Reem Ryan - Thesis Book by Reem

Making Private Public Reem Ryan - 2015

The Catholic University of America

Making Private Public An Architectural Proposal for a Ferry Terminal A THESIS

Submitted to the Faculty of the School of Architecture & Planning TheC atholic University of America In Partial Fulfi llment of the Requirements For the Degree Master of Architectural Studies

by Reem Ryan Washington, D.C. 2015 Instructor Ann Cederna

OUTLINE PROBLEM STATEMENT EXISTING PUBLIC SPACES A) History of Public Spaces and Usage Introduction Medieval Renaissance Today B) Problems Associated with Some of the Public Spaces: Underutilized, Scale, Environmental Issues, and Accessibility Examples City Hall Plaza, Boston, MA Public Square, Cleveland, OH United Plaza, San Francesco, CA C) Contemporary Examples of Programed Public Spaces within Private Properties Programed Private Spaces Multiple Programs Material Form / Shape and Structure

SELECTION OF THE SITE Docks in DC The Wharf Site Analysis Program Audience Methodology

DESIGN PROPOSAL Design Ideas and parti Plans andSections Site Analysis Vignettes Final Boards RESOURCES

PROBLEM

STATEMENT

Town squares are used for many events, including community gatherings, market, music concerts, and rallies. They also serve as landmarks of a city. However, some town squares like: City Hall plaza IN Boston, the Public Square in Cleveland and the United Nations Plaza in San Francisco, have scale problems in their relationships to the human scale, surrounding buildings and the city as a whole. Furthermore, these sites are underutilized as they are unable to adapt to the populationâ&#x20AC;&#x2122;s needs in the 21st century. Public spaces lack programs, opportunities for people to sit and relax, activities for all types of people or even protection from the elements. They no longer function as a destination within the city. Today, urban dwellers live and work in the city without much in the form of community gathering spaces. Yet in many contemporary examples, programmed private spaces are being used as public spaces where in many cases they are in reality privately owned. My goal is to continue this trend by creating public venues in private spaces. The specific private space with which I will be working is a ferry terminal. The goal is to redefine what public space in the city looks like in the 21st century. The ferry terminal will incorporate and link existing contexts. It will also intensify the use of the site by activating it with many changeable programs and connecting a great range of users, and functions. My goal is to transform the site physically, socially and culturally.

PROBLEM STATEMENT

EXISTING PUBLIC

SPACES A- HISTORY OF PUBLIC SPACES AND USAGE B- PROBLEMS ASSOCIATED WITH SOME OF THE PUBLIC SPACES. C- CONTEMPORARY EXAMPLES OF PROGRAMED PUBLIC SPACES WITHIN PRIVATE PROPERTIES D- HOW AND WHAT

EXISTING PUBLIC

SPACES A- HISTORY OF PUBLIC SPACES AND USAGE INTRODUCTION MEDIEVAL RENAISSANCE TODAY

INTRODUCTION “The spaces are primarily secular, public, open-air, identifiable figural void spaces” Page 3 (Eric J. Jenkins, To Scale). This means that distinct context and clear boundaries define the spaces or areas in the city. In the urban scale, such a relationship would be expressed in terms of solids and voids; an intermix of shapes, a contrast of light and dark, used to illustrate how one space meets the other and how the surroundings play a pivotal role. The space itself, would be a solid, while the context (for example, the streets) would be the void, or vice versa. This representation is much deeper than graphics; it also demonstrates how one cannot exist without the other. A solid on a blank sheet of paper is just a shape, while the voids alone are technically non-existent. However, when shown together, a city is created.

HISTORY OF PUBLIC SPACES AND USAGE

MEDIEVAL Even though secular spaces were the main focus, it was quite hard to separate them from the sacred spaces. The purpose of a space, and how it was used differed at different times of the day. In many places, religious activities and civil activities intersected. For example, “in many Islamic countries, for instance, the mosque complex is a gathering space for civic rallies, socializing and even a market” Page 3 (Eric J. Jenkins, To Scale). In the “urban plan compilation”, such spaces were recognized as “identifiable rooms in the city”; these spaces were often found in regions where social cultures dominated. These open spaces allowed people to gather and socialize, while still being versatile enough to host an array of different activities. They were, however, not as prominent in areas where the social traditions did not play a large role in the culture. An example of such region is Japan. The Japanese were “less likely to have public squares and, for that matter, are less likely to design and draw them” Page 3 (Eric J. Jenkins, To Scale). With all this in mind, it is clear that the open plazas, and the squares are not the only public gathering venues, but ordinary elements such as the streets, the sidewalks, and even the public parks could be identified as so. In short, “temporal perimeters” could define a gathering site, just as well as “spatial” ones could.

RENAISSANCE The urban plans that are represented as figure/ground drawings are a modification of Guambattista Nolli’s 1748 plan of Rome. Similar to the Nolli plans, these plans define public and private spaces as solids and voids; however, where the Nolli plans show semi-public interior spaces, these plans show only “open public spaces that are considered part of the urban experience” Page 3 (Eric J. Jenkins, To Scale). For example, a Nolli would show the interior of the Palazzo dei Conservatori and Palazzo Nuovo since they are considered public. However, because they are off limits at night, these plans would not include them. On the other hand, the colonnade of Piazza del Campidoglio would be shown in both since it is an integral part of the urban context.

