Rehabilitating Identity on the Water’s Edge
Richard Long
[ Rehabilitating Identity on the Water’s Edge: The Undivided Journey ] A Thesis Submitted to the Faculty of the Department of Architecture Wentworth Institute of Technology by
[Richard Anthony Long Jr.] [Master of Architecture] [Wentworth Institute of Technology, 2016] In Partial Fulfillment of the Requirements for the Degree of Master of Architecture April 2016
.......................................................................... Submitted by [Richard Anthony Long Jr.] Department of Architecture
.......................................................................... Certified by [Carol Burns] Primary Thesis Advisor .......................................................................... Accepted by Kelly Hutzell, AIA Director of Graduate Programs Š 2016 [Full Name]. All rights reserved. The author hereby grants to Wentworth Institute of Technology permission to reproduce and to publicly distribute copies of this thesis document in whole or in part using paper, electronic, and any medium now known or hereafter created. 1
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Abstract The objective of this thesis is to investigate diminishing ports and their surrounding context in an attempt to regenerate all components of interaction that are directly related to the interests of the individual. Through the dissection of site section and master plan analysis has influenced a series of criteria formed to address on going issues of economic down fall, cultural preservation, ecological depletion within harbors, and the interference of infrastructure to the water’s edge. These elements can only exist in a symbiotic and coherent environment. The impact of my criteria when positively orchestrated creates malleable spaces that provide user with program that gives back to the community both economically and culturally, while the building systems act as ecological filtration systems that purify pollution brought on by industrialization. “We see concern for historic structures at the core of a broader interest in community character. In order to retain or recall the character of a place, more emphasis is placed today in building in context or, to use another name commonly given, the vernacular approach.” -Dick Rigby
Keywords: diminishing ports, criteria, cultural preservation, water’s edge, symbiotic, community, ecological
Fg.1 The image above is an one of many abandoned
warehouses along New Bedford, MA waterfront. It was once home to a historic port that provided the now struggling city with the majority of it’s employment.
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Abstract & Key Image acknowledgments Introduction 3.1 3.2 3.3 3.4
Thesis Statement Argument Relevance Personal Statement
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Literature Review
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Design Research
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Design Outcomes
156 160 162
4.1 Topic Area 4.2 Bibliographic Essay 4.3 Criteria
5.1 Frames 5.2 Criteria Testing 5.3 Methodology
6.1 6.2 6.3 6.4 6.5 6.6
Design Precedents Criteria Illustrations Process Iteration Ubran Building Detail
REflection & Critical Evaluation 7.1 Conclusion 7.2 Critical Design Evaluation
Bibliography endnots & Image citation
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acknowledgments I would like to dedicate this page to the amazing people who have stood by me through the past five years of my academic career. I want to first thank my mother Angela Long and my father Richard (Rick) Long Sr. for teaching me at a young age that working hard and knowing what is right will lead you to any number of things you seek in life. During any moment of doubt that I may have come across during my academic career, you both reassured me with your words and even more so your actions. You have been perfect rolls model throughout my life and I know you will continue to be well into my future. Thank you to Leah Glennon, whom without I would never made it through the long emotionally and physically draining nights of working to achieve my goals. Without your outstanding ability of bringing serenity into my life when I needed it most, I would not have been able to withstand the emotional toll this experience carries. You have been my safe haven through all of my struggles. I want to thank my friends from home, Greg Nelson, Colin Wilson, Dominic Colarusso and Christian Durham, who were always there to help me remove myself from my work. You all constantly put a smile on my face and help me remember what life if truly about. I want to thank all of my classmates especially, Neal Dossantos, Steven Prestejohn, Tim Szczebak, Jackie Mignone, Matt Arsenault, Reza Oshidar, Andrew Calnen and Pat Grime for guiding me along this long endeavor. I will forever be grateful for the fact I was able to share my many experiences with such great people and even better friends. To my thesis professors, Ingrid Strong, Carol Burns, Lora Kim, Robert Cowherd and AnneCatrin Schultz, I will carry your teachings with me always. I believe I speak for everyone when I say that we could not have been more bless to have had the chance to learn under such amazing mentors. My thesis would not be where it is today without your influence and guidance. Thank you again to all who have impacted my journey. You are all greatly appreciated.
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Thesis statement Architecture can socially anchor destitute ports and their context by constructing a [coexistence between the environment’s ecology, culture, and urban fabric] that provides an accessible multipurposed condition along the water’s edge. A multitude of scaled interventions with the existing conditions work symbiotically in order to reach the sites fullest potential, which revolves solely on the optimization of the site’s [identity and the user’s everyday needs].
Argument Port cities have the ability of to reconfigure their image in ways that can only benefit the community and economy. Many of the ports of the industrial age are wastelands that hold no value. Projects assigned to the water’s edge must be accessible to residents and visitors of all economic standings. Case studies show that a port designed that addresses the needs of its community can improve employment rates, local economics and tourism. These diminished ports have the ability to become a cultural anchor point where a new identity can be formed.
Relevance The contemporary city was once meant to be a fully functioning machine for the convenience of the everyday user. Current development principles have left the ideas of Rem Koolhaus in the past. A port has the ability to bring back the ideas once constructed for a city back into light. Many small cities throughout the United States and abroad have suffered due to economic shifts throughout the early 1900’s. The waterfront ports that held a majority of business for cities have long since gone. The end of the industrial age has left cities in the past with no employment making it impossible to catch up with contemporary modes of construction. The reconstruction of the port gives the city a means of rehabilitating their statues, local employment rates, and identity. Low budget projects with simple program are complimented by views and activities at the water’s edge. It attracts business and residents to the city while providing a decompressed extension of the urban fabric.
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Fg.2 This plan of New Bedford, MA highlights infrastructure dislocating the port from the city as well as highlighting only a few of the many business and homes this problem effects.
