNERMAN’S ARSENAL]

HIKING TRAILS [BREAKNECK TRAIL]

BREAKNECK RIDGE

[METRO-NORTH TRAIN STOP]

LANDMARK / FEATURES MAP

94 | Design as Research

Fig. 50. Map of the Project location showing contextual landmarks.

Contextually, the island serves as a valuable center point for landmarks. This is a mountainous area with a large recreational community; some local activities include kayaking, hiking, and rock-climbing. Due East of the island there are two mountain peaks, both easily visible from a distance. The island is currently a tourist destination, accessible by kayak or passenger boat. The Bannerman Castle Trust, Inc. hosts island tours on weekends where patrons may hike, explore the island, and enjoy live performances.

Recognizing contextual landmarks and cultures, how may the island become a unifying element in this location? What must happen within the islands bounds that spills into the water and reaches towards the rivers edge, all while strengthening the infrastructure of transportation towards a major metropolitan area? At this scale, one can see the cultural layering of the site that describes the need for a landmark.

Design as Research | 95

Fig. 51. Map of the Project location with an aerial closeup of the arsenal.

Island Scale A man named Francis Bannerman, a Scotland born Brooklyn resident, purchased Pollepel Island in 1900 and began construction on a residence and arsenal in 19011. The arsenal became a facility that stored and sold military surplus. Although this location served a means of war and weaponry, Bannerman hoped "his collection of arms would someday be known as 'The Museum of the Lost Arts'2."

The facility ideally and ultimately would transform into a museum of artifacts while the relics inside would reflect the transition from war to peace. The Arsenal has suffered greatly detrimental events after its closing such as fires and explosions. The structure is left in a ruin-esque shell state, currently being braced by large steel supports. Bannerman's Arsenal shares the island with one other building; the Bannerman Residence. For the purpose of this investigation, the residence will not be an item of focus.

1. “Island History.” Bannerman Castle Trust, Inc. 2. “Island History.” Bannerman Castle Trust, Inc.

96 | Design as Research

Design as Research | 97

Fig. 52. "Analytique" drawing.

This drawing pursues a layered methodology while analyzing and documenting locations of interest. There exists a hierarchy of importance to the ruin through different lenses; direct intervention, physical connection, and visual connection.

The congested nature of this analyzed context helps to realize the disconnect while providing a fundamental necessity for a series points of connectivity.

Transforming the Ruins

Reinterpretation of Decayed Architecture to Achieve Groundedness in Context

98 | Design as Research

In an attempt to preserve memory through restorative actions, we erase the physical presence of truth and create a nostalgic representation of what once was. How far past beyond the notion of "restoration" do we reach to achieve reinterpretation while maintaining restorative qualities? How may we reinterpret architectural ruins through the process of stratification to allow the continued passage of time while not erasing memory? In doing so, a ruin must be grounded within its context. As the surroundings evolve, the ruin must maintain its contextual relevance both conceptually and physically.

Between the rather conservative stance of preservation and the act of restoration lies the position of reinterpretation. Restoration confuses the truth of material with and leads us towards imitation. To reuse is to truly become more grounded in the history in which ruins lay; conservation or preservation places us aside a ruin merely to observe and maintain a hands-off principle while disconnecting history from its context.

Paul Arduini

M

Arch 2018

Design as Research | 99

Fig. 53. Sketch of Bannerman's Arsenal existing Northern elevation.

100 | Design as Research

Design as Research | 101

Focused Design Criteria Grounded as a Beacon Approximately three miles North of Pollepel Island, along the metro line exists a large museum called the Dia:Beacon. Converted from an old Nabisco box-Factory, the museum now utilizes natural daylighting to preserve the visions of artists. The museum, due to its scale, holds site specific installations that are relevant to the context of local New York.

Being rather close to the island, the ruin may be adapted to become a satellite location for the large Dia:Beacon. The relationship between ruin, island, water, and distant views are elements that together allow this site to serve as a beacon for this location within New York.

Connectivity Although the island may stand on its own as a beacon within its context, there must be a connection made to the mainland. Directly opposing the ruin is a metro line spanning from Albany to the metropolitan city of New York. The concept of transportation running parallel to the island proposes opportunity for connectivity in terms of views, bringing about a new relationship between commuter, water, and ruin. Bridging between the island and the river bank of Dutchess County is an apparent necessity.

The “landing� point for this connection bridge must land close to, if not on top of, the railway. This proposes a new challenge: a connection point that serves not only the island, but the train as well. A new railway pavilion could potentially erase the small and hazardous Breakneck Ridge train stop which exists to the south of the island.

102 | Design as Research

Program The program that is influenced by the overall investigation will include the requirements for a museum within/atop the ruin, along with the required connection to the riverbank as a “bridge.” The bridge must land at the approximate location of a new Railway Pavilion which will serve the metropolitan city and locations to the North. The museum must NOT hold a nostalgic presence, meaning the ruin will not be emphasized other than the physical appearance and presence. The museum essentially is not about creating a memory of the ruin that it sits inside/on top of.

The ruin and its relationship to the water and connectivity to the river’s edge through views allows enough importance for the ruin to stand on its own without any necessary exhibits to discuss its history.

