Interlacing_volume 5 by Renee Petty

volume 5_

Interlacing

volume 05_

Renee Petty College of Architecture Planning and Design Kansas State University Manhattan, Kansas

Preface This book is in conjunction with a seminar class I took at Kansas State University. The seminar class focuses on man-made landscapes and synthetic terrains. Initially, I was interested in the connection of the landscape and built environment and how buildings connect with their surroundings. I have come to find there is more to it than that. Interlacing, Volume 5, documents experimental techniques and research referring to the preoccupation of building as a landscape through City Parks. Norms, coded notation, and surface development are all apart of the process. The book begins with precedent sources to help contextualize the idea of Interlacing. Next, relevance to Interlacing and the landscape is discussed as well as relevance to the idea behind Interlacing and how it might be incorporated in landscapes. Following, an analysis of diagrams demonstrates, a narrative describing how the technique of Interlacing

was ultimately used. Last, findings and speculations of the analysis and how Interlacing can be used in the future is incorporated into the thought process and therefore this book. The book concludes with citations, a personal biography statement, and colophon. I learned more each paper, book or article I read, sometimes overwhelmed, as not all articles pertained to the type of research I wanted to include; but, overall it was interesting and a great learning experience. It has made me think differently about the use of space, landscapes in particular, and intrigued me further in different aspects of the built landscape and how I might apply that thinking and research strategies in the future. I would like to acknowledge Professor Nathan Petty, who supported and inspired us throughout the process. -Renee

Petty

Interlacing

volume 05_

Interlacing is a verb defined as joining together (narrow things, such as strings or branches) by crossing them over and under each other. Typically, the crossing happens alternately as if something is woven together. Interlacing is fluid, like a thread, stitching natural movements together until the thread is pulled taut by other forces. Interlacing has many synonyms including intermix and weave.

table of contents 10_Precedent Sources 20_Relevant Thinking 28_City Park Analysis 68_Speculative Section 74_ Citations 74_Colophon 77_Biography Statement

Precedent Sources Precedents pertaining to Interlacing range in scale and use. From community scale construction to buildings to parks the idea of Interconnecting is prevalent through structure, circulation, amenities,or other variations.

Man-Made Landscapes: Synthetic Terrains 11

Zentrum Paul Klee Located in Bern, Switzerland, Zentrum Paul Klee was built in 2004. The undulating lines of terrain inspired Renzo Piano to create the roof, a wave, based on concentric circles, Interlaces with the steel structure and enclosing landscape. 1 The building becomes a landscape sculpture as the hills of the building blend in with the surrounding terrain. Zentrum Paul Klee provides an Interlace between “encounter, relaxation and enjoyment” with that of the three ‘hills’.2 Interlacing is best shown visually in this building as the structure is woven with the landscape, roofing, and programmatic uses. The structure becomes the thread lacing the elements together. Figure 01. Earth Interlaces with the structure.

Figure 02. Interlacing as in crossing over and under another element.

Volume 5: Interlacing 12

Figure 03. The structure weaves over and under programmed elements.

Figure 04. Even the pathways are subtly Interlaced with the earth.

Figure 05. The building becomes part of the landscape.

Man-Made Landscapes: Synthetic Terrains 13

Tree City, Downsview Park In Toronto Canada, Downsview Park suffers from neglect; therefore, OMA (Office for Metropolitan Architecture) designed Tree City as a competition project in 2000 to revitalize the space. “Tree City attempts to do more by building less, producing density with natural permeability, property development with perennial enrichment.” Clusters of trees separated by open unprogrammed areas were Interlaced with meadows, playing fields, and gardens. The trees cover 25 percent of the 320 acre site. Within years, Tree City is expected to grow, Interlacing more activities and programed spaces for the community to utilize. One thousand Interlaced paths woven with the tree clusters provide places

cultural campus, existing buildings cultural campus, new buildings wetlands/surface water outdoor theatre gardens deciduous trees condos and townhouses park services meadows coniferous trees recreation water paths sports fields

Figure 06. Diagram the Interlace of spaces throughout the park .

Volume 5: Interlacing 14

for biking, jogging or a leisurely stroll. The park itself will Interlace with the Black Creek and West Don ravines by continuing the theme of tree placement, and begin to Interlace with the urban realm of the city growing beyond the boundary of Downsview Park. 3 Overall, Tree City is a hub of urbanism in the suburban city that links visitors to transportation systems and the variety of activities and attractions provided in Downsview Park. Ultimately this proposal mixes culture with nature.

Figure 07.â&#x20AC;&#x2021; Programmed clusters placed in park.

Figure 08.â&#x20AC;&#x2021; The circular pictures show activity space and views throughout the park.

Man-Made Landscapes: Synthetic Terrains 15

Culture and Art Center The proposed Grand Theater and International Culture and Art Center for Changsha, China, designed by Coop Himmelb(l)au Interlaces land, water and building. The building works to interact natural elements with the landscape scientifically and visually. All services and leisure facilities transform the ground plane as the flexible and lively building structure Interlace the spaces. Circulation is the thread in Interlacing the Culture and Art Center. Pedestrian paths weave throughout the programmed structure linking infrastructure, subway stations, a hotel, lecture halls, art training center, plaza and grand theater. 4

Figure 09.â&#x20AC;&#x2021; Weaving structure and program of the Culture and Art Center for Changsha.

Volume 5: Interlacing 16

The weave of the form visually explains the idea of intermixture. Protruding elements Interlace the building structure physically. The landscape itself continuously flows on the wave of the roof structure, Interlacing light, air and water.