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Personal Statement I grew up in Quincy, MA just minutes outside of Boston. The harbor has always been a close part of my life. Overtime I have witnessed the many benefits it offers local businesses as well as residents. I have been fortunate enough to live to in close proximity to such an economically thriving area. A port symbolizes culture and hard work, which are what make communities great. Growing up in a working class family, I’ve always respected what the harbor does and symbolizes for it’s people. Cities today are gravitating away from the richness the port has to offer. It simply does not offer the necessities it once brought to the city. I want to find away to re-establish the importance of the port. I want others to understand how amazing a port can be for the community. It becomes a cultural anchoring point for the use of all. It becomes a cultural icon that brings people of all classes together. Architecture has a strength that many people do not realize and I feel it is my obligation to show people the truth. I became interested in architecture at a young age because I knew I would be able to make a large impact on communities. My passion only grew stronger throughout my education and travels abroad to Europe and Scandinavia. In countries such as Germany and Norway, architecture is built for people. They understand that building is for problem solving and that is why so many of their projects are so successful. The ports in Norway have moved past the industrial age and still have managed to create waterfront establishments that attract people from around the world. I want my research to show that it is possible to achieve these same goals.
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Fg.3 The above image shows Quincy Bay. Growing up so close to the water has influenced the direction of my thesis.
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Topic Area The revitalization of a port, which focuses on constructing a cultural identity of place by upholding community values, can conceive the social, economic and ecological reconfiguration of its surrounding urban context. By re-evaluating current design principles affecting our cities, meaning the regulation of high-end single use programs that segregate residents from the waterfront, architects can redefine the robust industrial shipyards of the past into areas of local prosperity that attract people of all levels of society. Skyscrapers along the water’s edge can cause a divide between social classes, family displacement, and gentrification. A system of program that is easily accessible, economically responsive, respectful of cultural identity and ecologically responsible will lead to a self-resilient environment for people to cherish. Public interaction on all levels of new development can break down the typical linear characteristic of ports and form a series of fragmented social spaces defined by new architecture. The end goal is to deconstruct the figurative barriers, such as infrastructure, between the port and its city in order to intertwine the two once again. By dismantling these boundaries, people within the city have a more intimate connection to nature. Port industrialization cuts off social activities on the water. Providing thresholds that bring people to sea level can generate a situation of physical and mental relief. “Green Building” systems will be a core method in the heating and cooling of developments. Giving back to the environment is essential to a port’s existence. Installing marine habitats built up by demolished construction materials will regenerate the fishing industry and, as a result affect the local economy. Following these methods can theoretically lead to new waterfront interventions that can be seamlessly integrated into the existing urban fabric while upholding existing cultural values, as well as providing increases in the local economy.
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Fg.4 New Bedford’s fishing industry is failing due to economic and ecological problems. The image above shows the abandoned fishing boats along it’s harbor.
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Bibliographic Essay Many of today’s successful international cities exist in their current locations due to their proximity to the water’s edge. Richard Marshall, the author of “Waterfronts in Post-Industrial Cities,” explains that historically, a city’s wealth was determined on how efficiently workers could access and operate on the waterfront. However because of mass industrialization, these locations are now identified by their levels of water pollution and deteriorated infraustructure.1 The economic shift of the post-industrial age has displaced employment from the port to the inner city opening up an abundance of high desirable plots of land that contain the ability to redefine the surrounding urban environment. The book “Rivertown: Rethinking Urban Rivers,” suggests that developers should address this opportunity accordingly to benefit the community.2 This author makes a point to say that developers tend to insert high budget program that is not respectful to the area. Such program segregates social classes in the surrounding communities, makes inaccessible edge conditions, does not contribute to the economy of the community; and focuses on singular-purpose spaces that allow little public interaction. In my exploration of ports and their disconnected urban fabric I have found three topics that seem to be constantly regenerating: economics, identity, and public interaction. My research suggests that these elements are completely dependent on each other’s existence in order to be successful. Today’s contemporary image of the city seems to have shifted away from how people actually conduct themselves within their everyday environment. Marshall later states, that at some point during the evolution of the contemporary city, planners created a social condensers providing little to no flexibility an spontaneous human interaction. This turn of
events has characterized the abandoned ports as the city’s last frontier.3 By focusing on the waterfront, researchers are able disconnect and identify specific elements of the city that are leading to it’s economic or social demise. This approach of reconfiguring the water’s edge grants city planners with the ability to address issues directly connected to the dysfunction of its surrounding urban context. In this framework we see new paradigms forming in the city, reshaping its cultural identity. Similarly stated in the book, “Waterfronts: Cities Reclaim Their Edge”, the authors declare that the waterfront is the leading front-runner in the revitalization of city centers. Ports have deep rooted historical values that are carried through the generations. According to the authors, when a city is failing, whether it’s socially or economically, a community is reunited through a common condition or experiential value. They go on to say that, a city can always resort back to its port in order to rediscover its identity to re-engage the community.4 Research shows residents tend to truly connect to their city if it holds historical value, which later influences the degree of activity happening within its social environment. Breen, Ann, and Dick Rigby of “Waterfronts: Cities Reclaim Their Edge” break this ideology historical relevance down to its fundamentals. When there is dysfunction in a city, in this case a port city, one can always reconnect with its rich historical origins. A port has a major influence on the shaping of its surrounding community and if that port has failed to sustain itself, the authors claim that the next step is to preserve what remains architecturally.5 This is further expressed in the book, “Sustainable Urbanism: Urban Design with Nature”, by Douglas Farr. Farr focuses on the many potential sustainable design opportunities within the urban context that hold the abilities to provide cities with
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resiliency and economic independence. Farr asserts that when preserving the structures along the water’s edge, architects need to stray away from contemporary development ideologies that lead to social divides and unaffordable housing. It is best to let the old structures remain as much as possible as a strategy to culturally link residents and tourists back to the environment’s origins.6 This is both cost effective and ecologically responsible and at the same time frames the architecture as a resurrected artifact put on display. Programmatically, these buildings should consist of spaces that will directly benefit humans and nature creating a homogeneous bond between the built environment and its ecology.7 This specific building typology can be seen in The Halifax Farmer’s Market in Nova Scotia, Canada. An industrial port warehouse has become an open market place allowing
local vendors to sell their produce. The building required contemporary systems and finishes installed within the interior but the designers have reutilized its original steel frame structure. This LEED Certified project is completely selfsustaining with passive cooling as well as a feature green roof system. It not only betters the environment but since it’s opening, local vendors have witnessed an average income increase of 300-500% in comparison to their prior business locations. 8 This design methodology has proven to leave long lasting effects on the surrounding communities and its natural environment. The economic benefits of new developments on the water’s edge are the first stage of a city’s re-imaging process. These revitalized historical buildings will become social anchor points for humans to congregate, which will enviably lead to the people establishing place identity. Fg.5 This image shows one of the many abandoned waterfront warehouses in New Bedford, MA.
