VENTURA CULTURAL CONNECTION
VENTURA CULTURAL CONNECTION
project team
JULIO MENDOZA / GEE PARK / RAFAEL CHUNG
professors
STACEY WHITE / DENNIS BASHAW
2016, CALIFORNIA CALPOLY SAN LUIS OBISPO
TABLE OF CONTENS
1.0 PREFACE 7 9
11 13 17
23 41
43 81
1.1 1.2
Letter to the Client Executive summary
2.0
STATEMENT OF PROJECT INTENT
2.1 2.2 2.3
3.0
PROJECT BACKGROUND OVERVIEW
3.1 3.2
4.0
PROJECT PROPOSAL - DESIGN / TECTONICS
4.1 4.2
Client Project Goals Project intent and Design approach Urban Design and building Typology
Site analysis Program summary Table
Architectural documents Engineering documents
LETTER TO THE CLIENT
The goals of the project are to provide a new image for the City of Ventura with a new Arts and Entertainment Center, creating a connection from downtown Ventura to the beach. The project includes indoor and outdoor spaces for the public to joy, incentivizing a sense of community and attracting tourism, possibilities for growth, and generate sources of income.
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EXECUTIVE SUMMARY
The existing site for the Ventura Cultural Connection project is comprised of two sections that are divided by existing railroad tracks and Highway101. Our overall concept was to group together buildings from the established need based with similar functions. The city front property contains the art and surf museums, the lobby and other administrative buildings, the black box theater, and a large underground parking structure. We envision this portion of the site to be more open and calm, with multiple outdoor spaces for people to enjoy. The beach front property is where the main performing arts center is located, along with restaurants, bars, and an additional underground parking structure. We envision this portion of the site to be more lively and active: a place where people can come together and socialize while enjoying the beautiful scenery of the Ventura beach. The two portions of the site are physically connected by an elevated walkway, but we also intend to create congruence by using similar materials and design elements. In this way the project will not feel as two separate entities, but as one unique experience.
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CLIENT PROJECT GOALS
Engage responsibilities to the Arts Center project that could: Be relevant to the culture and contemporary issues of the 21st century, Contribute to the urban and cultural context of Ventura, Make a “sense of place� and an arrival point for the public in the center of Ventura and reconnecting the beach to the downtown, Make viable and activate public spaces defined and articulated within the larger urban landscape, Appropriate and specific environmental and climatic design responses / strategies for a major civic project in Ventura,
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URBAN SEWING
How can a city that had its mesh torn by the Freeway be healed again ? How can we assign a unity to those two separated parts of Ventura ?
PROJECT INTENT AND DESIGN APPROACH
Architecture could never exist dissociated with its theory and critical thinking. As the architect Peter Zumthor said “In order to design buildings with a sensuous connection to life, one must think in a way that goes far beyond form and construction”. From this point, the exercise to develop an Art Center project requires a deep thinking and reflections through theory of architecture. What is the need for an Arts Center within a city? But first, what is the importance of art? As the philosopher Michael Foucault brought in his book The Order of Things (1966), the significance of art is in the stories that it tells. Helps us make sense of our world, and then broaden our experience and understanding in many aspects. The arts enable us to imagine the unimaginable, and to connect us to the past, the present, and the future, sometimes simultaneously. Great literature, films and visual art transport us to different places and cultures; great art even allows us to see ourselves and our own community through a different lenses. Art gives meaning to the data science provides. The conviction held by most artists, that art is the epitome of human life, the true record of insight and feelings. Art is, indeed, the spearhead of human development, social and individual. It is not an intellectual pursuit, but is necessary it intellectual life; it is nit religion, but grows up with religion, serves it, and in large measure determines it. (LANGER, Susanne K.) Another important issue to society, what we can discuss about the private versus public spaces, what we understand about a public space? Perhaps “public” architecture? In fact, the word “public” carries a strong sense of freedom, public space – space where everybody can be and use, and also is extremely important when we talk in the social context, because it gathers the various kind of people; also carries a huge potential in the urban context. It is place of the event, the happening, the vagueness and predictable, just waiting for the vary situations to be activated by an action in space. A “public architecture”… the intention is use as an intransitive space, a support in a permanent state of significances, heterogeneous space, multiple, not hierarchical, rich in contradictions and ambivalences. Places witch images changes in time with the virtue of actions that happen in space, a place always in process, never stable. Being “in between” condition, residual space generated across the interlace of roadways, train trails and bridges; how could we conceive an architecture in this “in between” condition? The “in between” architecture wouldn’t be an entirely devoid space without any function, therefore, be a propitious place for the advent of the new, of quite another in relation to the previously imagined. The intermediate space would be understood here as a lack of definition, an open space for the meanings of defined spaces, spaces that would be the catalysts, motivating the actions of the users, the events, the unexpected events that arise and remain always in the process, transitory, never establishing itself as the dominant activity that could turn into a convention of use, and where the program would not be determined by the architect, but changeable, always being asked and made up of these actions. In this case, the role of the architect reside in an attempt to promote interaction-relationship between the defined and undefined, the design and not design, in macro-organizations and spatial sectorizations and the engendering of programmatic microsystems, finally, the creation of spatial conditions and situations so that these events will erupt or intensify. The challenge would lie precisely in the assembly of these articulations.