HISTORY OF PUBLIC SPACES AND USAGE

TODAY Today, it takes a lot more than a figure/ground plan to define a space. Pictures, diagrams, more mechanical drawings such as traditional plans and sections, and even experience can help answer questions like the thickness of a building or the materiality, which in turn can lead to a better understanding of the space. With all the developments and technological advancements of the 20th and 21st centuries, the “urban realm becomes less black and white” Page 4 (Eric J. Jenkins, To Scale). This means that the figure/ground representations become less integral since they fail to communicate as much as other drawings can. Such lost information can include interiors, textures, materials, and other minor details that may be small but are dominant factors in the space.

EXISTING PUBLIC

SPACES B- PROBLEMS ASSOCIATED WITH SOME OF THE PUBLIC SPACES

PROBLEMS ASSOCIATED WITH SOME OF THE PUBLIC SPACES

One of the largest problems that public spaces suffer from being underutilized. With no program or activities, people will go through and around the site without stopping because there are no benches, programs, attractions, or activities. Another great problem is scale: the scale of the site to the city, the scale of the used part of the site to the unused, the scale of the site to the buildings around it. Environmental issues such as runoff and the heat island effect that increase with the amount of hardscape also have a big effect on the site,. Finally, the lack of accessibility due to location, traffic and transportations are also problematic. The following are examples of some of the problems associated with public spaces.

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United Nations Plaza is a major point of access to San Franciscoâ&#x20AC;&#x2122;s Civic Center. At its center is a fountain that has become a bathing pool for San Franciscoâ&#x20AC;&#x2122;s homeless. The plaza has a hard pavement, there is no protection from the elements, no green spaces, no seating areas, and the space is unprogramed, and does not function as a destination due to the lack of activities and programs.

UNITED NATIONS PLAZA - SAN FRANCISCO, CA

THE BOSTON CITY PLAZA - BOSTON, MA

The Boston City Plaza displays no consideration to the human scale whatsoever. The proportion of the plaza to the city is out of context, and the scale of the huge town hall building to both the plaza and the nearby buildings is out of proportion. This is a poor gathering space which lacks a sense of place. It is also isolated from all the great places nearby. The material ofconcrete pavement of the plaza contributes to the heat island effect and makes it an undesirable space, especially with no protection from the weather.

Cleveland’s Public Square is surrounded by wide roads with fast moving traffic. It is also divided by two wide roads to four squares.limiting pedestrian movement and making it very frustrating to get to one of these squares or even move from one to another because of the heavy traffic. The Square’s four quadrants lack access and are underprogramed. With no activities, attractions, or amenities, the public square does not function as a destination in the city.

CLEVELAND’S PUBLIC SQUARE - CLEVELAND, OHIO

EXISTING PUBLIC

SPACES C- CONTEMPORARY EXAMPLES OF PROGRAMED PUBLIC SPACES WITHIN PRIVATE PROPERTIES PROGRAMED PRIVATE SPACES MULTIPLE PROGRAMS MATERIAL FORM / SHAPE AND STRUCTURE AUDIENCE

PROGRAMED PRIVATE SPACES

There are many examples of privately owned properties that are open to the public and serve as public spaces. Good examples of these include: Schouwburgplein - Rotterdam, Netherlands Oslo Opera House - Oslo, Norway Yokohama Terminal - Kanagawa , Japan Maritime Youth House - Puerto de Sundby, Copenhagen, Denmark St Pancras Railway Station - St Pancras, London, England

The square is designed as an interactive public space that allows flexibilty in use, and changes during day and through the seasons. It was built on a private property.

SCHOUWBURGPLEIN - ROTTERDAM, NETHERLANDS

OSLO OPERA HOUSE - OSLO, NORWAY

The Oslo Opera House is the home of The Norwegian National Opera and Ballet.. The roof of the building angles to ground level creating a large plaza inviting pedestrians to walk up and enjoy the panoramic views of Oslo.

Yokahama International Terminal is a private ferry terminal that has many uses of spaces on the inside, and a public park on top.

YOKAHAMA TERMINAL - KANAGAWA , JAPAN

The building is shared by two clients: a sailing club and a youth house. The youth house needed outdoor space for the kids to play; the sailing club needed most of the site to park their boats. The design is the literal result of negotiations between the two contradictory demands. Where the deck rises it allows for boat storage and, at the same time, becomes an exciting play area for the kids

MARITIME YOUTH HOUSE - PUERTO DE SUNDBY, COPENHAGEN, DENMARK

ST PANCRAS RAILWAY STATION - ST PANCRAS, LONDON, ENGLAND

1868 was the official opening by the Midland Railway as the southern terminus of its main line which connected London with the East Midlands and Yorkshire. The station became a social hub for both of the locals and the tourists. After the ceremony was attended by Queen Elizabeth II, it earned publicity as a public space. The station underwent many renovations , making it the modern world class terminal for Eurostar and domestic train services it is today. Part of those renovations were new facilities, shopping center, hotels, public art and touristsâ&#x20AC;&#x2122; attractions. The train terminal has domestic trains and contains 15 platforms with high-speed rail tracks that connect London with the rest of Britain.