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Bibliographic essay
Fg.6 The Sydney Opera House at night with the skyline of the city.
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Peoples perspectives of life and the world they live in is constantly changing, therefore, how we identify place through architecture shifts as they grow as humans. Marichela Sepe, author of the book, “Planning and Place in the City: Mapping Place Identity,” states that, “Identity is found both in the individual person or object and in the culture to which they belong. It is not static and unchangeable, but varies as circumstances and attitudes change; and it is not uniform and undifferentiated, but has several components and forms.”9 This stems back to Rigby’s idea of properly programming the port and reinforces the importance of programing properly. Many sources define “proper program” as a space that attracts all members of society by engaging them in a publicly interactive epicenter of culture and tradition.10 Alexander R. Cuthbert, author of the book, “Understanding Cities: Method in Urban Design,” speaks to the methodology and criteria that must be orchestrated in order for these spaces to be realized. Cuthbert claims that designers must first strip away the pre-existing development principles in order to generate a new paradigm within the city. He says that this can be achieved through in-depth analysis of a city’s: history, economics, aesthetic, philosophy, politics and culture.11 Marichela Sepe provides Kobe, Japan as an example of these research principles taken into effect.12 Kobe, Japan suffered from a devastating earthquake that left its cultural neighborhoods in ruins. In the reconstruction process, designers were aware of the fact that if they were to rebuild for the tourist population that a great amount of the community’s culture would be lost. Instead, public space and building restoration revolved around the area’s heritage. The authenticity of this location is what brings together the community as well as the tourist, and by not designing in this way, people run the risk of stripping away a places identity.13
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bibliographic essay These authors assert that designing to meet the needs of the public realm is what makes a waterfront successful. The book, “Waterfront: Cities Reclaim Their Edge,” begins to layout criteria for what the phrase “cultural values” entails. The authors states having mixed uses of space within the interior and exterior of the structure, those structures must consist of a seamless integration of contemporary and old aesthetic, a buildings environment must be socially acceptable to all in the community in order to have a diversified occupancy, and the waterfront must be easily accessibly both by walking and public transit.14 One of the more important elements of this criteria is the notion of public interaction. This is the one factor that if not fulfilled to the designer’s intent, will determine the life span of the entire port development. Richard Marshall asserts that the best public spaces can have a number of different meanings that beckon all levels of society. He says that with the large amount of open land along the abandon ports have provided planners with the opportunity to install civic spaces such as museums, concert halls, convention centers and sports stadium, all of which fit to his two previous statements of social interaction.15 This idea of program offering moments of interpretation should begin to be implemented into the heart of the urban condition in order to create a strong connective language between the city and the water’s edged. Planners build cities today with a sense of permanency in mind when a city, in actuality, is constantly changing. Now that we begin to insert these flexible spaces into the port framework people can begin to congregate and identify with the architecture. Nevertheless there are some successful examples of port civic spaces that are lacking in potential due to their inaccessibility. Richard Marshall showcases the Sydney Opera House in Sydney, Australia as an example of this condition.
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The opera house is an iconic piece of architecture that identifies not only the surrounding community, but also Sydney as a whole. However, the program of an opera house tends to be private and uninviting to pedestrians on street level.16 The opera house doesn’t necessarily impact the local economy in a positive way rather than the promotion of tourism. The architecture does offer an exterior public realm but limits the user to simply being able to observe the harbor. There is a small percentage of seating, there is no point in the journey where one is able to directly interact with the water, the orientation of the building and their close proximity to the water’s edge creates a small unwelcoming walkway that
presents itself as private, and lacks any kind of interactive moments for the promotion of human creativity. Also, highway infrastructure as well as an adjacent park essentially cuts the opera house off from the rest of the city.17 The architecture in this situation has survived because of its monumentalism but is not using its full potential to really address the needs of the surrounding community. As stated by the authors of, Waterfront: Cities Reclaim Their Edge, “Massive public investment in recent years further bolsters the sense that a fully accessible waterfront should be the goal in all waterfront undertakings. This means physical access to and along the water body, visual access down corridors, sensitive sitting and design terms of
height and bulk, and a barrier-free setting.�18 The threshold between the city and the port needs to become seamless and the only way to approach this issue is by studying the locations of their existing public spaces and important buildings. Marichela Sepe has presented a strict methodology for identifying these areas.
Fg.7 The Vancouver Convention Center has an ample amount of outdoor space opening the water’s edge.
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bibliographic essay
Fg.8 The port of New Bedford is separated from the city due to a large highway.
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This method consists of having a firm understanding of a site’s: “built elements (presence of monuments, buildings, etc.), natural elements, (presence of landscaped areas, trees, animals, etc.), transportation modes, and people (presence of tourists, residents, etc.)”19 This can be linked to Jan Gehl’s book, “How to Study Public Life,” in the way he collects data be observing public areas within the city.20 Sepe then takes the results of her surveying and maps the information on an existing site plan. This helps to locate what people are already identifying as successful spaces allowing the designers to better understand the culture. Items are marked on the map by levels of importance, in hope to finding areas with the most identity potential. Sepe suggests that this key analytical approach can redefine the identity of a port, revitalize existing port and city operations, determine whether existing businesses are still in high demand and worthy of becoming part of the large design process. Planners are then able to enhance the identity of place in response to what is attractive to tourist and community members.21 A similar “grass roots” approach was implemented in Vancouver Canada’s local government. When revitalizing the city and its port, all development had to be unanimously decided upon by a panel of community members as well as designers and government officials. Also, for every plot of land sold to developers, there is an agreement that demands a specific ratio of building structure to public green space that land owners must follow. These laws are the reason behind the success of Vancouver’s port; it directly addresses the needs of the community making its identity authentic. As for specific program that addresses these needs, designers can direct our attention to Vancouver’s Convention Center.