Necessary Repair Due to the dilapidated nature of Bannerman’s Arsenal, there must be some necessary reparations made to the unsupported shell in order to maintain the safety of occupants. The elements that are introduced to support the shell must be reminiscent of the overall new intervention: they will tie together to become part of the museum. The joinery between ruin, support, and museum will be celebrated.

Design as Research | 103

Fig. 54. Sketch of the existing Bannerman's Arsenal in isometric showing the extent of destruction.

104 | Design as Research

Design as Research | 105

Problem & Program A theme of dis-connectivity is present; the ruin on the island seems to be ungrounded in its current state as it holds no purpose other than a landmark for sightseeing. The island speaks to the river's edge only by sight; a large stretch of water contributes to a disconnect between land masses. The adjacent Metro-North train stop is but a small underused platform next to the train tracks and must hold a greater meaning in the grand scheme of its transportation line. The recreational kayaking and hiking community is not served by an established program. The Dia:Beacon is such a large landmark on the greater area of Beacon and has been very influential in transforming the town. Can the museum speak to Bannerman's Island?

The museum, due to its scale, holds large site-specific installations that are relevant to the context of local New York. Being rather close to the island, the ruin may be reinterpreted to become a satellite location for the large Dia:Beacon. The Bannerman Ruins will not stand as a location of facilitation for the museum, but rather as a space of utilization and inhabitance. An artist residency program will be established so that artists and craftsmen may be reached past the local context of New York. The program will provide ample large scale maker-spaces to dedicate the ruin to showcasing the act of making. In turn, the work spaces become galleries in which the public observes.

106 | Design as Research

Indoor Maker Spaces Sculpture Studio Ceramics Studio Shared Kiln Room Wood Shop Wood Turning Studio

Outdoor Maker Spaces Large Outdoor Maker/Exhibit Space Entirety of island may be utilized

Fabrication Facilities Indoor Fabrication Lab Print Room Digital Art Studio

Exhibition Spaces Entry Gallery Pedestrian paths in maker spaces

Occupant Facilities Communal Kitchen Communal Lounge Cafeteria and Bar

Artist Studios Bedroom Bathroom Storage Working Studio Space

Design as Research | 107

Fig. 55. Overall site plan showing a conceptual intent of bridging with massings.

There must be a process by which people may move between ruin, island, and the riverside. The connection is important in terms of transit, as it must have an easily accessible means of crossing the water. This transit system, however, is not the focus of the connection; the experiential qualities of crossing the expanse of water as you approach a ruin prevails as the design intent. This means that a transit system will be integrated within a bridge but will not take a way from the experience of simply approaching on foot. Once the bridge reaches over the water, it must intersect a major means of transportation. There must be a solution to the small Breakneck Ridge train stop that includes a larger system to serve a larger population. A new train pavilion will be introduced to the area that acts as the opposing anchor to the bridged connection between the island and riverside of Dutchess County.

SITE PLAN

108 | Design as Research

10’

100’ 50’

350’ 200’

Design as Research | 109

110 | Design as Research

Fig. 56. Initial sketch showing the idea of connectivity through island, ruin, water, riverside, and mountain.

Framing 01 This first framing exercise focused only on connectivity. In order to focus on a smaller aspect of this project, I limited my investigation to major transportation routes, with specific attention to the Metro-North railway. The endpoint boundaries that I set up were the two closest train stops; Beacon Station and Breakneck Ridge Train Stop. The overarching question that drove this framing was; how may I connect Pollepel Island to the mainland? This is the most broad and blatant question that I could ask when concerning connectivity, since there is an island with an obvious disconnect from the mainland. The second question was; how may I improve public transportation on the Hudson River between NYC and Albany? This question allows me to think at a much larger scale concerning other major cities within the conceptual scope of this project. Albany, being the capital of New York State and essentially my hometown, will most likely be influence by the developing Hudson River. I also asked the question; how does the new connection act as a catalyst for the continuing improvement of Dutchess County / Orange County? After speaking with peers who are from the area of Beacon, New York, I discovered the recent prosperity in the area. How can the intervention on the island also become an influential factor in the success of the immediate area?

Design as Research | 111

Fig. 57. Discursive image depicting the conceptual notion of a bridge, meeting the chaos of a destroyed structure.

113

114 | Design as Research

Fig. 58. Using layering as a methodology for drawing. First pass at program layout for the Railway Pavilion.

Framing 02 This second framing exercise looks at potential programmed areas of my thesis investigation. These areas include the ruin, the island, the bridge, and the train station. I chose to focus on the proposed railway pavilion, as this would assist me later on in designing the anchor to the bridge.

Before an intervention may happen on Bannerman's Island, an approach must be determined. The island is disconnected from Dutchess county as it is separated by an approximate 700 foot stretch of water. This issue was explored during my framing focused on connectivity; the results that were yielded led me to investigate the opportunity for physical bridging between the river bank and the island. In order for a physical bridge to be successful between the river bank and the island, there must be a grounded location in which the bridge lands. Since the Metro-North train tracks are directly on the river bank and the nearest stop is nothing more than an outdoor platform, the opportunity presents itself for a new transportation center directly opposing Bannerman's Island. This railway station / pavilion will serve both the metro, the island, the ruin, and the new intervention. As a means of access for the new Railway Pavilion, a road must be introduced parallel to the metro that stems off of the existing Breakneck Road. For non-railway users, this will be the primary access point for locals and tourists to visit the island, ruin, and intervention.