Figure 10. Circulation is Interlaced with amenities in the grand foyer.

Figure 12. The grand theater incorporates flowing forms based from the landscape. Figure 11. Circulation is woven throughout the design, leading pedestrians.

Figure 13. Water and an open air stage are merged.

Man-Made Landscapes: Synthetic Terrains 17

New Columbia New Columbia is located in Portland, Oregon, and is a 82 acre mixedincome community. Developed in 2005, New Columbia’s vision was to Interlace the city’s network gird into the surrounding vibrant neighborhoods. Pedestrian and bicycle paths, small and large parks, an elementary school, and commercial space, as well as a variety of hosing options, were included in the master plan and built throughout the public housing development. These amenities attract residents from adjacent neighborhoods, weaving the city into New Columbia. 5

The outcome of weaving turned out a little different, in a good way, than imagined. Instead of Interlacing New Columbia with the surrounding city the city began to Interlace with New Columbia. Interlacing the attributes of New Columbia provides a strong precedent for other cities that want to achieve the same style of community.

Figure 14. New Columbia under development.

Figure 15. New Columbia homes.

Volume 5: Interlacing 18

The design efforts were led by Mithun, Murase Associates and Robertson Merryman Barnes.

Figure 16. Street scape.

Figure 17. Public fountain in New Columbia used by the locals.

Figure 19. Mix of housing and parks.

Figure 18. New Columbia is very pedestrian friendly.

Figure 20. Large parks provide a place to play and gather.

Man-Made Landscapes: Synthetic Terrains 19

Volume 5: Interlacing 20

Relevant Thinking The biggest question is how does Interlacing relate to the landscape? But first, what is the idea behind Interlacing and how is it described and used throughout society and history? Secondly, how does Interlacing relate to city park space? It is good to know what makes a good city park space before you can analyze any relationships between the act of Interlacing and park space.

Man-Made Landscapes: Synthetic Terrains 21

Perception of Interlacing Ernst Gombrinch provides a comprehensive survey about the human impulse to seek rhythms and order in space. It is compared to the behavior of humans and animals. He discusses the impulse can be involved in a variety of activities such as children’s play, poetry, dance, music, architecture and art. To start off his research Gombrinch quotes the father of ethology, Konrad Lorenz, “avoiding action when it collides with an obstacle by first reversing and then swimming forward in another direction determined by accident suggests that it ‘knows’ something about the external world which may literally be described as an ‘objective’ fact.” Gombrinch quotes this passage to emphasize the need for orientation as well as the need to take risks based on the hypothesis of changing course (circulation) or remaining at the same point which would result in a collusion. Depending on the function of the pathway, organization will be conducted differently. Zigzags, for example, shake off a pursuer but make the course more interesting and less predictable. 6 Digging deeper into the rhythm and order in space Gombrinch references many historical precedents. The Gestalt Theory refers to perception in art and illusion as simple configurations, straight lines, and circles seen throughout the environment. This happens in the built environment such as pattern making or the environment in which organisms live. Interwoven lines, both curved and straight, must be gradual in transition. Ornamental art presents these capabilities, some more perfect than others, such as the Islamic patterns in the Alhambra Palace. Figure 21, 22 and 23 show a range of patterns located in the Alhambra Palace. According to Owen Jones, the Alhambra work is “most fitted to illustrate the grammar of ornament” of gradual lines and curves based of the Gestalt Theory. Jones continues to explain that gradual enrichment leads to harmony

Volume 5: Interlacing 22

and proper balance of form. 6 Not only is the theory of Interlacing and weaving lines apparent in the Alhambra but also apparent in needlework and other pattern making techniques. The idea of theory and interlacing have been around for along time. Many cultural patterns showcase this technique throuh quilts, rugs, clothes and glass windows. Gombrinch believes that the geometrical and mathematical methods that aid pattern making were inspired by the craftsmen/women of needlework, etc. as a desire to widen the ranges of skill. The ‘line of beauty’, a wavy line, derived from voids and curves (manipulated straight lines), waves and winds in different ways is a pleasure according to William Hogarth. Many adopted the idea of the pleasing manner of the continuous line. The wavy line suggests movement more easily than that of a straight line. The wavy line is a way to keep in touch and to adjust with the constant motion of our world and the movement and objects we interact with. 6 Interlacing is prevalent in our environment yet this geometrical order and the perception may never be clear cut. For example, Interlacing is used in many newer way such as plaiting, knotting, weaving or three dimensionally in a lattice or relief as well as flat design. In search for meaning it is realized that our effort of order determines the appearance of patterns rather that the mathematics which may describe the structure.6 Despite the perception of not being clear cut, the underlying themes and order of Interlacing can help enhance other aspects of the environment by aiding the design process. Modern patterns today are based on the geometric orders and rules first discovered and used for needlework and other pattern making in years past.

Figure 21. Patterns on Alhambra Palace.

Figure 22. Patterns from Alhambra Palace

Figure 23. Modern art showing continuing idea of interlacing and overlapping.

Figure 24. Gothic tracery showing flowing line work.

Man-Made Landscapes: Synthetic Terrains 23

Alex Wall, Interlacing and Landscape “The term landscape no longer refers to prospects of pastoral innocence but rather invokes the functioning matrix of connective tissue that organizes not only objects and space but also the dynamic processes and events that move through them. This is landscape as active surface, structuring the conditions for new relationships and interactions among the things it supports. ” -Alex Wall. 7

“The function of design is not only to make cities attractive

Alex Wall in Programming the Urban

but also to make them more adaptive, more fluid, more

Surfaces refers to the term landscape as

capable of accommodating changing demand and unforeseen

an “extensive and inclusive ground-

circumstances.”