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1. Current condition 2. Capping project 3. Steel structure 4. Floor placement
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4.
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URBAN DESIGN AND BUILDING TYPOLOGY
As the project site is very wide, a strategic plan was needed from the urban point of view. How to tie the two sides of the site and give unity to it? was the motive question; starting point to find a concept typology. The basic strategy was to place the project complex programmes and then structure them with a common connection. Analyzing from an urban morfology it can be categorized as an hybrid of clusters and mat-buildings (Smithson_Team 10), as it dismantles and reframes programme through composition; and a little influence of the Corbusian composition ideals for the promenade. With no doubt it wants to show a concept of association, a concern for cultural identity, and the understanding of urban life as a function of the relationships among its inhabitants.
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figures from - sararodcos.blogspot.com
Master Plan for Vigo University, Portugal Paulo Mendes da Rocha
PROJECT BACKGROUND OVERVIEW
SITE ANALYSIS
HISTORY
25
ZONING
29
SITE TRANSPORTATION
33
CLIMATE
35
FOUNDATIONS
37
SEISMIC
39
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HISTORY
The City of Ventura is home to a wide range of landscapes and seascapes, that include both natural and urban components. To the north of the site sit the hillsides that provide distinctive views from the urban core as well as panoramic views of the city to residents and visitors. The hillsides dominate much of the city’s landscape and their visual openness greatly impacts the cities character. The shorelines to the south of the site are soft and energetic and help create the unique atmosphere for downtown. Downtown Ventura is an area where both the urban core of the city and historic center are located, home to many historic sites and landmarks. In 1989 the city’s Comprehensive Plan reined a rapid outward suburban sprawl, but by 1992 the city started to focus on a more Downtown specific plan. A plan that would rehabilitate the historic hearth of the community, all this while the city was developing. In response the city pushed for and “infill first” response to help avoid the sacrificing of farmland and better utilize the available resources. This encourage the use of Mixed-use flex space where the combination of programmatic planning would make for a more efficient use of land. Both the cities past and anticipated opportunities have driven the built environment. But an even greater factor is that of the its location and people. The people from Ventura are a community of proud people whom see the opportunities that a growing city has and the expense that it can carry. As noted in their General Plan and ongoing policies and revisions; the city’s history as is accounted by its landmarks must be protected and therefore future development reflects the city’s rich history and future prosperity.
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27
ZONING
The Ventura Mixed-Use Art Center is located along the coast within the Urban Core zoning regions of downtown Ventura. The San Buena ventura Mission& its supporting structures (San Miguel Chapel and the Mission Aqueduct) are the most significant historic buildings. Two local historic districts are present: Selwyn Shaw and Mitchell Block are within a mile radius. Most of the architectural character is dominated within three styles: 1. Victorian (Italianate, Queen Anne, Eastlake, Greek Rivial, etc) 2. Craftsman 3. Spanish The City of Ventura is actively pursuing an integration of art, architecture, history, & culture. Mission Park aong with the Figueroa Street Plaza are now deemed cultural art centers. Vehicular traffic is dense due to the 101 freeway splitting the beachfront and downtown. The purpose of this is to create a dynamic civic space and linkage to the rest of downtown. In order to do so, the city has developed the following urban street scaper straints along with maximum height and parking placement restraints: California St sidewalks are highly recommended to keep a 12’ span California St, Figueroa St, Oak St, and Thompson St are implementing changes to landscaping, lighting, and sinage.
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SITE TRANSPORTATION
33
CLIMATE
35
FOUNDATIONS Site Soil Conditions
Possible Foundation Types
Extensive tertiary marine and non-marine sedimentary units. Alluvial and landslide deposits (silts, sands, gravel). Native topsoil and alluvial soil is moderately susceptible to erosion. Relatively low expansive soils.
Concrete Driven Piles Axial Capacity: 200 kips (14�-16� diameter) Lateral Capacity: 37 kips (0.25in pile head deflection, fixed) 61 kips (0.5in pile head deflection, fixed) Material Options: Precast Prestressed Concrete Steel Composite Spread Footings with Geopiers Axial Capacity: 4 ksf (typical) Material Options: Rocks Recycled concrete from previous projects
Design Water Table Level Historically, groundwater beneath the area has been as shallow as 10 feet below ground surface near the South, and gradually increasing to approximately 54 feet below ground surface near the Upper Ventura River sub-basin. Groundwater flows along the direction of the Ventura River.
Key Issues and Constraints Want to preserve the current transportation systems of the 101 freeway and Amtrak tracks. Integrate new platform to allow pedestrians to walk, bike, or take a bus from the Downtown area to the beach. Drilled piles are not optimal due to low water table level. Site is prone to soil liquefaction.