Design as Research | 115

Fig. 59. Exploded axonometric drawing depicting potential programmed locations.

Fig. 60. Exploded axonometric drawing of circulation through the proposed railway pavilion program layout.

Railway Pavilion Program: + Ticket Office + Reception + Baggage Claim + Waiting / Boarding Area + Train Platform + Retail / Food + Restrooms + Lounge + Cafe / Open Seating + Concourse / Viewing Platform + Platform Help Booth

116

Design as Research | 117

Fig. 61. Analyzing the existing facade and extracting areas of interest.

118 | Design as Research

Design as Research | 119

Fig. 62. Conceptualizing a new program for the ruin through an abstract means.

The abstraction of circulatory systems within a ruin allows a geometry to be heavily influenced by movement rather than the static nature of ruined walls. In being critical, many of these entry sequences do not make sense in the overall scheme. Through more iterations, it became clear that the entry wants to exist on the east side of the island and face the riverbank.

120 | Design as Research

122 | Design as Research

Framing 03 Moving forward towards more resolved architectural elements, I chose to frame my intervention around the "ruin," both in physical and theoretical terms. What happens to architecture in its ruined state as opposed to its original? Ignoring the memory of a ruin, as memory is often a false representation in attempt to be nostalgic, how does the architecture deal with the end of its life? Does the architecture ever really die, or is it always architecture? I believe as long as it is used for something, it may still serve a greater purpose.

This thinking brought me to begin designing at a closer scale.

Zooming in to the scale of the ruin, and even closer yet, to the scale of a space within the ruin, I attempted to design systems that act not as typical architecture but more of a "ruin" within a ruin. This allows the intervention to deconstruct and become more than its intended purpose, as does a ruin over time.

Design as Research | 123

The stair takes on a spatial quality at given moments. The occupant is pulled off of a rather linear path to observe and reflect within a constructed yet deconstructed environment. The intervention weaves itself through the existing

ruin and toegther they become one. In some areas, the intervention completely envelopes the old, while in other areas, it distances itself to maintain a relationship but give respect to the old remains.

Fig. 63. A moment within the large maker space that deconstructs a stair.

Design as Research | 125

Fig. 64. Spatial axonometric drawings depicting moments of intervention.

[OLD] EXTERIOR WALL

[NEW] ELEVATED WALKWAY

LARGE SCALE WOODSHOP / ASSEMBLY SPACE

PARTIAL AXONOMETRIC 01

UP UP

UP

UP

126 | Design as Research

LARGE SCALE WOODSHOP / ASSEMBLY SPACE [NEW] LAYERED PATHWAY

[NEW] ELEVATED WALKWAY

[OLD] EXTERIOR WALL

PARTIAL AXONOMETRIC 02

UP UP

UP

UP

Design as Research | 127

Critical Reflections These reflections come after a point in which we have researched, designed, and tested early iterations of our thesis. The following text attempts to summarize in explicit and specific concrete steps to be taken next in the process of investigation. This includes revision of criteria, an exploration in unique representation through drawing methods used to test outcomes against the criteria, and further steps towards a fully realized proposal.

128 | Design as Research

Critical Reflection 01: I believe my argument for the type of program is strong and well accepted, however, I would like to strengthen the reasoning behind it as well as the tie-back to its context (ruin to Dia:Beacon).

I must further develop the program within and around the ruin to a much greater degree. It is lacking and hurts the overall reasoning behind the moves that I am making.

Critical Reflection 02: I spoke greatly to the concept of connectivity through transit systems; both from the railway pavilion to the island and from the railway pavilion to the Dia:Beacon. Many great ideas were expressed, all revolving around the idea of speed of arriving and experience through the procession. Is it a gondola system that brings occupants through the sky, or do they want to be close to the water on a ferry? Either way, I must think about the difference between the general public visitors and the artists in residency.

Critical Reflection 03: I must narrow my scope to include the necessary designed aspects and to imply the rest. Not everything needs to be designed in great detail; the Island and the ruin are primary, the bridge is secondary, and the railway pavilion is tertiary. I should work more in model form, including a large scale site model. This model does not need to be exquisite, but should capture the scale and proportions. I must model the existing ruin in some medium of which I am unsure of as of now. I would like to have a base drawing done by hand of the ruin in axonometric form. My floor plans must be extremely detailed so that I may zoom in to the scale of the detail. The gestures given overall should be seen in the details.

Design as Research | 129

04

OUTCOME

132 | Outcome

Fig. 65. Final presentation drawings and layout.

Outcome | 133

Fig. 66. Site plan of proposed intervention.

Approach You approach via the new pedestrian bridge; it appears to be only anchored to the railway platform and the very edge of the island.

In the distance, you can make out the ground plane that the island emerges from. As you walk along the bridge, you notice that the bridge is not only a means of traveling to the island, but that it transforms into the ground itself; the added material alters the shape of the island as it meets the water. From the base of the bridge, you gaze up past the large ruin and see activity on what appears to be a mountain in the distance. The mountain is but a large hill; the highest point of the island. Atop the mountainous mass of the island, you see groups of people enjoying the rough terrain while hiking.