-Alex Wall. 7

plane of the city, to the ‘field’ that accommodates buildings, roads, utilities, open spaces, neighborhoods, and natural habitats.” It should be dynamic and responsive through the act of Interlacing. 7

Volume 5: Interlacing 24

Figure 25.â&#x20AC;&#x2021; Residential, Cultural, World University, and Environmental bands of OMA project interconnect as described by Alex Wall.

Man-Made Landscapes: Synthetic Terrains 25

Parc de la Villette Benard Tschumi “addresses the fact that the organization of functions and events was as much an architectural concern as the elaboration of forms or styles” in his competition entry for Parc de la Villette. Rem Koolhaas also discussed the future use of a city park overtime in his competition entry for Parc de la Villette. Koolhass states: “It is safe to predict that during the life of the park, the program will undergo change and adjustment. The more the park works, the more it will be in a perpetual state of revision...The underlying principle of programmatic indeterminacy as a basis of the formal concept allows any shift, modification, replacement or substitutions to occur without damaging the initial hypothesis.” 8 Infrastructure in parks accommodate urban activities such as planned and unplanned, imagined and un-imagined. This provides a “nascent form of landscape urbanism” design as referenced by Koolhaas and Tschumi during the design competition.8

important connection to that of the organization in a park. Meaning, a series of lines can be made to purposefully or naturally create meandering. Logic and independence is individually displayed in each system. For example, the undefined paths intersect various points of the site connecting points of interest within the park and the surrounding areas, while the folies each have their own specific purpose.10 Tuschumi references Mark Wigley saying a “series of ambiguous intersections between systems...in which the status of ideal forms and traditional composition is challenged” in the organization of a park. This is the result of superimposition and interaction between layers of the ordering system. It is challenged not by physically feeling but by theoretical concept. 9

Tschumi produced an ‘urban park’; Parc de la Villette, located in Paris France, and worked to adapt the current world with new technological evolutions. While Tschumi produced more demonstrative concepts in the design, Russian constructivists believed an idealistic therapy that would guarantee happiness, harmony and health could emerge from the designed geometry. The goal of happiness and pleasure was a driving force behind the superimposition of three different ordering systems in Parc de la Villette. As seen in the diagram on page 25, the first layer (top) contains points, next a grid creating a layer of lines, and at the crossing of points a ‘folie’ is built. Not all folies are exactly the same and can be used for any activity. Undulating lines meandering the site lead to ‘charming sights’. The last layer is a layer of surfaces, representing a large surface area making room for all activities such as sports and events. 9 While the reference to meandering lines is merely formal, it is an

Volume 5: Interlacing 26

Figure 26. One of the 44 folies throughout the site.

Figure 27.â&#x20AC;&#x2021; Lines, Points. Surface.

Man-Made Landscapes: Synthetic Terrains 27

1,017 acres

GOLDEN GATE PARK

37°46’09.92” N , 122°29’10.37” W

Volume 5: Interlacing 28

1.7 acres POST

OFFICE SQUARE

40°21’25.88” N , 71°21.74” W

585 acres PROSPECT

PARK

40°39’21.96” N , 73°58’23.36” W

City Park Analysis City parks are major contributors to the physical and aesthetic quality of neighborhoods. Parks provide open space for recreational use. Parks may be natural, man-made or a variation of both.11 The purpose of a park is to get away, even if it is just for a lunch break. According to Alan Tate, “a successful park gives you a feeling of going away without leaving town” due to the culture, organization and multitudes of activities a park provides. Furthermore “A great city park has to be a beautiful space that also has a great relationship with the city,” states Peter Harnik, director of the Center for City Park Excellence in Washington, D.C.12 No matter the location, parks typically instill the same principles. The city park analysis refers to a series of studies on three parks throughout the United States that vary in size. Golden Gate Park, Prospect Park, and Post Office Square are analyzed to see if they contain the necessities a park needs to be successful. The organizational use of the park is studied to see how it might pertain to successfulness. North will be presented up in all studies unless otherwise noted. The process conducted for the series of studies is explained in steps on the right and rules and regulations are expressed on pages 30 and 31.

Step 1 _ Identify the elements of a park while looking into the park’s history and formation. Things to look for include: multitudes of activities and purposes a park could provide, such as water attractions, sports facilities, and civic buildings.

Step 2 _ Re-examine the parks keeping previous knowledge in mind. Analyze and de-code a portion of the site that contains all variety of spaces to look for underlying norms.

Step 3 _ Analyze the finding that circulation is imperative to parks. Work to understand what is natural and what is forced and how circulation, gathering spaces, and amenities influence and connect with each other.

Man-Made Landscapes: Synthetic Terrains 29

Rules and Regulations Rules and regulations clarify the typology of the organization in creating an Interlacing park system. These rules and regulations can aid in designing or adding to existing parks, designing new parks or even designing other programmed spaces such as buildings.

Tangents

Curve

A part of the circulation path a tangent is a straight line or plane that touches a curved surface at a point. Tangents create straightforward pathways. They are used ill frequently in the landscape, only connecting curves when necessary.

A part of the circulation pathway a curve is a gradual and continuous deviation from the straight line. Curves are used to wrap around small and large programmed spaces. The illusion of a curve creates meandering. Distance from point A to point B is not directly seen.

Volume 5: Interlacing 30

Natural Features

Programed Spaces

Natural features include topography, lakes, and lookouts. These features inform the direction and curvilinear of the path.