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bibliographic essay
The Vancouver Convention Center is a multipurpose space both interior and exterior. It responds to the many changing needs of the community making it a timeless piece that engages people on all levels. It’s massive green roof, marine habitat beds and mechanical heating and cooling systems (which utilize the ocean water in order to operate) both benefit the economy and ecology. On the exterior is an easily accessible water’s edge allowing for an ample amount of public interaction and nature
maintains direct connection to nature. Major city streets lead directly to the Convention Center making it easy for any mod of transportation to access the structure.22 This precedent proves that Sepe’s criteria of analysis and problem solving is effective. Many of us see ports that have long past their prime, as bad investments that will take too much time and taxpayer’s money to refurbish. What developers and city officials need to realize is that these spaces are the
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Fg.9 An old warehouse in New Bedford center was renovated to hold local retail while maintaining its original structure.
opportunities for economic conservation. Sources show that people want public spaces with character that appeal to the masses, not high-end real estate the cuts off those who can’t afford to live there. Designers should address the port with the intent of providing economic benefits for the city. The community can then respond by giving an identity to the civic spaces within the development. The identification of iconic pieces along the waterfront will promote the use of the designers configuration of public
interactive space along the water’s edge, which will further connect into the city becoming one integrated entity. Research has proven that the waterfront is the strongest social and economic force a city has to offer its people.
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criteria
Pedestrian Network Defined by Thematic Tectonic Expression The walk to the water’s edge is constructed with materials gathered from the site and assembled with different tectonic expression in different conditions. This sketch portrays the deconstruction of street boundary in order to create a seamless transition from the urban context to the city. In the case of New Bedford (right) infrastructure divides the city from the port making it almost impossible to access. By producing open spaces and programs will provide seamless thresholds to the water front that are welcoming and easily recognizable to the public. Lack of accessibility is one of the key reasons New Bedford’s waterfront has collapsed.
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criteria
Shaped Social Spaces New outdoor social spaces are shaped by proposed new buildings and landscape elements. This sketch portrays the sequence of existing cultural language meshing from the city into the port. A city’s cultural richness is derived from it’s port. By revealing the deep rooted cultural values of a port, residents will find a new found respect for their living environment. The existing warehouses, much like the ones located in the city center, can be rehabilitated to fit the needs of contemporary functions. The overall goal is to move away from large developments that would further segregate the city’s residents.
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Criteria
Communal Absorption into the Water’s Edge As an engine of economy, the water’s edge becomes a hub for specific flexible uses, including museums, markets, and small local business spaces, that will open job opportunities for residents, increase tourism and circulate money spent back into the community This image portrays civic space of relative scale, pulling pedestrians to the water’s edge. Locating a civic space, like Vancouver’s ferry terminal, at the end of a major street can pull in the city to the water’s edge. Creating a public destination in a prominent location within a port increases overall foot traffic. Establishing civic program can then lead to other local businesses such as retail and restaurants moving to the port. It is important for businesses that are located along the water to be open to the public and economically beneficial to the surrounding urban context in order to be self sustaining.
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criteria
New Identity within Existing Fabrics New vibrant identity builds on the city’s story by reusing and reinterpreting existing culturally significant fabrics. This sketch portrays the merging of architecture and artificial marine habitats working in collaboration to purify the harbor. Many industrial ports unloaded years of pollution into the environment without knowledge of the long lasting consequences. By introducing green building systems that use ocean water as well as artificial marine habitats, marine life will be reintroduced to their environment. Similar tactics have been implemented in Vancouver’s international port. These new systems have brought back wild life that naturally filter the water. It has also brought back marine life that feed on such organisms like salmon and oaters. The fishing industry has been revitalized and people are able to partake in outdoor activities within harbor. The events made possible by the new systems generate money for the local economy while attracting tourism and residents to the water’s edge.
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Frame_site Fg.10 This image shows an abstraction of linking the New Bedford neighborhood to its ports through its existing warehouses.
Through a series of perspective, plan and section diagrams, I have broken down moments within multiple different case studies in order to attain a methodology for my thesis. By analyzing a series of building densities, circulation paths, green spaces, and street grids we are able to identify elements within a specific city that may be supportive to both successful and unsuccessful ports. This information will provide the tools needed to create a fully functioning environment that meets the criteria presented.
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Frame_Site
New Bedford, MA
Street Grid
Building Density
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Green Space
Circulation/Bike Paths
Fg.11 This series of diagrams shows New Bedford, MA.
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Frame_Site
Bergen, Norway
Street Grid
Building Density
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Green Space
Circulation/Bike Paths
Fg.12 This series of diagrams shows Bergen, Norway.
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Frame_Site
Vancouver, Canada
Street Grid
Building Density
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Green Space
Circulation/Bike Paths
Fg.13 This series of diagrams shows Vancouver, Canada.
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Frame_Site
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Fg.14 The above photo shows a section perspective through New Bedford’s major highway, which divides the city from the water’s edge.
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Frame_Site
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Fg.15 The Halifax Farmer’s Market successfully links its pedestrians to its structure through its welcoming exterior infrastructure.
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Frame_Site
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Street Perspective_New Bedford, MA Orientation to the water from the main streets of New Bedford is lacking. The highway has influenced city planning to section off the waterfront from the rest of the city. The urban context near the highway consists mainly of the historical district. The stone streets running through the historical neighborhood slow down traffic making it a pedestrian dominated area. These conditions combined with the proximity of the waterfront portray New Bedford as a location with potential to develop a new identity derived from its already rich history.
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Frame_Site
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Street Perspective_Bergen, Norway Bergen was established in the 1500’s because of its orientation to shipping routes and it’s ample fishing grounds. The planning of the city streets revolved around the port allowing pedestrians to easily be oriented. Large civic spaces as well as important buildings have been placed on the edges of the city forcing circulation to happen within the city’s center. The old stone streets have made a large majority of the streets surrounding the port pedestrian dominated. Contemporary architecture respects existing historical buildings making Bergen a homogeneous environment.
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Frame_Site
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Street Perspective_Vancouver, Canada The metropolitan city of Vancouver allows for surplus circulation to the waterfront, both for pedestrians as well as public transportation. It’s dense blocks provide perspective views of both the waterfront and the surrounding mountains. This allows the cultural values to remain within the city. This shows that a thriving port can exist within highly dense urban fabrics. The port in this case is considered an extension of the city.