MULTIPLE PROGRAMS

Unlike the traditional design that fits limited programs and serves only one function, non-programmed surfaces can accommodate many functions, thus becoming more economical and encouraging social spaces that adapt to the public need. This allows for flexibility of programs and a variety of users.

Schouwburgplcin (West 8), The main goal of the design is to make the square an attraction of the city. The surrounding buildings already attract visitors for leisure activities; buildings like the Cinema of Rotterdam, the theatre and the concert building. There are also restaurants, bars, and shops that are a source of attractions during the daytime and at night. The square itself is creatively programmed by its users. The emptiness also allows one to enjoy the skyline of the city from inside the city. The space is designed to be interactive, flexible, and changing throughout the day and from season to season. It hosts: a market, a flower sculptures garden park, concerts, and group activities such as sport, dancing, performance, skating, etc. The red crane-like objects were designed to enhance the squareâ&#x20AC;&#x2122;s attractiveness and this is why they were made interactive and responsive. They are controlled by a panel situated in the square where anyone can control the lighting.

SCHOUWBURGPLEIN - ROTTERDAM, NETHERLANDS

The Yokahama Ferry Terminal has many uses of spaces on the inside as well as a public park on top. The project is then generated from a circulation diagram that aspires to eliminate the linear structural characteristic of piers, and the directionality of the circulation.

YOKAHAMA TERMINAL - KANAGAWA , JAPAN

MATERIAL

Materials in buildings are used carefully to accommodate certain activities. Some of the materials like wood can give warmth to spaces, while others like concrete give a cold feeling to spaces. A common practice is to utilize warm materials on the interior while using cold materials on the exterior. Interior surfaces are covered with warm materials inviting the people in and allowing them to interact with the space differently. This also encourages them to touch the interior surfaces. On the other hand, covering exterior surfaces with cold materials discourages the users from touching the surfaces. It is quite the opposite contrast in other cases. The use of the warm materials on the outside provides and encourages outdoor activities. As a result of the public landscape, social life takes place on the exterior of the building.

The High Line design uses concrete thickness to meld the hardscape with the planting embedded in railroad gravel mulch. Stretches of track and ties recall the High Lineâ&#x20AC;&#x2122;s former use. The use of wood on benches, sundecks, and amphitheater that is so specific to the seating areas.

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THE HIGH LINE - MANHATTAN, NEW YORK CITY

OSLO OPERA HOUSE - OSLO, NORWAY

Oslo Opera House: The angled spiral wide roof functions as a ramp that invites the public to walk up and enjoy the views of Oslo from the roof top. The angles and paving materials also allow skateboarders to use some areas, and discourage them from areas closer to performance spaces by the use of steps and paving. Much of the building is covered in white granite. Unlike the white coolness of the exterior materials, interior surfaces are covered in oak wood to bring warmth to spaces inviting the people in. The public interacts with the space differently, and are encouraged to touch the wood covered surfaces.

41 46

â&#x20AC;&#x153;The layout of the square is based on the expected use at different times of the day and its relationship to the sun. These sunlight-zones are reflected in the mosaic of the different materials used on the floor. The West side of the square is a poured epoxy floor containing silver leaves. The East side (with more sunlight) has a wooden bench over the entire length and warm materials including rubber and timber decking on the ground planeâ&#x20AC;? West 8 Urban Design and Landscape Architecture

SCHOUWBURGPLEIN - ROTTERDAM, NETHERLANDS

MARITIME YOUTH HOUSE - PUERTO DE SUNDBY, COPENHAGEN, DENMARK

Another approach to the design was done in both Yokahama International Terminal, and the Maritime Youth House, where they followed the common practice of utilizing wooden or warm materials on the interior, and concrete or cold materials on the exterior. The result allowed for public landscape and social life to take place on the exterior of the building.

In the Maritime Youth House, the floor of the interior is made of grey and white concrete with white aggregate. The use of hard surfaces on the interior is meant to contrast with the wooden deck that covers the whole site from the outside, providing an undulating landscape for the kids to play above and encouraging outdoor activities. 59

64 66

In the Yokahama International Terminal, both the interior and exterior are covered with wood. The spaces are connected by a continuous surface at different levels of the building. The architects have used a minimal amount of materials and details in order to further explore the continuity produced by the topography. Single finishes extend on the upper or lower side of the topography regardless of exterior or interior condition, which invites the users to occupy and interact with both the interior and the exterior equally.

YOKAHAMA TERMINAL - KANAGAWA , JAPAN

FORM / SHAPE AND STRUCTURE

A landscape surface can be treated in many ways: folding & warping, folding & rolling, layering, lifting and spiral. These manipulations result in smooth seamless geometry that connect the interior and the exterior, allowing different spaces to happen without walls to define them. Whether open space or infrastructure, the following projects were meant to incorporate and link existing contexts, and intensify the use of the site by activating it with changeable programs. They use strategies that transform the site physically, socially and culturally.