Programmed spaces include buildings, huts, and anything that is considered an organized activity. Programmed spaces provide a space for gathering shown in the cream colored and amenities shown in purple. Tangents and curves should interact with these spaces making them more desirable. Desirability will depend on context and design intuition.

Man-made natural features may also be included in this area of design. However, depending on which is made first, man-made natural features may be influenced by the path of tangents and curves.

Man-Made Landscapes: Synthetic Terrains 31

Golden Gate Park Golden Gate Park is the largest of the parks dissected in this series of studies amounting to 1,017 acres. The park is located in San Francisco, California, and was designed by William Hammond Hall, John McLauren, and Calvert Vaux. Golden Gate Park has 13 million annual visitors.

Figure 28.â&#x20AC;&#x2021; Golden Gate Park highlighted in the over all view of San Francisco.

Volume 5: Interlacing 32

Figure 29.â&#x20AC;&#x2021; Zoomed in view of Golden Gate Park in San Francisco.

Man-Made Landscapes: Synthetic Terrains 33

Geometry The park boundary for Golden Gate Park was defined in 1870. At the time of its construction, the park was built far from population and sand dunes covered three-quarters of the site. Some people feared the park would fail in this location as only the rich could afford travel costs to visit the park.

Volume 5: Interlacing 34

Augmentation By 1880 more than 155,000 trees covered the site in a spermatic fashion. The augmentation of trees made Golden Gate Park the â&#x20AC;&#x153;Disney Landâ&#x20AC;? of its time and began to invite more visitors.

Man-Made Landscapes: Synthetic Terrains 35

Structure In the 1900â&#x20AC;&#x2122;s cars were allowed in the park. Multitudes of vehicle pathways and pedestrian pathways Interlaced the trees and landscape. The city began to grow around the park. The city roadway network aligns with the entrances of major vehicle pathways into the park.

Volume 5: Interlacing 36

Superimposition The park is considered an oasis containing gardens, playgrounds, lakes, picnics groves, trails, venues, events, and activities throughout the landscape. Interlacing new amenities continuously happens.

Man-Made Landscapes: Synthetic Terrains 37

Boundary A smaller portion of Golden Gate park, still containing all variety of spaces, is decoded. These spaces are researched more in-depth to find the â&#x20AC;&#x2DC;normâ&#x20AC;&#x2122; of the site.

Volume 5: Interlacing 38

Decode The relationship of the three divisions (gathering/amenities, circulation, and vegetation) of spaces is viewed. It is noted that circulation gets you from point A to point B; therefore, its high importance and higher extrusion. Gathering spaces and amenities become resting points; therefore, they are represented by a depression giving the illusion of downtime. Vegetation encompasses the majority of the park, leaving portions of the site unprogrammed. Areas with-in the vegetation and unprogrammed sector have the potential to be redeveloped.

Man-Made Landscapes: Synthetic Terrains 39

Superimposition This diagram shows the variety of spaces overlapping each other as they do in the physical environment. Vegetation, the hatch, is very prominent as well as circulation, the green line. The gathering spaces and amenities, depicted as shade and voids, act as in-fill.

Volume 5: Interlacing 40

Structure Connection of the hierarchal circulation is analyzed. Circulation is most natural in Golden Gate Park but also forced at times. Forced circulation is depicted by tangents and natural circulation is depicted by curves in green. Does the natural or forced circulation have an effect on the park layout and other programmed spaces within it?

Man-Made Landscapes: Synthetic Terrains 41

Juxtaposition A grid placed over the portion of the site shows Golden Gate Parks is not regulated in an orthogonal fashion, rather it is more free flowing from one space to the next. The grid represents scale with each box depicting 100 square feet.

Volume 5: Interlacing 42

Result Vegetation extrudes in density relating to the overlay of the gird. It interacts with circulation as the circulation threads through the area, meandering and connecting to other programmed spaces.

Man-Made Landscapes: Synthetic Terrains 43

Prospect Park Prospect Park contains 585 acres of park land. The park is located in Brooklyn, New York, and was designed by Fredrick Olmsted and Clavert Vaux. The park attracts more than 8 million visitors a year.

Figure 30.â&#x20AC;&#x2021; Prospect Park highlighted in the over all view of New York.

Volume 5: Interlacing 44

Figure 31.â&#x20AC;&#x2021; Zoomed in view of Prospect Park in New York.

Man-Made Landscapes: Synthetic Terrains 45

Geometry Prospect Park, origin 1866, is primarily bounded by existing roads and was built for every social class. This site provided a promise for creative freedom and vision of uninterrupted landscape.

Volume 5: Interlacing 46

Augmentation Trees create a visual boundary for the park and shields park goers from the view of nearby buildings and passing traffic, creating an internal focus.

Man-Made Landscapes: Synthetic Terrains 47

Structure In 1868 Prospect Park grew to have a man-made lake, scenic lookout, rustic shelters and a concert grove Interlacing with the weaving pathways. These amenities attracted more than 100 thousand users in a year span, to the incomplete park.

Volume 5: Interlacing 48

Superimposition In 2000 Prospect Park was deemed a peaceful escape from the city containing green meadows, lookouts, waterfalls, springs, running trails, playgrounds, venues and many other functional activity spaces. Prospect Park continuously Interlaces new programmed material to the site throughout the years.

Man-Made Landscapes: Synthetic Terrains 49

Volume 5: Interlacing 50

Decode The relationship of the three divisions (gathering/amenities, circulation, and vegetation) of spaces is viewed. It is noted that circulation gets you from point A to point B; therefore, its high importance and higher extrusion. Gathering spaces and amenities become resting points; therefore, they are represented by a depression giving the illusion of downtime. Vegetation encompasses the majority of the park leaving portions of the site unprogrammed. Areas with-in the vegetation and unprogrammed sector have the potential to be redeveloped.