SITE PLAN

20’

200’ 100’

134 | Outcome

400’

135

Fig. 67. Floor plans of the proposed intervention.

01 UP

UP

UP UP UP UP UP UP

03

06

04

02

05

03

06

UP

UP

UP

07

UP

UP

10 UP UP

08

01 - GROUND FLOOR PLAN

01. METALWORKING SPACE 02. CERAMICS STUDIO 03. RESTROOMS 04. SCULPTURE STUDIO 05. SHARED KILN ROOM

SCALE: 1/32" = 1'-0" 0’

10’

50’

25’

136

09

75’

06. LARGE SCALE MAKER SPACE / WOODSHOP 07. WOOD SHOP 08. CNC ROUTER MAKER SPACE 09. DIGITAL FABRICATION SPACE / LAB 10. MATERIAL STORAGE SPACE

DN

10

DN

DN

10

09

DN

09

UP

DN

06

07

08

DN

UP

03 02 DN

01

05

DN

DN DN

04 DN

04

02 - SECOND FLOOR PLAN

01. ENTRY SPACE 02. RECEPTION DESK 03. STORAGE SPACE 04. RESTROOMS 05. OUTDOOR ACCESS

SCALE: 1/32" = 1'-0" 0’

10’

50’

25’

06. OPEN EXHIBIT SPACE 07. BAR / LOUNGE / RESTAURANT 08. OUTDOOR BIERGARTEN 09. PEDESTRIAN BRIDGES 10. VIEWING PLATFORMS

75’

137

Fig. 68. Floor plans of the proposed intervention.

09 07 06 05 08

04 03 02

UP UP

01

DN

UP

UP

03 - THIRD FLOOR PLAN

01. PAINT STUDIO 02. STORAGE 03. OVERLOOK 04. ARTIST CELL 05. ARTIST CELL

SCALE: 1/32" = 1'-0" 0’

10’

50’

25’

138

75’

06. ARTIST CELL 07. ARTIST CELL 08. LOUNGE SPACE 09. READING / WRITING ROOM

05 06

04 03 02 02 01

06

05

04

03

01

01

DN DN

UP

UP

DN

UP

DN

04 - 05 - FOURTH & FIFTH FLOOR PLAN, TYP. SCALE: 1/32" = 1'-0" 0’

10’

50’

25’

75’

01. FOOD STORAGE 02. COMMUNAL KITCHEN 03. ARTIST CELL 04. ARTIST CELL 05. LOUNGE SPACE 06. MEETING ROOM

01. SINGLE USER RESTROOMS 02. SHOWER ROOM 03. ARTIST CELL 04. ARTIST CELL 05. ARTIST CELL 06. ARTIST CELL

139

140

Fig. 69. Exterior view from the point of view of the existing recreational community.

141

A Narrative of Experience You stand at the base of the ramp, admiring the formal gesture that the old portcullis determined. The metal gate is no longer here, but above the winding ramp is a walkway not dissimilar to the old drawbridge. As you meander about the ramp, you are visually connected to the land across the river. You stand at the far end of the ramp to admire the water.

Upon crossing the bridge from new architecture to existing, you see the large existing ruin of a stair spanning above you. The scale of the stairs is met by the archway underneath; large enough for multiple people to walk through. There is a clear path to the outside that takes you through new and old architecture and connects you back to the island. Next to the front desk is a door to a large open exhibition space, lit by natural light.

You walk along the pedestrian paths to look down and observe the act of making; artists are busy practicing their skill and are happy to make their work process visible to eager visitors. While getting caught up in observation, you realize that the existing structure is visible to you at all times, yet it does not beg for your attention.

Walking across the interior bridges within the large-scale maker spaces, your attention is drawn upwards as the ongoing sculptures span from the ground to the generously high ceiling. The sun peeks through a skylight as you turn around to admire the scale of the space. A soft glow touches the peaks of the unfinished artwork as daylight rakes down the old walls of the ruin. You pass from interior bridge to exterior bridge, emerging fully into the sunlight that you had been teased with earlier. You are able to feel the old wall as you walk adjacent to it; the verticality of the supporting structure draws

142 | Outcome

your attention upwards to the large existing text that reads: "BANNERMAN'S ISLAND ARSENAL," a remnant of what had once existed here. You consider your journey here and consider the events that have taken place upon these very grounds.

Passing again through the large, three-foot thick existing wall, you step back onto the smooth concrete surface of the new architecture. A bridge faces you that points you towards the circulation core, which entices you to explore the floors above.

Emerging from circulation, you are met by the smell of fresh paint and the sound of dull chatter. You turn the corner and step through the sculpturesque threshold. There are artists working on paintings as tall as you. The scale of this space forces you to gaze upwards.

The sawtooth roof lets in an immense amount of direct light to illuminate the triple storied space. High up at the other end you see the vague silhouettes of people in their dwelling spaces, overlooking the work that happens below. The spaces are personal yet open, with no physical separation from the ongoing artistic creativity.

Outcome | 143

Fig. 70. View of "exterior" pedestrian bridge overlooking the metalworking studios.

Outcome | 145

Fig. 71. Interior view within the dwelling corridor at sunrise, with a view across the river.