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Frame_program The framework of program is conducted by a methodology of dissecting sections in order to find successful and unsuccessful moment within precedents. Identifying these components will result in a set of tools that will be used to create a fully functional port. The components are what create the criteria presented in the previous chapter. Through programing with direct intent, ports can become dynamic environments that break through their stereotypical linear forms. The objective is to create interactive and symbiotic programmatic interior and exterior spaces that function extensively to the users needs.
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Fg.16 The graphic to the right depicts the ideology of breaking the linearity of the port by breaking apart it’s functions. This creates dynamic moments that reveal the surrounding environment in new ways.
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Frame_program The Sydney Opera House, in Sydney, Australia, is the city’s most iconic piece of architecture. When we begin to deconstruct the many facets of the site we are able to see it’s many flaws. The architecture itself was designed with no site in mind. Highway infrastructure blocks pedestrians from accessing the opera as well as an adjacent park. The exterior of the venue is public but lacks any function and provides little accesses to the water’s edge. The opera house is has a small
Compressed Pathways
Non-functional Exterior
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narrow path that brings you to the water but presents a feeling of privacy. People are unwilling to use the pathways provided. The project does brings people from around the world to this city but the program itself does not benefit the people of the city to it’s full economic potential due to its private setting. “The waterfront has become a tremendous opportunity to create environments that reflect contemporary ideas of the city, society and culture.” -
Inaccessibility
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Fg.17 The Sydney Opera House in section shows its inaccessibility and segregation of people from the water’s edge.
Frame_program The Oslo Opera House, in Oslo, Norway, is a cultural anchoring point holdings Oslo’s identity. Tourists and residents accept this piece because of its attention to Norway’s history. The interior finishes consist of wood from local craftsman. The shape of the structure emulates the Snohetta mountain range. It represents the snowy ice caps and culture that all Norwegian’s share. The program is private but the lobby holds a cafe that is open to the public. One is able to freely walk in and out at all
Threshold
Roof Venue
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Public Cafe
hours of the day creating a welcoming environment. The roof acts as a walkable viewing point over the entire city. It is a multipurpose space that is used for outside concerts and festivals. The project acts in many different ways but in all cases it allows the interaction between users.
Fg.18 The opera house acts as a social anchor for the surrounding community and tourists. It allows direct interaction to the water and the interior of the opera itself. It is a complete work of functional architecture.
Viewing Point
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Frame_program The Guggenheim Museum Bilbao is located adjacent to a busy expressway into the city but features a pedestrian only off ramp leading users down to the museum along the edge of a river. The exterior spaces offer open greenery that is used for outdoor exhibitions and venues. The museum is also used for private venues along side holding the cultural of the city. It’s playful
Interactive Edge
Multi-purpose Program
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exterior makes its location an oasis for city dwellers and tourists alike. Pathways line the banks of the river providing an escape from the business of urban life. The form of the building is iconic and controversial but embracing the liveliness of the Spanish culture. It’s dynamic exterior reflects its interior complexities creating interesting experiences for people at all times.
Complex Interior
Accessibility
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Fg.19 In section the museum shows its accessibility and interaction points for the user.
Frame_program The Vancouver Convention Center is a multi-purposed space both interior and exterior. It responds to the many changing needs of the community making it a timeless piece that engages people on all levels. It’s massive green roof, marine habitat beds and mechanical heating and cooling systems (which utilize the ocean water in order to operate) both benefit the economy and ecology. On the
Marine Habitat
Flexible Floor Layouts
Green Roof
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Urban Integration
exterior is an easily accessible water’s edge allowing for an ample amount of public interaction and nature maintains direct connection to nature. Major city streets lead directly to the Convention Center making it easy for any mod of transportation to access the structure.
Fg.20 The convention center has regenerated pedestrian activity in the city while cleansing the harbor.
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Frame_program Fg.21 The Floating House is a structure built for flood zones that allows a house to be completely independent from it’s structure. By taking away the risk of flooding, we are able to expand our territory for development.
The tectonics framework begins by analyzing the Vancouver Convention center in more depth. This is an attempt to further understand the material choice, mechanical systems and what ecological benefits this structure provides for the environment. The projects award winning design benefits all that come in contact, taking away nothing from the existing site. I chose this precedent for this frame due to its relevance towards a majority of my criteria.
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Frame_program The Vancouver Convention Center hosts a
Vancouver Convention Center, Vancouver, Canada varietyInternational of different spaces along the water’s
edge. The pedestrian pathway at street level is wide and inviting to visitors. It holds bike paths as well as green spaces to fit the needs of the active Vancouver lifestyle. Beneath the path is Variable Air Volume [VAV] Box Air Handling Unit an extension of the building where deliveries are made. This keeps the open spaces on the street level available for public use. Stemming off of the building is a submerged cast in place Meeting Room concrete marine habitat shelf. This shelf runs along the entire coast of the harbor providing
homes for oceanic organisms. The organisms naturally filter the polluted ocean water as well as attract bigger animals such as salmon. Since the installment of this habitat, salmon have began migrating through the harbor to feed making a profitable increase in Vancouver’s fishing industry. The building itself also uses the ocean water to power its heating and cooling systems. The projects identity is a selfsustainable structure that improves city life and Perimeter Radiation Prefunction Space the local environment.
Mechanical Room
Heat Exchanger
Mechanical Heating/Cooling Systems (Detail Section B) Scale: 1’=1/16”
Heat Recovery Chiller
Vancouver International Convention Center, Vancouver, Canada (Section A) Scale: 1’=1/16”
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Pedestrians
Bicycles
Loading Dock
Fg.22 This is an aerial view of the convention center’s roof.
Marine Habitat (Detail Section A) Scale: 1’=1/8”
A
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Roof Plan Key
Fg.23 The Vancouver Convention Center in section.
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Frame_Tectonics
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Pedestrians
Bicycles
Loading Dock
Marine Habitat (Detail Section A) Scale: 1’=1/8�
Fg.24 The above drawing is a detail of a marine habitat.
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Frame_Tectonics The cast in place concrete slabs are attached to the existing sea wall in the harbor. Each layer has a specific range of organisms, extremely similar to how these species would live in a more natural eco-system. Salmon and otters can be seen from the shoreline swimming
around the habitats. Features such as these impact not only the environment but transcend into the urban context. The objective for this thesis is to create a completely additive project that takes a merely small percentage away from the existing attributes of the site.