Man-Made Landscapes: Synthetic Terrains 51

Structure Circulation is depicted by the green lines, vegetation by the transparent hatch and gathering spaces/amenities by the voids. Circulation has shown itself to be the most important element in Interlacing the spaces together in the Prospect Park.

Volume 5: Interlacing 52

Structure Circulation is realized to be both natural and forced by the use of tangents and curves. Natural circulation is more Prospect Park depicted my the majority of curves in green. Forced circulation is depicted by tangent in the green.

Man-Made Landscapes: Synthetic Terrains 53

Juxtaposition A grid placed over the portion of the site shows the park is not regulated in an orthogonal fashion (except for the North and West boundary lines). Rather, Prospect Park is more free flowing from one space to the next. The grid represents scale with each box depicting 100 square feet.

Volume 5: Interlacing 54

Result Circulation in Prospect Park has more of a meandering effect as it Interlaces with the extruded density of vegetation and weaves around programmed spaces.

Man-Made Landscapes: Synthetic Terrains 55

Post Office Square Located in Boston, Massachusetts, Post Office Square used to be a parking garage located in between multiple high end office buildings in 1980. After hours the block became a “ghost town”. The area was in need of revitalization; therefore, Halvorson Company and Skidmore, and Owings and Merrill took on the job to convert the parking garage into something better. The revitalization of this block led to improvements in nearby buildings. At 1.7 acres, Post Office Square is the smallest city park space analyzed but is known for its “Park Below and Park Above”.

Figure 32. Post Office Square highlighted in the over all view of Boston, Massachusetts.

Volume 5: Interlacing 56

Figure 33.â&#x20AC;&#x2021; Zoomed in view of Post Office Square in Boston, Massachusetts.

Man-Made Landscapes: Synthetic Terrains 57

Existing An old deteriorating parking garage used to sit on the site of Post Office Square. It provided an unsafe environment before the space was revitalized.

Volume 5: Interlacing 58

Geometry The boundary of the park space is defined by the existing city block.

Man-Made Landscapes: Synthetic Terrains 59

Augmentation A parking garage is still needed in this area; therefore, in 1990 a seven story parking garage was built underground to free up space on the ground level for a park.

Volume 5: Interlacing 60

Superimposition For public use and interaction Post Office Square was outfitted with gathering alcoves, a water feature, trees for shading, grassy areas, a restaurant and other amenities which invite people to gather in the city park during business hours and at night.

Man-Made Landscapes: Synthetic Terrains 61

Boundary The main block of Post Office Square that contains all variety of spaces is decoded. These spaces are researched more in-depth to find the â&#x20AC;&#x2DC;normâ&#x20AC;&#x2122; of the site.

Volume 5: Interlacing 62

Man-Made Landscapes: Synthetic Terrains 63

Volume 5: Interlacing 64

Structure Circulation is realized as forced in Post Office Square. However, a natural based circulation is seen in parts of the design. Forced circulation is depicted by tangents and natural circulation is depicted by curves in the green.

Man-Made Landscapes: Synthetic Terrains 65

Juxtaposition Each box of the grid represent 100 square feet. The grid also shows that the organizational pattern of the park isnâ&#x20AC;&#x2122;t orthogonal. Instead circulation pathways match closely to the surrounding city pathways.

Volume 5: Interlacing 66

Result Interlacing circulation is the key weaving through the vegetation and other programmed spaces. Even in this small space circulation connects you from one place to the next.

Man-Made Landscapes: Synthetic Terrains 67

Findings of City Park Analysis City Parks can be configured in a variety of ways yet still have the same basis of organizational principles. Golden Gate Park, in San Francisco, California, Prospect Park in Brooklyn, New York, and Post Office Square in Boston, Massachusetts, are each successful in their own way despite their size.

Golden Gate Park is the largest of the three parks measuring 1,017 acres. The spaces in the park contain multitudes of activities, purposes and attracts more than 13 million visitors a year. Golden Gate Park contains more of a meandering pathway system than the other parks.

Prospect Park is organized similarly to Golden Gate Park: meandering paths and a multitude of the same type of amenities/gathering spaces are provided. At about half the size as Golden Gate Park, Prospect Park

Volume 5: Interlacing 68

averages half the visitors. This alone tells that Golden Gate Park and Prospect Park are comparable.

Post Office Square is very small but successfully provided a safety factor for the surrounding area and lead to improvement to nearby buildings. Also, Post Office Square provides a nice get-away space in the middle of the urban context easily accessible by the community. If a member of the community can use the park for their own purpose or organized event, to relax or play, whether it be â&#x20AC;&#x153;planned or unplanned, imagined or unimaginedâ&#x20AC;? a park has begun to be successful. However, the organizational strategies that make these successful is the idea of Interlacing, and thus weaving, and intermixing. Studies

show circulation, programmed spaces, and unprogrammed spaces influence a parkâ&#x20AC;&#x2122;s organizational system. Depending on the park, circulation is decided together with the design of the functional spaces or is designed in an overlapping fashion in which lakes, initial vegetation or programmed spaces influence the circulation path. The path therefore decides which way to move based off the placement of the natural features and programmed spaces. The largest key throughout a park is circulation. Circulation is dependent upon a few things but is what Interlaces you with other spaces with in the park. Circulation is the thread that Interlaces the park together, it weaves through the amenities, gathering spaces, and vegetation like a thread weaves through an Afghan quilt or lines that wind through the art processes. This Interlace creates a

cohesive, collective and experiential space. â&#x20AC;&#x153;The surface becomes a staging ground for the (Interlacing) of future events.â&#x20AC;?5 This can be true in the following cases: Golden Gate Park and Prospect Park have the means to expand should the city wish. They could expand out following the same organizational pattern the park provides or the city and the park could Interlace with each other providing an area containing new programmed space. As Post Office Square is on the small side, more programmed spaces within this park would diminish its merit of it classification, by Forbes, as a great city park.11