74 73 72

At the port in Yokohama (Foreign Office Architects) for example, the architect designed multi-folded surfaces where each floor rolls in to the next without disruption of movement. The form and shape allows for small intermittent spaces on the edges, and larger public gathering spaces in the middle, activating them with various programs and making them more fluid and interactive.

YOKAHAMA TERMINAL - KANAGAWA , JAPAN

SCHOUWBURGPLEIN - ROTTERDAM, NETHERLANDS

At Schouwburgplcin (West 8), the architect designed the surface as many stacked surfaces allowing different programs to take place in between them. Uncovering part of a surface reveals another surface with a different program. 76

The layers of the park surface were built on a bottom layer of concrete that sits inside the steel frame of the High Line.

THE HIGH LINE - MANHATTAN, NEW YORK CITY

OSLO OPERA HOUSE - OSLO, NORWAY

Oslo Opera House: The angled spiral wide roof functions as a ramp that invites the public to walk up and enjoy the views of Oslo from the roof top. 84

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MARITIME YOUTH HOUSE - PUERTO DE SUNDBY, COPENHAGEN, DENMARK

85 87

“The structure is built with wooden pillars and beams, while the deck floor is composed of tropical wood iroko solid type, with fluted surface and insulation built rastréeles also set on wood” wikiarquitectura.com

86 88

“lorcan o’herlihy architects envisions a structure that intertwines a public park with building functions. The project draws upon the community’s rich history of cultural collaboration and natural connectivity serving as both a gateway and a destination. the facility is able to accommodate thousands of daily passenger visits, while maintaining a graceful presence on the island’s waterfront. the scheme is generated from a grid of folded triangular planes that weave the vegetated landscape through and above the internal volume.” design boom architecture.

LORCAN O’HERLIHY ARCHITECTS’ PROPOSAL FOR PORT OF KINMEN COMPETITION , TAIWAN

SELECTION OF

THE SITE C- CONTEMPORARY EXAMPLES OF PROGRAMED PUBLIC SPACES WITHIN PRIVATE PROPERTIES PROGRAMED PRIVATE SPACES MULTIPLE PROGRAMS MATERIAL FORM / SHAPE AND STRUCTURE AUDIENCE

METHODOLOGY Program and Landscape as Surfaces (tectonics) Treat landscape as a surface with opportunities for engaging the public. As a whole, (site/building) will respect the scale of surrounding buildings while still being adaptable to the changing times, users, and program. The precedents above highlight the intricacy of rebuilding landscapes and cities today. “The emphasis is on the extensive reworking of the surface of the earth as a smooth, continuous matrix that effectively binds the increasingly disparate elements of our environment together” Alex Wall. This extensive task requires the multi-planar merging of all fields of creativity and design including architecture, landscape design, urban planning, and engineering. Doing so will address numerous factors such as accessibility, congestion, mobility, and much more, all while engaging in newer methods of work, newer tools for graphics and representation, and newer techniques for conceptualization. It also means that the focus wouldn’t only be on “peripheral and derelict sites”, but on the city as a whole. “The function of design is not only to make cities attractive but also to make them more adaptive, more fluid, more capable of accommodating changing demands and unforeseen circumstances” Alex Wall. After the building boom of the 1980s, the main agenda today is the proper layout of the urban surface, rather than the erection of monuments or the design or master plans. The goal today is to focus on the fluidity, the language, and the articulation of said urban surface; “The surface is manipulated in two ways: as planar folds and smooth continuities, and as a field that is grafted onto a set of new instruments and equipment” Alex Wall. In both ways, the surface acts as a platform for the revealing of future purposes and events. It is not just a space used for the current purpose it is assigned to, but it encourages and promotes new purposes that evolve with the space itself and with time.

Georgetown Waterfront

District of Columbia

The WHARF

Anacostia River

Old Town Alexandria

National Harbor

Mt Vernon

SELECTION OF THE SITE There are currently six different routes for tourist ships in the DC area. One of them is located near the Fish Market in The Wharf. The area is being developed by the following companies: Managing Partners: PN Hoffman and Madison Marquette. Public Partner: District of Columbia and Office of the Deputy Major for Planning and Economic Development. Construction: Clark Construction Group. Master Planner: Ehrenkrantz, Eckstut & Kuhn Architects and Perkins Eastman Company. Architects: BBG-BBGM, Cunningham Quill Architects, Handel Architects, Perkins Eastman, MTFA Architects, Rockwell Group, Smith Group and SK&I Architectural Design Group. Public Realm Design: Lee & Associates, Michael Van Valkenburgh Associates, Michael Vergason Landscape Architects, Nelson Byrd Woltz Landscape Architects, Pentagram and Richard Altuna. Sustainability: Sustainable Design Consulting and Greening Urban. Maritime Planning and Marina Management: Moffatt & Nichol.