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Fg.25 The drawing below is a detailed look of how the concrete habitat is positioned on the sea wall.
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Vancouver International Convention Center, Vancouver, Canada Frame_Tectonics
Variable Air Volume [VAV] Box
Air Handling Unit
Meeting Room
Mechanical
Mechanical Heating/Cooling Systems (Detail Section B) Scale: 1’=1/16�
The ocean water is ingested through the mechanical systems and into the building. This process transports the water through a series of filters that begin to evaporate the molecules in order to create the appropriate temperature for the building. Humidity is then circulated from
Heat Recover
the interior through the building systems and retreating back to the ocean. This process saves power and money creating a clean alternative for energy consumption.
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Perimeter Radiation Prefunction Space
l Room
Heat Exchanger
ry Chiller
Fg.26 The diagram above shows the systems working to produce clean energy by using Vancouver’s harbor water.
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methodology My criteria has been derived from my methodology of dissecting sections of different precedents in order to find key moments within port architecture that either positively or negatively influence their surrounding context. Calling out these specific components from these four precedents will enable my research to move forward to a more concrete design phase. My research shows that the attributes that I am proposing, when existing within a symbiotic environment, will result in a port that is accessible to pedestrians, self-sustaining, both ecologically and economically, and culturally relevant to contemporary and past design.
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1. Industrialization Redefining Edge Re-purposing existing architecture to create marine habitats will eliminate past ecological damage within ports brought on by industrialization, creating a safe and healthy waterfront. Natural filtration processes provided by organisms residing on artificial marine habitats also regenerate the influx of other marine life and allow for community harvest grounds for users.
2. Pedestrian Network Defined by Thematic Tectonic Expression Thematic connections defined by materiality map a natural journey for the pedestrian to the water’s edge. Granting a constructed sense of freedom will attract all levels of society making the site a communal anchor point.
3. Bracketed Social Interaction Revealing Place Building new architecture intertwined with existing cultural conditions will reinvigorate social gathering and interaction, which will enviably construct a contemporary identity stemmed from the city’s history.
4. Communal Absorption onto the Water’s Edge A port can become the foreground for economic sustainability by carefully selecting specific flexible program, such as museums, markets, small local business spaces, etc. that will open career opportunities for residents of the community, increase tourism, and circulate money spent back into the local economy.
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Methodology Fg.27 The numbering of the criteria topics relate directly to the numbering of the criteria on the previous page.
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Criteria Topics
The Sydney Opera House - (2) demonstrates lack of accessibility due to infrastructure - (2) adjacent context hides entrance/no orientation - (3) exterior holds no function to pedestrians - (2) private program segregating interaction from public - (2) pedestrian path along water’s edge non-existent
The Oslo Opera House - (1) interactive roof available to public at all times - (2) roof provides space for public venues - (4) interior lobby is available to the public/cafe - (3) material choice and form have cultural ties to the city - (2) seamless transition to the water’s edge/direct interaction - (4) economically benefits the local economy
The Guggenheim Museum Bilbao - (2) direct pedestrian access from the city - (2) ample amount of space for interaction along water’s edge - (3) multi-functional exterior for public venues - (4) benefits the local economy and culture - (3) identifies as a cultural anchoring point for gatherings - (2) seamless interior and exterior language
The Vancouver Convention Center - (1) revitalized fishing industry by using marine habitats - (3) green roof brings nature into dense urban fabric - (3) multi-functional interior and exterior for public venues - (4) benefits the local economy and culture - (3) identifies as a cultural anchoring point for gatherings - (1) conservative building systems revitalize harbor water
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Design Outcomes The design outcomes define the prior research proposal by demonstrating a process of design criteria tested on a specific location. The design methodology has given shape to a series of interventions striving to create a center of social interaction and wellness for surrounding industrial port communities. Though the design outcomes focus on a single site, the tactics that have been demonstrated can be translated to fit the needs of other communities that are faced with similar situations.
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Connection Through Tectonic Expression Connection is found within the detail. The texture defines our conscious and subconscious definition of place. We are receptive of the physical materials we come in contact with, so by implementing material that is both relevant to the robust industrial waterfront and responsive to the contemporary needs of the pedestrian a clear path is generated. Natural flowing circulation defined by brick, wood, steel, and landscape provides users with a structured sense of freedom. The walk to the water’s edge is constructed with materials gathered from the site and assembled with different tectonic expression in different conditions.
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Hook Eye Steel Plate Steel Connection Steel Tension Cable Exterior Wood Railing Cortex Seel Fencing [10]
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Rehabilitating Identity on the Water’s Edge: The Undivided Journey Richard Anthony Long Jr.
MArch
2016
Fg.27 The image above is a poster connecting the 3 scales found within the thesis proposal.
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Design Precedents
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Fg.28 The New York Highline, Joe Zekas
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Design Precedents
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Fg.29 National Museum of Roman Art, Rafael Moneo
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Thesis statement
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Fg.30 The Vancouver Convention Center
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criteria illustrations Pedestrian Network Defined by Thematic Tectonic Expression The walk to the water’s edge is constructed with materials gathered from the site and assembled with different tectonic expression in different conditions.
Bike Path
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Pedestrian Path
Pedestrian Path
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Infraustructure Landscape
criteria illustrations Shaped Social Spaces New outdoor social spaces are shaped by proposed new buildings and landscape elements.
Bike Path
Pedestrian Path
Bracketed So
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Flexible Program
ocial Space
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criteria illustrations Communal Absorption into the Water’s Edge As an engine of economy, the water’s edge becomes a hub for specific flexible uses, including museums, markets, and small local business spaces, that will open job opportunities for residents, increase tourism and circulate money spent back into the community
Live/Work Studios
Pedestrian Absorbtion
Market (Hea
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arth)
Live/Work Studios
Pedestrian Absorbtion Retail
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criteria illustrations New Identity within Existing Fabrics New vibrant identity builds on the city’s story by reusing and reinterpreting existing culturally significant fabrics.
Flexible Program
Bracketed Social Space
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Pedestrian Path
Building Materials
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Eco-system
Process iteration The development of the final design is oriented around the notion of nested scales. The process began by analyzing the urban scale through a series of master plans. Sketching through design proposals allows a certain fluidity that can only be created through hand drawing.