Man-Made Landscapes: Synthetic Terrains 69

Volume 5: Interlacing 70

Speculative Based off of the evaluations and findings from the program analysis we can approach the built environment in a new light. Interlacing does not pertain to only parks nor does it technically imply that circulation is the thread, the key element, Interlacing objects and spaces together. It can be implemented in many ways through weaving and intermixing as described by its definition. Applying the strategy of Interlacing allows for more fluid, dynamic and organic outcomes. Incorporating park interlacing allows the application of green infrastructure.

Man-Made Landscapes: Synthetic Terrains 71

The High Line_Precedent The West Side of Manhattan, NY was transformed through the revitalization of the freight rail.13 Stretching over 1.5 miles The High Line Interlaces through the city.14 Additionally, it weaves through the street grid at an elevated height Interlacing many amenities. Amenities include areas for sun bathing, exploration, viewing, water play and much more. Paving and vegetation Interlaces naturally and gradiently to provide different types of spaces for a variety of people with a fluid moving path. Firm Diller Scolfidio + Renfro one of the project architects, states that “the High Line surface is digitized into discrete units of paving and planting... (ranging) from 100% paving to 100% soft, rich vegetated biotopes.”14 The gradient allows an intermixture of natural growth and architecture visually creating the Interlace pattern on the ground plane as well as in the perspective view.

Figure 34. The High Line weaves through Manhattan.

Figure 35. The vegetation and paving Interlace.

Volume 5: Interlacing 72

Figure 36.â&#x20AC;&#x2021; The High Line is used for many activities such as visiting and relaxing.

Figure 37.â&#x20AC;&#x2021; Beer Gardens, located at either end of the High Line, allow for beer walks.

Man-Made Landscapes: Synthetic Terrains 73

Prospect Park_Annexing the Site Park space is necessary and a vital part of the environment and our daily lives. Not only do parks provide a space for health and exercise but they also provide a spaces for relaxation and entertainment. This section will look into expanding Prospect Park; Interlacing the park with the city as the city gridwork, open spaces, and blighted areas can provide opportunities for improvement, revitalization and a superimposed built environment.

Frame Prospect Park in Brooklyn, NY, was built forcing views inwards by the frame of trees aligning the edge of the park.

Volume 5: Interlacing 74

Grid The grid derived from surrounding blocks helps regulate the parkâ&#x20AC;&#x2122;s edge. Not only does Prospect Park follow the orientation of surrounding blocks but so does nearby green space of Greenwood Cemetery.

Man-Made Landscapes: Synthetic Terrains 75

Relationship The pathway system in Prospect Park and the surrounding park spaces do not follow the grid system. The pathway system used in the parks Interlaces together amenities and uses.

Volume 5: Interlacing 76

Infill The rigid city blocks in New York could use a thread similar to that of circulation in Prospect Park and Greenwood Cemetery Interlacing together city, parks, and amenities. Based off the city grid the green infill above shows possible spaces to incorporate a thread of circulation and green spaces.

Man-Made Landscapes: Synthetic Terrains 77

Interlace Interlacing can be incorporated into the surrounding city weaving through the rigid city blocks. Pathways can mimic the tangent and curved pathway systems seen in the multiple parks throughout the United States namely Prospect Park and Greenwood Cemetery down the street.

Volume 5: Interlacing 78

Zoom Derived from circles and tangents a fluid pathway emerges Interlacing through the city where a variety of Interlace options are available such as interlacing around, over, through and under buildings, streets and structures. Four parts of the most northern path will be examined at in the following diagrams.

Man-Made Landscapes: Synthetic Terrains 79

Around Located near an entrance of Prospect Park, a theater, restaurants, and offices, a small green space can become a resting and waiting area. With the added green infrastructure the blighted corner becomes more attractive and used. It also can be seen as a precursor to Prospect Park across the street. The greenery continues to interlace northwards through the city blocks.

Volume 5: Interlacing 80

Over Interlacing in three dimensions a park pathway rises over another outdoor space, in this case a baseball field. This risen pathway provides additional, high quality outdoor spaces for community members to interact, relax and watch baseball games below. The risen pathway also allows for sheltered programmed spaces such as dugouts, and concessions directly below the pathway.

Man-Made Landscapes: Synthetic Terrains 81

Through Vegetation continues through a church. Not blighted but provocative this theory of Interlacing is enticing and intriguing bringing passersby to visit. Woven through the building and facade the vegetation creates a hybrid of a historic and modern building.

Volume 5: Interlacing 82

Under Located below street level an underground park space leads to the other side of the street without interfering with traffic and allows for a different park space experience. Large exposed tree roots provide a place to sit before the roots continue to burrow farther underground. The natural ground surrounding the path provides spaces for learning and discovering hidden treasures.

Man-Made Landscapes: Synthetic Terrains 83

Citations References 1. Piano, Renzo. Zentrum Paul Klee, Bern: The Architecture. Ostfildern-Ruit: Hatje Cantz, 2006. 2. “Architecture.” Zentrum Paul Klee. Accessed November 13, 2014. http://www.zpk.org/en/service-navigation/about-us/architecture-107. html.