146 | Outcome

147

Fig. 72. Isometric representation of new (color) versus old (gray).

148

Fig. 73. Exploded isometric drawing depicting unique moments within the ruin that come together to make a whole.

Outcome | 149

Fig. 74. Interior view of the large scale maker space.

150

Outcome | 151

Fig. 75. Section looking West through the proposed intervention within the ruin.

02

01 04

05

07

06

03

SECTION LOOKING WEST

01. ENTRY 06. KILN ROOM 02. OPEN EXHIBIT SPACE 07. PEDESTRIAN BRIDGE 03. LARGE MAKER SPACE 04. DIGITAL FABRICATION SPACE 05. WOOD SHOP

SCALE: 1/32" = 1'-0" 0’

10’

50’

25’

152 | Outcome

75’

Fig. 76. Section looking East through the proposed intervention within the ruin.

01

02

03

04

08

05

06

07

SECTION LOOKING EAST

01. ARTIST CELL 02. ARTIST CELL 03. PAINT STUDIO 04. PEDESTRIAN BRIDGE 05. VIEWING PLATFORM

SCALE: 1/32" = 1'-0" 0’

10’

50’

25’

06. METALWORKING 07. SCULPTURE STUDIO 08. LOUNGE / RESTAURANT / BAR

75’

Outcome | 153

Fig. 77. Section looking North through the proposed intervention within the ruin.

01

02

03

06 04

07

05

08

SECTION LOOKING NORTH

01. OVERLOOK 02. OVERLOOK 03. PAINT STUDIO 04. RESTROOM 05. RESTROOM

SCALE: 1/32" = 1'-0" 0’

10’

50’

25’

154 | Outcome

75’

06. LOUNGE / RESTAURANT / BAR 07. OPEN EXHIBIT SPACE 08. LARGE MAKER SPACE

Fig. 78. Section looking South through the proposed intervention within the ruin.

01

02

03

04

05

06

07

08

09

10

11

12

13

14 15

16

SECTION LOOKING SOUTH

01. SHOWER ROOM 02. ARTIST CELL 03. ARTIST CELL 04. ARTIST CELL 05. ARTIST CELL

SCALE: 1/32" = 1'-0" 0’

10’

50’

25’

75’

06. SHOWER ROOM 07. ARTIST CELL 08. ARTIST CELL 09. ARTIST CELL 10. ARTIST CELL

11. COMMUNAL KITCHEN 12. READING / WRITING SPACE 13. PEDESTRIAN BRIDGE 14. PEDESTRIAN BRIDGE 15. LARGE MAKER SPACE 16. SCULPTURE STUDIO

Outcome | 155

05

REFLECTION

Reflection This investigation held a large scope of work, and was given about an 85-10-5 percent distribution to the ruin, the island/bridge, and the railway pavilion across the river. Tying back to my research from the previous semester, using the "ruin" as the ideal location for intervention made sense when considering that everything else was very site specific. I would admit that the structure of the investigation underwent changes when focusing in on a specific site.

Dealing with the typology of a "shell" versus the previously studied Roman "low walls" was an obstacle that made me revisit the criteria and methodology of intervening within a ruin. I believe this mental shift drew much of my attention away from the focus of materiality and what the relationship between new and old materials should be. During my final Thesis Defense, a concern that kept arising is the way that I dealt with materiality as the new architecture rises out of the shell of the existing. There is a major facade that is left uncovered by the existing due to partial collapse, and this stark material difference between new and old certainly raises some questions. I truly wished to leave ambiguity to the facade through the choice of a plain concrete finish, partially due to my desire to not destroy everything that the ruin stands for. If I had more time, I would allow the intervention within the ruin to remain in place while I divert my attention to the rest of the island.

I implied many architectural moments around the perimeter of the island that then tied into the pedestrian bridge, but these ideas were not clearly shown. I would love to be able to produce many drawings, both at the island scale

158 | Reflection

and detail scale, that depict moments along a path, as this idea is prevalent within the ruin.

This would strengthen the desire for occupants, both visitors and artists, to become encouraged to explore. Moments along a path would serve the hiking community greatly as well as the artists, especially if the program for each moment was that of leisure and recreation. In addition to designing the moments along a path, I would like to have a much more schematic iteration of the bridge. There is an incredible amount of potential when considering the immense amounts of transit systems that surround the site. Some thoughts were to integrate a trolley or small vehicular system that is not necessarily a prominent piece of the bridge, but something that is a necessary piece of infrastructure. The speed at which people must cross the bridge works well at the speed of walking. I believe this allows people to experience the site differently than fast paced transportation. Overall, I believe the proposal was a cohesive approach to an ongoing problem in architecture today. There is no one solution, so this thesis may be considered a success or a failure depending on the audience that is critiquing.

This thesis proposal is meant to encourage an attitude of reuse that is different than both preservation and restoration. While the act of restoration must be present in any adaptive reuse project, there is a way that one can approach a problem with the mentality of radical reuse. This thesis goes far, but perhaps not far enough past the act of restoration to reach profoundness in transformation.