THE WHARF “The Wharf is the result of Hoffman-Madison Waterfront’s commitment to revitalizing the Southwest waterfront, stretching across 27 acres of land and more than 50 acres of water from the Municipal Fish Market to Fort McNair. From a storied maritime history to untapped potential and vibrant cultural scene, The Wharf is the waterfront escape that Washington so richly deserves, one that puts it in the illustrious company of world-famous waterfronts. A remarkable, mile-long waterfront neighborhood is taking shape in Washington, D.C. The Wharf is a mixed-use waterfront opportunity, coming to life in the heart of the Nation’s Capital. Located within walking distance of major commerce, The Wharf is centrally situated on the Potomac River, along the historic Washington Channel, a short distance from beloved national monuments, The White House, The Capitol and Smithsonian Museums. The Wharf holds an unrivaled location, and an extraordinary vision for a new waterfront neighborhood, presenting what is truly a once-in-a-generation opportunity. With 27 acres of land at 50 acres of waterfront and an exciting, innovative vision, The Wharf is poised to become D.C.’s next great meeting place. The Wharf is being brought to life as a result of multiple visions: restoring the Southwest waterfront, celebrating the culture of the waterfront lifestyle, and creating a cohesive public space that the community can truly rally behind. This is a complex project, a great challenge, and a once-in-a-generation opportunity. Ultimately, we will measure the success of The Wharf in the way that the people of the district embrace it as their own. The Wharf’s distinctive features, commitment to the celebrating the community and rich history of the Southwest waterfront will make it a truly vibrant neighborhood.” www.wharfdc.com

THE WHARF SITE ANALYSIS

h 9t

7t h

SW St

6t h

St S

St SW

St S

Maine Ave 12th St SW

0’

Office Office Residential Residential Hotel Hotel

Retail Cultural School

120’ 240’

Site Context

101

102

103

4 3

104

105

1- Transit pier: transit pavilon, public seating, floating docks, ticket box office, water taxi waiting area 2- District Pier: dock master bluilding, exhibition area, civic commons plaza, pier house, water court entry 3- Yacht club Plaze: planters, seating 4- 7 th Street Park and Pier: sun lawn, overlook, floating wetlands, seating, rain garden 5- Waterfront park: fountian, plaza, rain garden, play lawn, storage and service pavilion

The site was chosen because it has a program and buildings, but it has these problems: -inaccessible roofs. -the pedestrian movement interrupted by a vehicular movements -the leak a good distributed programs along a large land 105

th St

SW St

h 9t

7t h

St S

6t h

St SW

Maine Ave 12th St SW

0’

DC Harbor Cruises . Port of Washington Yacht Club . National maritime Heritage Foundation . Chesapeake Bay Foundation . Carefree Recreation INC . American River Taxi . DC Dragon Boat club . Spirit . National Ferry . Celebrity cruise. Odyssey . Cantina Marina . The Gangplank Marina . Capital River Cruises

120’ 240’

SITE ANYLISIS

106

L’Enfant 9 mins

Smithsonian 15 mins

L’Enfant 9 mins

7t h

St S

10 St

SW St

St SW

Maine Ave PARCEL

2 PARCEL

PARCEL

PARCEL PARCEL

PARCEL

11 PARCEL

Bridge

Public Garage Access

Padestrian Routes Pedestrian Metro Station

Buss stop

St SW

Waterfront 7 mins 6t h

SW St

h 9t

7t h

St S

6t h

St S

St SW

Maine Ave 12th St SW

PARCELL 1

PARCEL 2

PARCEL 3A PARCEL 3B

PARCEL 4

PARCEL 5

PARCEL 6

PARCEL PARCELL PARCEL PARCE 7 8 9

PARCEL 11 EL PARCEL 10

0’

Site Access Stie Vehicular Routes Vehicular Access Limited Vehcular

120’ 240’

SITE CIRCULATION VEHICULARVEHICULAR SITE CIRCULATION

S St

h 9t

7t h

St S

6t h

St S

St SW

Maine Ave 12th St SW

PARCELL 1

PARCEL 2

PARCEL 3A PARCEL 3B

PARCEL 4

PARCEL 5

PARCEL 6

PARCEL PARCELL PARCEL PARCE 7 8 9

PARCEL 11 EL PARCEL 10

0’

Bike Rack Bike Rack Bikeshare Maine Bike Lane Maine Bike Lane Secondary Bike Route Bike Route Secondary

Bikeshare

120’ 240’

SITE CIRCULATION BICYCLE

Dockmaster Building

Retail on the 1st level Exhibition area

Hotel

Pier house

Residencial

Residential

Office

Hotel

Office Dockmaster Building

Exhibition area

Pier house

Residencial

Residential Residencial

the flow of the pedestrian movement ships movement loading and unloading passengers from the ships

Car movement

Dockmaster Building

Exhibition area

Hotel

Pier house

Residencial

Residential Residencial

Office

Hotel

Office Dockmaster Building

Exhibition area

Pier P ier house h e

Residencial

Residential Residencial

Not Accessible Roofs It does not create the landscape as a continuous surface. It has inaccessible roofs in both Dockmaster building and the pair house

Office Exhibition area Dockmaster Building

Problematic areas: dock master building and pier house are not connected to the others. Flow , accessible roofs, the exhibition areas, intersection, the space between the office and the residential are un programed spaces.