11.”In Depth: America’s Best City Parks.” Forbes. November 18, 2009. Accessed September 1st, 2014. http://www.forbes.com/2009/11/18/ best-city-parks-lifestyle-travel-central-park_slide.html. 12. “America’s Best City Parks.” Forbes. November 18, 2009. Accessed September 1st, 2014. http://www.forbes.com/2009/11/18/best-cityparks-lifestyle-travel-central-park.html. 13. “The High Line.” NYC Parks. Accessed December 11, 2014. http:// www.nycgovparks.org/parks/the-high-line.

3. Somol, R.E., ‘All Systems GO!: The Terminal Nature of Contemporary Urbanism,’ Czerniak, Julia (ed).. Downsview Park, Toronto. London: Prestel, 2001: 126-135.

14. Cilento, Karen. “The New York High Line Officially Open.” Arch Daily. June 9, 2009. Accessed December 11, 2014.

4. “Culture Art Center Changsha / Coop Himmelb(l)au.” ArchDaily. March 1, 2013. Accessed November 5, 2014.

Images

5. Hill, Rachel. “New Columbia.” The Landscape Architect’s Guide to Portland, Oregon. Accessed November 7, 2014. 6. Gombrich, E. H. The Sense of Order: A Study in the Psychology of Decorative Art. 2nd ed. London: Phaidon Press, 1984. 2, 4, 53, 92, 126, 137, 140, 147. 7. Wall, Alex. ‘Programming the Urban Surface,’ Corner, James, ed. Recovering Landscapes: Essays in Contemporary Landscape Architecture. New York: Princeton Architectural Press, 1999. 8. Waldheim, Charles. The Landscape Urbanism Reader. New York: Princeton Architectural Press, 2006. 040-041. 9. “The Uncanny and the Architecture of Deconstruction.” By Anneleen Masschelein. Accessed November 17, 2014. 10. “The 4th Dimension: Tschumi’s Layers.” A Landscape Architecture Blog. February 16, 2013. Accessed November 17, 2014. http:// julianrich.blogspot.com/2013/02/tschumis-layers.html.

Figure 01. Parrott, Finn. “Zentrum Paul Klee, Switzerland - Renzo Piano Building Workshop.” Photograph. URBANTIMES. https:// urbantimes.co/2014/04/6-easy-steps-to-beautiful-sustainablearchitecture/ (accessed November 13, 2014). Figure 02. Abeggien, Martin. “Zentrum Paul Klee and its landscape.” Photograph. Inexhibit. http://www.inexhibit.com/case-studies/ zentrum-paul-klee-bern/ (accessed November 13, 2014). Figure 03. Photograph. BERN. http://www.bern.com/en/city-of-bern/ art-and-events/museums-galleries/zentrum-paul-klee-en (accessed November 13, 2014). Figure 04. Aepli, Norbert. “Zentrum Paul Klee, Bern.” Photograph. June 5, 2005. http://commons.wikimedia.org/wiki/File:Zentrum_ Paul_Klee_Bern_07.JPG (accessed November 13, 2014). Figure 05. Valcarce, Alvaro. “Paul Klee Zentrum, Berna.” Photograph. http://www.revistadiagonal.com/articles/nostalgia-del-absoluto/ (accessed November 13, 2014). Figure 06. Diagram recreated by Renee Petty.

Volume 5: Interlacing 84

Figure 07.-08. Somol, R.E., ‘All Systems GO!: The Terminal Nature of Contemporary Urbanism,’ Czerniak, Julia (ed).. Downsview Park, Toronto. London: Prestel, 2001: 126-135.

Figure 22. Photograph. Wordpress. November 30, 2007. https:// fourdeeroak.wordpress.com/2007/11/30/patterns/ (accessed November 24, 2014).

Figure 08-13. “Culture Art Center Changsha / Coop Himmelb(l)au.” ArchDaily. March 1, 2013. http://www.archdaily.com/343909/cultureart-center-changsha-coop-himmelblau/ (accessed November 5, 2014).

Figure 23. Wallace, Carolyn Coffey. “Triangle Interlacing.” Photograph. FineArtAmerica. http://fineartamerica.com/featured/ triangle-interlacing-carolyn-coffey-wallace.html (accessed November 24, 2014).

Figure 14. “Columbia Villa Cleared before the rebuilding process.” Photograph. New Columbia. http://www.newcolumbia.org/ (accessed November 5, 2014). Figure 15. Eckert and Eckert. “New Columbia Homes.” Photograph. Mithun. http://mithun.com/projects/project_detail/new_ columbia/%20images/ (accessed November 5, 2014). Figure 16. Eckert and Eckert. “New Columbia Street Scape.” Photograph. Mithun. http://mithun.com/projects/project_detail/new_ columbia/%20images/ (accessed November 5, 2014). Figure 17. Eckert and Eckert. “New Columbia Fountian.” Photograph. Mithun. http://mithun.com/projects/project_detail/new_ columbia/%20images/ (accessed November 5, 2014). Figure 18. Hill, Rachel. “A Walkable and Bikeable Community.” Photograph. American Society of Landscape Architects. http://www. asla.org/Portland/site.aspx?id=44219 (accessed November 6, 2014). Figure 19. Hill, Rachel. “Winding Seat Walls.” Photograph. American Society of Landscape Architects. http://www.asla.org/Portland/site. aspx?id=44219 (accessed November 6, 2014). Figure 20. Hill, Rachel. “Neighborhood Amenities.” Photograph. American Society of Landscape Architects. http://www.asla.org/ Portland/site.aspx?id=44219 (accessed November 6, 2014). Figure 21. Hadly-Ives. “Another glorious wall inside the Alhambra.” Photograph. 2008. http://www.historylines.net/pages/desktops2.html (accessed November 24, 2014).