06

NOTES AND BIBLIOGRAPHY

Literature Review Bibliography Harry Francis Mallgrave, “Cognition in the Flesh ...the Human in Design,” ed. Tyler Stevermer, Thresholds 42 Human, pp. 76–87, 2014.

Kenneth Frampton, “Rappel à L’ordre: The Case of the Tectonic,” Architectural Digest 60, no.

3–4: pp. 20–32, 1990.

M. Canciani, C. Falcolini, M. Buonfiglio, S. Pergola, M. Saccone, B. Mammì, and G. Romito. “A Method for Virtual Anastylosis: The Case of the Arch of Titus at the Circus Maximus in Rome.” ISPRS Annals of the Photogrammetry, Remote Sensing and Spatial Information

Sciences, Vol II-5/W1, pp 61-66, 2013.

McCarter, Robert. Carlo Scarpa. London : Phaidon Press Ltd, 2013.

“Morris as Preservationist | William Morris.” n.d. Accessed November 18, 2017. https://www.lib. umd.edu/williammorris/morris-as-preservationist.

Patrik Schumacher. “Parametricism And the Autopoiesis Of Architecture.” Log, no. 21: 62, 2011.

Schultz, Anne-Catrin. Carlo Scarpa: Layers. Stuttgart: A. Menges, 2007.

Spurr, David. “Figures of Ruin and Restoration: Ruskin and Viollet-le-Duc.” In Architecture and

Modern Literature. ANN ARBOR: University of Michigan Press, pp. 142-61, 2012.

Woods, Lebbeus. Radical Reconstruction. New York : Princeton Architectural Press, 1997.

162 | Notes and Bibliography

Notes Borden, Iain. Strangely Familiar : Narratives of Architecture in the City. London ; New York : Routledge, 1996.

Cubukcuoglu, Cemre, Ioannis Chatzikonstantinou, Mehmet Fatih Tasgetiren, I. Sevil Sariyildiz, and Quan-Ke Pan. “A Multi-Objective Harmony Search Algorithm for Sustainable Design of Floating Settlements.” Algorithms 9, no. 3 (September 2016): 1–17. https://doi. org/10.3390/a9030051.

E. Alby, P. Grussenmeyer, L. Bitard, S. Guillemin, V. Brunet-Gaston, C. Gaston, and R. Rougier.

“Digitization of Blocks and Virtual Anastylosis of an Antique Facade in Pont-Sainte-Maxence (France).” The International Archives of the Photogrammetry, Remote Sensing and

Spatial Information Sciences, Vol XLII-2-W5, pp 15-20, 2017.

Fung, Edith. “Old and New Connection – Beyond Materiality.” F2D (blog), November 5, 2010. https://2bf2d.wordpress.com/2010/11/05/old-and-new-connection-beyond-materiality/.

Hansen, Kai. “Designing Responsive Environments through User Experience Research.” In-

ternational Journal of Architectural Computing 14, no. 4: 372–85, 2016. https://doi. org/10.1177/1478077116670745.

Harry Francis Mallgrave, “Cognition in the Flesh ...the Human in Design,” ed. Tyler Stevermer,

Thresholds 42 Human, pp. 76–87, 2014.

“Island History.” n.d. Bannerman Castle Trust, Inc. http://bannermancastle.org/island-history. html.

Kenneth Frampton, “Rappel à L’ordre: The Case of the Tectonic,” Architectural Digest 60, no.

3–4: pp. 20–32, 1990.

Kurniawati, Wakhidah. “Public Space for Marginal People.” Procedia - Social and Behavioral

Sciences 36: 476–84, 2012. https://doi.org/10.1016/j.sbspro.2012.03.052.

Lewis, Miles. “The Conservation Analysis: An Australian Perspective.” APT Bulletin 28: The

Journal of Preservation Technology. Vol. 28, No. 1, Historic Structure Reports, pp.

48-53, 1997.

Martin, Thomas R. Ancient Rome : From Romulus to Justinian. New Haven : Yale University Press, 2012.

M. Canciani, C. Falcolini, M. Buonfiglio, S. Pergola, M. Saccone, B. Mammì, and G. Romito. “A Notes and Bibliography | 163

Method for Virtual Anastylosis: The Case of the Arch of Titus at the Circus Maximus in Rome.” ISPRS Annals of the Photogrammetry, Remote Sensing and Spatial Information Sciences, Vol II-5/W1, pp 61-66, 2013.

McCarter, Robert. Carlo Scarpa. London : Phaidon Press Ltd, 2013.

Midant, Jean-Paul, Eugène-Emmanuel Viollet-le-Duc, and William Wheeler. Viollet-Le-Duc, the

French Gothic Revival. Paris : L’Aventurine, 2002.

“Morris as Preservationist | William Morris.” n.d. Accessed November 18, 2017. https://www.lib. umd.edu/williammorris/morris-as-preservationist.

Moss, Eric Owen, and Frank O. Gehry. Eric Owen Moss : The New City : I’ll See It When I Believe

It. New York : Rizzoli International Publications, Inc., 2016.

Patrik Schumacher. “Parametricism And the Autopoiesis Of Architecture.” Log, no. 21: 62, 2011.