Hotel

Pier house

Residencial

Residential Residencial

Areas That Are Not Working

Office Hotel

Pier P h ier house e

Exhibition area Dockmaster Building

Residencial

Residential

Residencial

Areas of Potential

They offer lapse, the flow from one to another, the potential of using one area for multiple programs where it takes full advantage of the site usage.

PROGRAM

Existing

Proposed

Car access access to the parking Water features green shaded areas Pier House (valet, restrooms, kitchen, cafe/bar) adjacent restaurants outdoor seating areas sific commice area (plaza) exhibition area loading area Master Building (restaurant, storage, mechanical room, restrooms, dock master room)

Bus shelter boat waiting area ticket booth boat fuel station + shops

resturants restaurants

AUDIENCE

Tourists, Businessmen, Locals

DESIGN

PROPOSAL A- DESIGN IDEA AND PARTI B- PLANS AND SECTIONS C- SITE ANALYSIS D- VIGNETTES E- FINAL BOARDS

DESIGN

PROPOSAL A- DESIGN IDEA AND PARTI

Maine Ave

PARCEL

PARCEL PARCEL

PARCEL

PARCE

Bridge

PARCEL PARCEL

PARCEL

Boundary lines Pedestrian paths The end of the site facing Jefferson Memorial From the top to bottom bus stop cafe plaza tickets, passenger loading, small shops restaurants, administration tower

views accessibility the highest building is at the end. It serves as a landmark and will be visible from all the surroundings The end of the site facing Jefferson memorial From right to left bus stop cafe plaza tickets, passenger loading, small shops restaurants, administration tower

Maine Ave

PARCEL

Bridge

PARCEL

Stairs

planters

sloped surfaces

Water

Planter

Light

Idea of the architecture can be applied to a large scale like a building and small scale like seating and tables

DESIGN

PROPOSAL B- PLANS AND SECTIONS

First Floor Plan 3/32” = 1’-0”

Second Floor Plan 3/32” = 1’-0”

Third Floor Plan 3/32” = 1’-0”

Fourth Floor Plan 3/32” = 1’-0”

Fifth Floor Plan 3/32” = 1’-0”

C D

H F

K L

O M

A B C D E

Level 5 42’

G H

Level 4 32’

Level 3 22’

F Level 2 12’

G H

Level 1 0’

Water -15’

G Bedrock

A- Metal cap B- Wood structural decking C- Rigid insulation D- Vapor retarder

E- Wood F- Spandrel G-Glulam beam H-Glulam columns

ABCD-

Glulam Black metal glazing system Concrete wall Glulam

E- Perforated Metal Panel F- Polished concrete floor G- Black metal wire stair railing

DESIGN

PROPOSAL C- SITE ANALYSIS

Retail on the 1st level Hotel

Residencial

Residential Residencial

Office

Office Hotel

Residencial

Residential

Residencial

Vehicular Routs Limited vehicular access Bus Bicycle Routes

Office Hotel

Residencial

Residential Residencial

ships movement loading and unloading passengers from the ships

the flow of the pedestrian movement Leisure

Hotel

Residencial

Residential

Office

Weter Green Hotel

Residencial Residencial

Residential

Office

Views

Hotel

Residencial

Residential

Office

Not Accessible Roofs Hotel

Residencial

Residential Residencial

Office

Trash Recycle Exhbition loading routes

Hotel

Residencial

Residential

Office

DESIGN

PROPOSAL D- VIGNETTES

107

DESIGN

PROPOSAL E- FINAL BOARDS

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Bus shelter boat waiting area ticket booth boat fuel station + shops

The WHARF

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Smithsonian 15 mins

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RESOURCES

Resources: Ifengspace. Landscape Installation Art. Corte Madera, California: Gingko Press, 2013 U.S. Green Building Council. Green Building Design and Construction. 2009 ed. Washington, DC: U.S. Green Building Council, 2009. Berrizbeitia, Anita. Michael Van Valkenburgh Associates: Reconstructing Urban Landscapes. New Haven, Conn.: Yale University Press, 2009. Cantrell, Bradley, and Wes Michaels. Digital Drawing for Landscape Architecture: Contemporary Techniques and Tools for Digital Representation in Site Design. 2nd Edition ed. Hoboken, N.J.: John Wiley & Sons, 2010. Childs, Mark C. Squares: A Public Place Design Guide for Urbanists. Albuquerque, New Mexico: University of New Mexico Press, 2006 Cohen, Nahoum. Urban Planning Conservation and Preservation. 1st Edition ed. New York, New York: McGraw-Hill, 2001. Corner, James. “15 - Programming the Urban Surface.” In Recovering Landscape: Essays in Contemporary Landscape Architecture, Chapter 15. 1st Edition ed. New York, New York: Princeton Architectural Press, 1999. Gehl, Jan. Life between Buildings Using Public Space. Sixth ed. Washington, DC: Island Press, 2011. Jenkins, Eric J. To Scale: One Hundred Urban Plans. Illustrated, Reprint ed. Abingdon, Oxon, England: Routledge, 2008. Xi-40. Lennard, Suzanne H. Crowhurst, and Henry L. Lennard. Genius of the European Square: How Europe’s Traditional Multi-functional Squares Support Social Life and Civic Engagement : A Guide for City Officials, Planners, Architects and Community Leaders in North America and Europe. Carmel, California: International Making Cities Livable Council, 2008 Mathur, Anuradha. Design in the Terrain of Water. United States: Applied Research Design Publishing ;, 2014. Newton, Joseph. The Landscape Gardener: A Practical Guide to the Laying-out, Planting, and Arrangement of Villa Gardens, Town Squares, and Open Spaces, from a Quarter of an Acre to Four Acres, for the Use of Practical Gardeners, Amateurs, Architects, and Builders. 2012 ed. London: Hardwicke and Bogue, 1876. Oudolf, Piet, and Noe Kingsbury. Planting: A New Perspective. London: Timber Press, 2013 Newton, Norman T. Design on the Land; the Development of Landscape Architecture. 1st Edition ed. Cambridge, Mass.: Belknap Press of Harvard University Press, 1971. Reed, Chris, and Nina-Marie Lister, eds. Projective Ecologies. Har/Chrt Edition ed. ACTAR, Harvard Graduate School of Design, 0. Reed, Peter, and Irene Shum. Groundswell: Constructing the Contemporary Landscape. New York, N.Y.: Museum of Modern Art, 2005.