Figure 24. Gombrich, E. H. The Sense of Order: A Study in the Psychology of Decorative Art. 2nd ed. London: Phaidon Press, 1984. 147. Figure 23. “OMA, Airport City, Seoul.” Photograph. http://predmet. fa.uni-lj.si/siwinds/s2/u4/su6/s2_u4_su6_p4_7.htm (accessed November 17, 2014). Figure 24. Godliman, Darrell. “Parc de la Villette - Pavillion 02.” Photograph. Flickr. https://www.flickr.com/photos/ darrellg/5421295312/ (accessed November 17, 2014). Figure 25. “Axon” Photograph Scan. ArchDaily. http://www.archdaily. com/92321/ad-classics-parc-de-la-villette-bernard-tschumi/ (accessed November 17, 2014). Figure 26.-33. Line work provided by httos://cadmapper. com/#houston. Edits and overlays by Renee Petty. Figure 34.-35. “The High Line.” Photograph. NYC Parks. http://www. nycgovparks.org/parks/the-high-line (accessed December 11, 2014). Figure 36. “High Line, New York.” Photograph. Yo Chicago. http:// yochicago.com/the-bloomingdale-trail-and-the-high-line/27008/ (accessed December 11, 2014). Figure 37. Photograph. BlogSpot. http://walkinganddrinkingbeer. blogspot.com/2011/08/walking-and-drinking-beer-on-new-yorks.html (accessed December 11, 2014). *all diagrams located in the City Park Analysis section and Prospect Park of the Speculative Section, with out a figure notation, were made by Renee Petty. Man-Made Landscapes: Synthetic Terrains 85

Volume 5: Interlacing 86

Colophon Man-Made Landscapes: Synthetic Terrains A multi-volume set of pamphlets studying new relationships between building and site.

1 :: Blending :: Roger Heady 2 :: Carving :: Nicholas Hnastchenko 3 :: Extruding :: Dylan Rupar 4 :: Folding :: Timothy Tse 5 :: Interlacing :: Renee Petty 6 :: Patching :: Lauren Harness 7 :: Thickening :: Kelsey Helland 8 :: Warping :: Brandon Lambrecht 9 :: Weaving :: Brian Conklin 10 :: Wrapping :: Sara Todavchick

Volume Editor + Designer: Renee Petty Edition: Volumes 1-10: 1st Edition. First published in the United States of America in December 2014 by the student publishers of ARCH 711 using their original work composed of creative site documentation, original text and speculative propositions on the future of architects working in the landscape. Course Information: Assistant Professor Nathan Petty ARCH 711 / Fall 2014 / Wednesdays, 7:05 - 9:55 PM / Class ID: 14236, Section B, 3 Credits This speculative, multi-volume pamphlet publication accompanies the conclusion of a design-oriented research seminar focusing on alternative approaches to the integration of building and site entitled ‘Man-Made Landscapes: Synthetic Terrains’ conducted by Assistant Professor Nathan Petty for the Department of Architecture in the College of Architecture, Planning and Design (APDesign) at Kansas State University during the Fall Semester of the 2014 - 2015 academic year. The course is a project-based seminar offered to advanced Master of Architecture (M.ARCH) candidates during their fourth or fifth year of study.

Imprint Specifications: Distribution by lulu.com Perfect Bound Cover Dimensions: 8.5” x 8.5” / 21.59 cm x 21.59 cm Cover Paper: 100# / 270 gsm laminated cover stock Interior Paper Dimensions: 8.5” x 8.5” / 21.59 cm x 21.59 cm Interior Paper: 80# / 118 gsm coated matte white paper Typography: The text is composed of: Garamond, Garamond Bold and Garamond Italic, Version 2.40, developed by Claude Garamond. Copyrights: Monotype Typography, Ltd 19911995. All rights reserved. Distributed by Agfa Monotype Corporation. Bibliographic Entry: Petty, Renee, L. Synthetic Terrains: Volume Title, vol. 5 of Man-Made Landscapes: Synthetic Terrains. Manhattan: KSU APDesign ARCH 711, Fall 2014. All rights reserved. No part of this publication may be reproduced in any manner without permission of the aforementioned publisher(s) listed above. Every effort has been made to ensure the accuracy of this publication with respect to citations, inaccuracies or omissions. The contents are believed to be correct at the time of going to press, but changes may have occurred since that time. If proper copyright acknowledgment has not been made, or for clarifications and corrections, please contact the individual publishers and we will correct the information in future reprinted editions, if any. apdesign.k-state.edu | The College of Architecture, Planning + Design | Kansas State University | Manhattan, KS, US | 66506

Man-Made Landscapes: Synthetic Terrains 87

Volume 5: Interlacing 88

Renee Petty was born and raised in Leeâ&#x20AC;&#x2122;s Summit,

Missouri. She attends Kansas State University pursuing her Masterâ&#x20AC;&#x2122;s degree from the College of Architecture Planning and Design. Interested in the relationships between humans and their environment and sustainable design Renee strives to design with those aspects in mind. These interests led to winning third place in the Abiquiu Pavilion Design Competition in 2012. Renee fully immerses herself in all things she does and has held leadership positions in the College of Architecture as Laser Club Treasurer. She has also held numerous positions in her sorority, Kappa Delta.

Man-Made Landscapes: Synthetic Terrains 89

Volume 5: Interlacing 90