Petzet, Michael. “Anastylosis or Reconstruccion - The Conservation Concept for the Remains of the Buddhas of Bamiyan.” In Estrategias Relativas Al Patrimonio Cultural Mundial. La

Salvaguarda En Un Mundo Globalizado. Principios, Practicas y Perspectivas. 13th ICOMOS General Assembly and Scientific Symposium. Actas, 189–92. Madrid: Comité Nacional Español del ICOMOS, 2002.

Schultz, Anne-Catrin. Carlo Scarpa: Layers. Stuttgart: A. Menges, 2007.

Schultz, Anne-Catrin. Time, Space, and Material: The Mechanics of Layering in Architecture.

Fellbach: Edition Axel Menges GmbH, 2015.

Spurr, David. “Figures of Ruin and Restoration: Ruskin and Viollet-le-Duc.” In Architecture and

Modern Literature. ANN ARBOR: University of Michigan Press, pp. 142-61, 2012.

“Vernebygg For Hamar Domkirkeruin.” Lund+Slaatto Arkitekter. Accessed December 10, 2017. http://www.lsa.no/vernebygg-for-hamar-domkirkeruin/.

Woods, Lebbeus. Radical Reconstruction. New York : Princeton Architectural Press, 1997.

Wysznacki, Karol. “Architecture in Science Fiction-Movies as a Tool for Improving Aesthetic Sensitivity of the Youth.” Proceedings of the Multidisciplinary Academic Conference, February 2016, 154–56.

Yaneva, Albena. Mapping Controversies in Architecture. Burlington : Ashgate Pub. Co., 2012.

164 | Notes and Bibliography

Figure List Fig. 01.

Arduini, Paul. “Disruptive Formation.” September, 2017.

08

Fig. 02.

Arduini, Paul. “Stratification of Architectural Style.” September, 2017.

14

Fig. 03.

Teatro Romano Cartagena June, 2008. Wikimedia Commons.

24

Fig. 04.

Guthrie, Peter. IMG_0472.jpg. July, 2010. Flickr.

26

Fig. 05.

“Interior Alchemy: Carlo Scarpa’s Palazzo Querini Stampalia.” The Design Life Network (blog), December, 2013. http://designlifenetwork.com/interior-alchemy-carlo-scarpas-palazzo-querini-stampalia/. 26

Fig. 06.

Woods, Lebbeus. High Houses. November, 2017. Wordpress.

30

Fig. 07.

Build LLC. Column Orders. June, 2014. Buildllc.

31

Fig. 08.

Arduini, Paul. “Disruptive Formation.” September, 2017.

36

Fig. 09.

Arduini, Paul. “Disruptive Formation, pt 2.” September, 2017.

36

Fig. 10.

Arduini, Paul. “Barnacle-Architecture.” September, 2017

37

Fig. 11.

Arduini, Paul. “Barnacle-Architecture, pt 2.” September, 2017

37

Fig. 12.

Arduini, Paul. “Timeline of the Basilica di San Clemente.” October, 2017.

38

Fig. 13.

Arduini, Paul. “Exploded Axonometric View of The Basilica di San Clemente.” October, 2017.

39

Fig. 14.

Arduini, Paul. “Intervening Interiorly.” October, 2017.

42

Fig. 15.

Vile,Philip. “Gallery of Dovecote Studio / Haworth Tompkins - 8.” ArchDaily. November, 2010. https://www.archdaily.com/89980/dovecote-studio-haworth-tompkins/5000597103_5b8dd2599c_o. 45

Fig. 16.

Bennes, Crystal. “The Dovecote Studio, Snape Maltings, Suffolk by Haworth Tompkins.” Architects Journal. January, 2010. https://www.architectsjournal. co.uk/home/the-dovecote-studio-snape-maltings-suffolk-by-haworth-tompkins/5213067.article. 45

Fig. 17.

Arduini, Paul. “Intervening On Top.” October, 2017.

Fig. 18.

Guerra, Fernando. “1240036_AR11_JLCG_20.Jpg (2000×1333).” October 2010. https://www.architectural-review.com/pictures/2000x2000fit/0/3/6/1240036_AR11_ JLCG_20.jpg. 49

Fig. 19.

Guerra, Fernando. “Site of Praça Nova of São Jorge Castle / JLCG Arquitectos - 2.” ArchDaily. November 2010. https://www.archdaily.com/89460/musealiza-

166 | Notes and Bibliography

46

tion-of-the-archaeological-site-of-praca-nova-of-sao-jorge-castle-jlcg-arquitectos/-5012f7a228ba0d06580008dc-musealization-of-the-archaeological-site-of-praca-nova-of-sao-jorge-castle-jlcg-arquitectos-photo. 49 Fig. 20.

Arduini, Paul. September, 2017. Scavi di Pompei.

50

Fig. 21.

Arduini, Paul. “Intervening Around.” October, 2017.

52

Fig. 22.

“Vernebygg For Hamar Domkirkeruin.” Lund+Slaatto Arkitekter. Accessed December 3, 2017. http://www.lsa.no/vernebygg-for-hamar-domkirkeruin/.

55

Fig. 23.

“Vernebygg For Hamar Domkirkeruin.” Lund+Slaatto Arkitekter.

55

Fig. 24.

“Vernebygg For Hamar Domkirkeruin.” Lund+Slaatto Arkitekter.

55

Fig. 25.