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SEISMIC
Major Fault Systems: Ventura Fault: North-dipping thrust fault Approximately 12 miles long Slip rate of 0.5 to 1.5 mm per year Estimated Mw of 6.0 to 6.8 Red Mountain Fault: North-dipping thrust fault Approximately 9 miles long Slip rate of 0.4 to 1.5 mm per year Estimated Mw of 6.0 to 6.8 Oak Ridge Fault: Southeast-dipping thrust fault Approximately 54 miles long Slip rate of 3.5 to 6.0 mm per year Estimated Mw of 6.5 to 7.5
Seismicity Hazards:
Design Response Spectrum: Soil Type D
Seismically induced settlement Alluvial deposits underneath portions of planning area / Shaking may cause ground to settle and fill pore space
Seismic Shaking High probability of strong seismic shaking due to proximity of known active faults / Intensity dependent on magnitude, fault magnitude, location, and site characteristics Liquefaction May occur in the southern portion of the planning area due to shallow groundwater and sandy alluvial soils Lateral Spreading Non-liquefied soil may move down slope on a liquefied substrate / There are slopes in the northeastern and southeastern portions of the planning area
Seismically induced landslides Several large existing landslides have been located in planning area Seismically induced Indundation Failure of Lake Casitas Dam has the potential to inundate the low-lying areas of the planning area Key Issues/Constraints: The key issues of this area are life safety and soil. The likelihood of increased shaking due to the multiple faults located in the area means the building has to be designed for increased safety in the event of an earthquake. The soil underneath is consists of sandy alluvial soils which can lead to liquefaction, lateral spreading, and settlement.
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Public Spaces and Center Admin:
PROGRAM SUMMARY TABLE
Lobby area (inc. Cocktail and Concessions) Toilet Rooms Box Office Admin. (4 offices, rec, conf.) Street Level Activity (Restaurant, Café) Ventura Art Museum + Surf Museum Exterior Park, Terraces and Pedestrian Spaces (multi-use spaces for weddings, outdoor events, picnic etc.) Art Storage Art Restoration & Research
Internal Performing Arts Center Spaces: Theater house (fixed 500 seats) Stage / Fly Loft Thrust stage / Pit Control Room Black Box Theater (200 movable seats) Connecting Outdoor Amphitheater Space Performing Arts Learning Studio
Theater(s) Backstage Spaces: Scene Shop and Material Storage Scene Storage Costume Storage Men’s Dressing Women’s Dressing Attached Toilet Rooms (M+W) Green Room Director’s Office Backstage Control Room Rigging /Catwalks / Lighting / Balconies / Clouds (specific to each scheme) Delivery Loading area (ties into storage and scene shop)
Internal Music Spaces:
Museum Performing Arts Center Urban Plaza with Commercial Activities
Director’s Office 300 Recital / Rehearsal Space 2000 Instrument Storage
Music Center 41
PROJECT PROPOSAL - DESIGN / TECTONICS
ARCHITECTURAL DOCUMENTS
PLANS
45
SECTIONS
61
AXONOMETRIC
67
FACADE CONCEPT
69
IMAGES
71
43
C
B
A
1. FWY 101 2. Parking
2
1
D
FreeWay 101 Level
D
0 15'
50'
100'
150' 45
2
C
FreeWay 101 Level
B
A
0 15'
50'
100'
150' 47
C 1. Museum Administration Building 2. Museum Lobby 3. Gift Shop 4. Workshop Space 5. Museum Restaurant/ Cafe 6. Outdoor Exhibition Area 7. Exhibition Area 8. Performing Arts Studio 9. Theater Lobby 10. Box Office 11. Theater Stage 12. Backstage 13. Open Air Amphitheater 14. Visitor/ Information Center/ Urban Plaza Administration 15. Restaurant or Retail Store 16. Music Center Lobby 17. Access to Pedestrian Bridge 18. Ventura Promenade
B
A
1
2 3
5
4 6
D
D
8
Ground Floor Level
7
0 15'
50'
100'
150' 49
9
15 10
15
15
16
17
14
12 15
12
11
15
13
18
C
Ground Floor Level
B
A
0 15'
50'
100'
150' 51
C
B
A
1. Researchers Office 2. Art Restoration Lab 3. Art Storage 4. Pedestrian Bridge 5. Museum Exhibition Area 6. Black Box 7. Recital / Rehearsal 8. Outdoor sitting place 9. Theater 10. Backstage 11. Outdoor Event Area / Green Roof 12. Acess to Pedestrian bridge 3 2 1
5
5
5 4
D
D
6 5
Second Floor Level
0 15'
50'
100'
150' 53
9 12 7
11 8
10
C
Second Floor Level
10
B
A
0 15'
50'
100'
150' 55
C
B
A
1. Museum Exhibition Area 2. Theater 3. Backstage 4. Fly Stage / Catwalk
1
1
1
D
D
1
Third Floor Level
0 15'
50'
100'
150' 57
2
3
C
Third Floor Level
3
4
B
A
0 15'
50'
100'
150' 59
61
63
DETAIL SECTION 1" = 5'
65
69
71
73
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