Rogers, Elizabeth Barlow. Landscape Design: A Cultural and Architectural History. New York: Harry N. Abrams, 2001 Siebeck, Rudolph, and Joseph Newton. Picturesque Garden Plans: A Practical Guide to the Laying-out, Ornamentation, and Arrangement of Villa Gardens, Town Squares, & Open Spaces from a Quarter of an Acre to Four Acres, for the Use of Practical Gardeners, Architects, Builders, and Amateurs. London: Robert Hardwicke ..., 1864 Swaffield, Simon R. Theory in Landscape Architecture: A Reader. Philadelphia, PA: University of Pennsylvania Press, 2002. Treib, Marc. Modern Landscape Architecture: A Critical Review. Cambridge, Massachusetts: MIT Press, 1993 Trivino, Santi. Urban Landscapes: Small Squares. Blg Ill Edition (6 Jan. 2012) ed. Sant Adrià De Besòs: Instituto Monsa De Ediciones, 2012. Uffelen, Christian Van. Urban Spaces: Plazas, Squares and Streetscapes. Salenstein: Braun Publishing AG, 2013. Waldheim, Charles. The Landscape Urbanism Reader. 1st Edition ed. New York, New York: Princeton Architectural Press, 2006.

Online Resources: Online Resources: “15 Squares Most in Need of Improvement - Project for Public Spaces.” Project for Public Spaces. Accessed December 27, 2015. http://www.pps.org/reference/underperformingus/. “Boston City Hall.” Wikipedia. Accessed December 27, 2015. https://en.wikipedia.org/wiki/Boston_City_Hall. “Brandende Stad - Bloeiende Stad.” West 8. 2007. Accessed December 27, 2015. http://www.west8.nl/projects/ brandende_stad_bloeiende_stad/. Collins, Glenn. “In Winds of Winter, Midair Park Takes Shape.” The New York Times. 2008. Accessed December 28, 2015. http://www.nytimes.com/2008/01/02/nyregion/02highline.html?_r=1&scp=1&sq=high line glenn collins&st=nyt&oref=slogin. Dealer, Steven. “Public Square Renovation Receives $3 Million from the Northeast Ohio Regional Sewer District.” Advance Digital. October 2, 2014. Accessed December 27, 2015. http://www.cleveland.com/architecture/index. ssf/2014/10/public_square_renovation_recei.html. Dehais, Mary. “SCHOUWBURGPLEIN.” Landscape Architecture Study Tour with Professor Jack Ahern. February 6, 2010. Accessed December 27, 2015. http://courses.umass.edu/latour/2010/schouwburgplien/. “Foreign Office Architects - Yashika.” Foreign Office Architects - Yashika. Accessed December 27, 2015. http:// cargocollective.com/yashika/Foreign-Office-Architects. Furuto, Alison. “Think Space: ‘Alejandro Zaera-Polo Never Planned to Win Yokohama Port Terminal’