Arduini, Paul. “Stratified Change.” December, 2017.

58

Fig. 26.

Arduini, Paul. “Tectonic Relationship Between New and Old.” December, 2017.

60

Fig. 27.

Arduini, Paul. “Museo del Ludus Magnus.” November, 2017.

64

Fig. 28.

Arduini, Paul. “Framed Views.” November, 2017.

67

Fig. 29.

Arduini, Paul. “Framed Views, pt 2.” November, 2017.

67

Fig. 30.

Arduini, Paul. “Exploded Axonometric View of the proposed Museum of the Ludus Magnus.” November, 2017.

68

Fig. 31.

Arduini, Paul. “Massing Diagram.” November, 2017.

70

Fig. 32.

Arduini, Paul. “Median between the Mass.” November, 2017.

71

Fig. 33.

Arduini, Paul. “Look Up.” November, 2017.

72

Fig. 34.

Arduini, Paul. “Circulation Hall.” November, 2017.

74

Fig. 35.

Arduini, Paul. “Gallery Space within Mass.” November, 2017.

75

“Largo di Torre Argentina,” Google Maps, accessed November 21, 2017.

79

Fig. 36.

Fig. 37.

Arduini, Paul. “Largo di Torre Argentina and Surrounding Landmarks.” November, 2017. 79

Fig. 38.

“Largo di Torre Argentina,” Google Maps, accessed November 21, 2017.

80

Fig. 39.

Arduini, Paul. “Exploded Axonometric View of the Largo di Torre Argentina.” November, 2017.

84

Fig. 40.

Arduini, Paul. “Exploring Materiality.” December, 2017.

87

Fig. 41.

Arduini, Paul. “Casting Process.” December, 2017.

88

Fig. 42.

Arduini, Paul. “New meets Old.” December, 2017.

89 Notes and Bibliography | 167

Fig. 43.

Arduini, Paul. “Intervention Through Ancient Arch.” December, 2017.

89

Fig. 44.

Arduini, Paul. “Stratified Material.” December, 2017.

90

Fig. 45.

Arduini, Paul. “Duality.” December, 2017.

90

Fig. 46.

1945 85th Anniversary catalogue. 1940.

88

Fig. 47.

View of Bannerman’s Arsenal from the water in the 1900s.

88

Fig. 48.

Robert Pearson. Bannerman Entry ca 1960. March, 2013. Flickr.

88

Fig. 49.

Arduini, Paul. “Transit Near Site.” March, 2018.

90

Fig. 50.

Arduini, Paul. “Landmarks Near Site.” March, 2018.

93

Fig. 51.

Arduini, Paul. “Closeup of Site.” March, 2018.

94

Fig. 52.

Arduini, Paul. “Analytique.” March, 2018."

96

Fig. 53.

Arduini, Paul. “Existing Northern Elevation.” March, 2018.

98

Fig. 54.

Arduini, Paul. “Existing Axonometric.” April, 2018.

102

Fig. 55.

Arduini, Paul. “Concept Site Plan.” March, 2018.

106

Fig. 56.

Arduini, Paul. “Stretched Connectivity.” March, 2018.

109

Fig. 57.

Arduini, Paul. “Bridge Colliding.” March, 2018.

110

Fig. 58.

Arduini, Paul. “Layered Sketch.” March, 2018.

113

Fig. 59.

Arduini, Paul. “Connectivity.” March, 2018.

114

Fig. 60.

Arduini, Paul. “Programming.” March, 2018.

114

Fig. 61.

Arduini, Paul. “Facade Extraction.” March, 2018.

116

Fig. 62.

Arduini, Paul. “Abstracted Programmatic Relationships.” March, 2018.

118

Fig. 63.

Arduini, Paul. “Deconstructed Moment.” March, 2018.

123

Fig. 64.

Arduini, Paul. “Early Spatial Axonometrics.” March, 2018.

124

Fig. 65.

Arduini, Paul. “Final.” April, 2018.

131

Fig. 66.

Arduini, Paul. “Proposed Urban Plan.” April, 2018.

132

Fig. 67.

Arduini, Paul. “Proposed Floor Plans One and Two.” April, 2018.

134

Fig. 68.

Arduini, Paul. “Proposed Floor Plans Three, Four, and Five, Typ.” April, 2018.

136

Fig. 69.

Arduini, Paul. “View from Kayak.” April, 2018.

139

Fig. 70.

Arduini, Paul. “Overlooking Metalworking Studio.” April, 2018.

143

Fig. 71.

Arduini, Paul. “Dwelling Corridor.” April, 2018.

144

168 | Notes and Bibliography

Fig. 72.

Arduini, Paul. “Isometric of New Versus Old." April, 2018.

146

Fig. 73.

Arduini, Paul. “Parts to Make a Whole.” April, 2018.

147

Fig. 74.

Arduini, Paul. “Large Maker Space.” April, 2018.

148

Fig. 75.

Arduini, Paul. “Section 01.” April, 2018.

150

Fig. 76.

Arduini, Paul. “Section 02.” April, 2018.

151

Fig. 77.

Arduini, Paul. “Section 03.” April, 2018.

152

Fig. 78.

Arduini, Paul. “Section 04.” April, 2018.

153

Notes and Bibliography | 169