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Fg.31 The image above shows a collage of New Bedford, MA. The collage protrudes in order to show hierarchy on the site.
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Process iteration The development of the final design is oriented around the notion of nested scales. The process began by analyzing the urban scale through a series of master plans. Sketching through design proposals allows a certain fluidity that can only be created through hand drawing.
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Fg.32 The image above shows a collage of New Bedford, MA. The collage perspective protrudes in order to show hierarchy on the site.
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Process iteration The concept of nested scales comes into the design process first at the urban scale. By identifying specific issues, I was able to dive deeper into the design issues at the building and detail scales.
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Fg.33 The ariel sketch shows initial design proposal in the early stages of research.
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process Iteration
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Fg.34 The sketch above shows the urban approach to the existing warehouse along the water’s edge.
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Process iteration The sketch analysis transitioned throughout the urban, architectural, and detail scales. The design proposal formed through this method of iteration. Accessibility to the water’s edge is addressed by constructing new nodes of iteration both on grade and above. A pedestrian bridge transports users over the highway and vegetation screens on the ground level soften the street edges for users to feel more welcome to the urban environment.
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Fg.35 The sketch models begin to address issues at street level.
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Process iteration
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Fg.36 The sketch models begin to address issues at street level.
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Urban New Bedford went through an academic shift that left the city in an economic decline. Once the industrial age vanished, it left behind all of its unsupported elements. One can see from looking at the map on the (left) that because of the effects brought on by the post industrial age, New Bedford has become less condensed and more fortified by intrusive infrastructure.
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Fg.37 The images above show New Bedford, MA during the 1930’s (left) in comparison to the city today (right).
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urban The site is comprised of a number of details that can be reshaped to fit a more welcoming and contemporary design along the water’s edge. Breaking down the existing details of the site to address the needs of the individual will present the current characteristics in a new light. The objective is to present the site in this way in order for users to construct a new identity.
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Highway Barrier
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Vegetation Screens
Fg.38 The site forces above frame the proposed design outcomes.
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Urban
Existing Nodes
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Alternative Nodes
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City Genetics
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Active Pedestrian Exertion
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Active Waterfront
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Intervention Opportunities
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Fragmented Social Spaces
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Programmatic Absorption
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Fg.39 The site photos above begin to demonstrate the issues on street level.
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Urban Urban planning strategies begins to show a clear connection to the water’s edge. The design proposal shows a pedestrian bridge, new modes of transition on the ground level, the relocation of a cultural center to the water’s edge, a pathway along the harbor, a newly programmed warehouse, a community park and field, and an artificially constructed oyster bed.
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Building_Section The architecture itself is site responsive. It addresses contemporary tectonic expression that is derived from the existing character of the waterfront. Transitioning through the architecture is just another step in the pedestrians journey. Interior and exterior remain one entity due to the architectural language found throughout the path. A familiar identity will emerge from the historical architecture that will embody the true potential of the community.
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Building_Section Social spaces are constructed from new architectural interventions on the site. Compression and release along the waterfront make for new fragmented spaces that absorb users into the water’s edge.
Section AA_Bridge Section Scale_1’-1/16”
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Building_Section
Section BB_Bridge Section Scale_1’-1/16”
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Section CC_Bridge Section Scale_1’-1/16”
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Section DD_Field Section Scale_1’-1/16”
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Section EE_Park Section Scale_1’-1/16”
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Building_Section Programming an existing warehouse allows for historical preservation as well as establishing an economic generator for community growth. The demolition within the existing warehouse can be placed into the water in order to construct clam beds. The beds naturally filter the polluted water, which can then bring back the local ecology. This can then revitalize the fishing industry and in result bring back the economy.
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detail Connection is found within the detail. The texture defines our conscious and subconscious definition of place. We are receptive of the physical materials we come in contact with, so by implementing material that is both relevant to the robust industrial waterfront and responsive to the contemporary needs of the pedestrian a clear path is generated. Natural flowing circulation defined by brick, wood, steel, and landscape provides users with a structured sense of freedom guiding while at the same time bracketing the urban social condenser on the water’s edge.
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Fg.40 Photos taken by Cambridge 7 Architects, 1997
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detail_site catalog
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detail_Path railing The pedestrian path along the water’s edge acts as a historical narrative to the site. Historical check points lining the railing guide users towards the existing historic warehouse on the site. The path is constructed with a sense of freedom allowing people to explore new spaces. Connection Through Tectonic Expression Connection is found within the detail. The texture defines our conscious and subconscious definition of place. We are receptive of the physical materials we come in contact with, so by implementing material that is both relevant to the robust industrial waterfront and responsive to the contemporary needs of the pedestrian a clear path is generated. Natural flowing circulation defined by brick, wood, steel, and landscape provides users with a structured sense of freedom. The walk to the water’s edge is constructed with materials gathered from the site and assembled with different tectonic expression in different conditions.
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Hook Eye Steel Plate Steel Connection Steel Tension Cable Exterior Wood Railing Cortex Steel Post Cortex Steel Fencing Historical Display Board
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Detail in Relation to Context The details are being durived from the existing site context. This is where the city’s character is found. Pedestrians come in contact with materials that paint a historical narrative allowing visitors to develope deeper connections to not just the city but the water’s edge. The journey links the two in the minds of the traveller. The path is a constructed safe haven established to transport people through the city’s true identity.
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detail_Interior railing Hook Eye Metal Plate
The details are being derived from the existing site context. This is where the city’s character is found. Pedestrians come in contact with materials that paint a historical narrative allowing visitors to develop deeper connections to not just the city, but the water’s edge. The journey links the two inDetail the minds of the traveler. The path is a constructed safe haven established to transport people in Relation to Context The details are being durived from the existing site context. This isthe where city’s the city’s character is found. through true identity. Pedestrians come in contact with materials that paint a historical narrative allowing visitors to develope deeper connections to not just the city but the water’s edge. The journey links the two in the minds of the traveller. The path is a constructed safe haven established to transport people through the city’s true identity.
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Steel Tension Cable
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Material Adaptation to provide Functionality Tectonic expression guides users throughout the site seemlessly while providing an architectural function. The railing along the waterfront take on the characteristics of a typical boat assembly found within the harbor while acting as a net for visitors to harvest the public clam beds. The purpose comes with the aesthetics. Both tie back to the roots of the city in a way that is progressive for the site’s future.