Competition.” ArchDaily. June 18, 2012. Accessed December 28, 2015. http://www.archdaily.com/244582/think-spacealejandro-zaera-polo-never-planned-to-win-yokohama-port-terminal-competition. Geuze, Adriaan, Jerry Van Eyck, Wim Kloosterboer, Dirry De Bruin, Cyrus Clark, Huub Juurlink, Nigel Sampey, and Erik Overdiep. “West8 Urban Design & Landscape Architecture B.v.” Schouwburgplein Rotterdam Design of a Public Square. Accessed December 27, 2015. http://netzspannung. org/cat/servlet/CatServlet?cmd=document&subCommand=show&forward=/netzkollektor/output/project. xml&entryId=124581§ion=content&lang=en. Hadded, Fady. “Diagrammatic Metamorphosis.” Blogspot. 2012. Accessed December 27, 2015. http://1. bp.blogspot.com/-oeygCaIsvtA/UKfYOi5vhNI/AAAAAAAAAg4/vxcSwZKFbt4/s1600/yokohama terminal final layout. jpg. Holmes, Damian. “The Plaza at Harvard University | Cambridge USA | Stoss.” World Landscape Architecture RSS. May 20, 2013. Accessed December 27, 2015. http://worldlandscapearchitect.com/the-plaza-at-harvard-universitycambridge-usa-stoss-landscape-urbanism/. “INDA Year 4 Studio Blog ::: Spring 2011.” International Casestudy : Schouwburgplein : West 8. January 28, 2011. Accessed December 27, 2015. http://indalandscape2011.blogspot.com/2011/01/international-casestudyschouwburgplein.html. Lapalud, Pascale. “High Line in New York, the Rail Yards.” Territoire. April 16, 2012. Accessed December 27, 2015. https://territoire.wordpress.com/2012/04/16/high-line-in-new-york-the-rail-yards/. “Maritime Youth House / PLOT = BIG JDS.” ArchDaily. January 11, 2009. Accessed December 28, 2015. http:// www.archdaily.com/11232/maritime-youth-house-plot/. “OSANBASHI YOKOHAMA INTERNATIONAL PASSENGER TERMINAL.” OSANBASHI YOKOHAMA INTERNATIONAL PASSENGER TERMINAL. Accessed December 27, 2015. http://www.osanbashi.com/en/guide/fg_1f. html. “Opera Oslo- Snøhetta-9.” WORKSDIFFERENT ARQUITECTURA. October 1, 2013. Accessed December 28, 2015. http://worksdifferent.com/2013/10/01/arquitectura-agua/opera-oslo-snohetta-9/. “Oslo Opera House / Snohetta.” ArchDaily. May 6, 2008. Accessed December 28, 2015. http://www.archdaily. com/440/oslo-opera-house-snohetta/. “Planks Are Delivered | The High Line Blog.” The High Line. February 10, 2008. Accessed December 28, 2015. http://www.thehighline.org/blog/2008/02/10/planks-are-delivered. Poopong, Kitticoon. “HouseVariety.” The New York High Line : By James Corner Field Operations and Diller Scofidio Renfro ~. March 11, 2011. Accessed December 28, 2015. http://housevariety.blogspot.jp/2011/03/new-yorkhigh-line-by-james-corner.html#.VoA4F1JarCu. RINALDI, MARCO. “KING’S CROSS STATION BY JOHN MCASLAN.” A As Architecture. August 27, 2012.

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http://tsarchitect.nsflanagan.net/?p=851 August 30, 2015, https://www.tumblr.com/search/nolli%20map April 22, 2015 https://www.intltravelnews.com/2007/04/krakow August 30, 2015 http://www.sfheritage.org/upcoming_events/lecture-series/ August 20, 2015 https://www.google.com/maps/place/UN+Plaza/@37.7791184,-122.4159039,517m/data=!3m1!1e3!4m2!3m1!1s0x80858097554348eb:0xf9af2c6639aae07a!6m1!1e1?hl=en February 8, 2015 https://www.google.com/maps/place/Boston+City+Hall/@42.3605268,-71.0601635,685m/data=!3m2!1e3!4b1!4m2!3m1!1s0x89e37085a3300f2f:0x7e2c37cdd191455a!6m1!1e1?hl=en February 8, 2015 http://www.archpaper.com/news/articles.asp?id=6947#.Vn7eX_krJD8 August 20, 2015 https://sites.tufts.edu/govcenter/files/2015/11/6.-city-hall-plaza-1280x604.jpg February 8, 2015 https://www.google.com/maps/place/Cleveland+Public+Square/@41.4994607,-81.6957398,694m/data=!3m2!1e3!4b1!4m2!3m1!1s0x8830f07fcd963337:0x3c6158eacbbffdcb!6m1!1e1?hl=en February 8, 2015 http://www.junipergallery.com/galleryview.php?targetnode=102&height=2523&width=4500&targetttl=Cleveland%20Panorama&picurl=public_square_cleveland.jpg August 20, 2015 http://media.cleveland.com/plain_dealer_metro/photo/squarejpg-b34039de8aa6835a.jpg February 8, 2015 https://upload.wikimedia.org/wikipedia/commons/e/eb/People_in_a_mall_in_Tokyo.jpg August 30, 2015 http://img76.imageshack.us/img76/6757/meganicebz3.jpg August 20, 2015 http://www.architectour.net/opere/index_singola.php?contenuto=galleria&id=2427&width=1515&height=772&tipo=0 February 12, 2015 https://www.google.com/maps/place/Cinema+Schouwburgplein/@51.9203726,4.4734142,148m/data=!3m1!1e3!4m2!3m1!1s0x47c434a13348f101:0x3b7a0078c115a1ea!6m1!1e1?hl=en February 12, 2015 https://www.google.com/maps/place/Oslo+Opera+House,+Oslo,+Norway/@59.908056,10.7489928,465m/data=!3m2!1e3!4b1!4m2!3m1!1s0x46416e8ba21d27af:0x9dd457967cca41e0!6m1!1e1?hl=en August 21, 2015 http://www.infobuild.it/progetti/nuovo-teatro-dellopera-di-oslo/ April 16, 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