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detail_Waterfront railing Tectonic expression guides users throughout the site seamlessly while providing an architectural function. The railing along the waterfront take on the characteristics of a typical boat assembly found within the harbor while acting as a net for visitors to harvest the public clam beds. The Material Adaptation to provide Functionality purpose comes with the aesthetics. Both tie back to the roots of the city in a way that is progressive Tectonic expression guides users throughout the site seemlessly while providing an architectural function. The for the site’s future. railing along the waterfront take on the characteristics of a typical boat assembly found within the harbor while acting as a net for visitors to harvest the public clam beds. The purpose comes with the aesthetics. Both tie back to the roots of the city in a way that is progressive for the site’s future.
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Critical Evaluation
The thesis process has been consistent throughout the year of research and design. I believe the research was strong but it needed to be carried into the design phase more in order help the design meet its full potential. This would have helped formed the criteria sooner, making it easier to begin designing critically. Also, sectional analysis played a key role in discovering my methodology during the research phase. The thesis would have benefited from continuing the same methodology process with the actual site. By deconstructing the site through section and calling out the constraining site forces, the design could have addressed problems much more directly.
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Reflecting back on my experiences of this endeavor, I understand extensive research and design decisions involved in rejuvenating diminished port cities. One decision has a cause an effect on the entire scope of the project. The notion of nested scales came naturally to the design process due to the fact that the objective was to have a fully functional communal anchor point. The main purpose was to reutilize the old port in order to support the city and its residents. Research shows that this topic is one that needs more research and attention.
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Bibliography Amati, Marco, ed. Urban Green Belts in the Twenty-First Century. Urban Planning and Environ ment.Aldershot, Hampshire, England ; Burlington, VT: Ashgate, 2008. Bishop, Peter, and Lesley Williams. The Temporary City. London ; New York: Routledge, 2012. Bone, Kevin, Mary Beth Betts, Eugenia Bone, Gina Pollara, Donald Squires, and Stanley Green berg.New York Waterfront: Evolution and Building Culture of the Port and Harbor. Re vised andupdated edition edition. New York: The Monacelli Press, 2003. Breen, Ann, and Dick Rigby. Waterfronts: Cities Reclaim Their Edge. First Printing edition. New York: Mcgraw-Hill,1993. Carmona, Matthew, ed. Explorations in Urban Design: An Urban Design Research Primer. Farn ham, Surrey, UK: Ashgate, 2014. Cuthbert, Alexander R. Understanding Cities: Method in Urban Design. London ; New York: Routledge, 2011. Design with Nature. 25th Anniversary Edition edition. New York: Wiley, 1995. Duany, Andres, Jeff Speck, and Mike Lydon. The Smart Growth Manual. New York: McGraw-Hill, 2010. Ellin, Nan. Good Urbanism: Six Steps to Creating Prosperous Places. Metropolitan Planning + Design. Washington:Island Press, 2013. Farr, Douglas. Sustainable Urbanism: Urban Design with Nature. A Wiley Book on Sustainable Design. Hoboken, N.J: Wiley, 2008. Gehl, Jan. Cities for People. Washington, DC: Island Press, 2010. Gehl, Jan, and Birgitte Svarre. How to Study Public Life. Washington: Island Press, 2013. Good City Form. Reprint edition. Cambridge, Mass: The MIT Press, 1984. “Halifax Seaport Farmers Market - Renovation and Expansion of Shipping Warehouse Achieves LEEDPlatinum | Sustainable Architecture and Building Magazine.” Accessed October 9, 2015. http://www.sabmagazine.com/blog/2012/12/11/halifax-seaport-farmers-mar ket-renovation-and-expansion-of-shipping-warehouse-achieves-leed-platinum/. Harry Mallgrave. The Architect’s Brain: Neuroscience, Creativity, and Architecture. Chichester, West Sussex, U.K. ; Malden, MA, 2011. H.E. Haralambides. “Competition, Excess Capacity and the Pricing of Port Infrastructure.” Center for Maritime Economics and Logistics (MEL) Erasmus University Rotterdam (June 7, 2002): 22. Heidegger, Martin. Basic Writings. Revised, Expand edition. New York: Harper Perennial Modern Classics, 2008. Loukaitou-Sideris, Anastasia, and Tridib Banerjee. Urban Design Downtown: Poetics and Politics of Form. Berkeley: University of California Press, 1998. Loukaitou-Sideris, Anastasia, and Renia Ehrenfeucht. Sidewalks: Conflict and Negotiation over Public Space. Urban and Industrial Environments. Cambridge, Mass: MIT Press, 2009. Marshall, Richard, ed. Waterfronts in Post-Industrial Cities: [based on a Three-Day Conference Entitled “Waterfronts in Post Industrial Cities”, Cambridge, October 1999]. Digital. Nach dr. London: Spon, 2007.
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Marsh, George Perkins, and William Cronon. Man and Nature: Or, Physical Geography as Modi fied by Human Action.Edited by David Lowenthal. Reprint edition. Seattle: University of Washington Press, 2003. Montgomery, Charles. Happy City: Transforming Our Lives Through Urban Design. Reprint edi tion. New York: Farrar, Straus and Giroux, 2014. National Association of City Transportation Officials, ed. Urban Street Design Guide. Washington: Island Press, 2013. Palazzo, Danilo, and Frederick R. Steiner. Urban Ecological Design: A Process for Regenerative Places. Washington, DC:Island Press, 2011. Pinder, Angi, Alan Pinder, and Elisabeth Beazley. Beazley’s Design and Detail of the Space be tween Buildings. London :New York, NY: E. & F.N. Spon ; Van Nostrand Reinhold, 1990. Port Cities and Global Legacies: Urban Identity, Waterfront Work, and Radicalism. Houndmills, Basingstoke, Hampshire ; New York, NY: Palgrave Macmillan, 2014. Questions of Perception: Phenomenology of Architecture. 2 edition. San Francisco, CA: William K Stout Pub, 2007. Rivertown: Rethinking Urban Rivers. Cambridge, Mass: The MIT Press, 2007. Ryan, Brent D. Design After Decline: How America Rebuilds Shrinking Cities. Place of publication not identified: University of Pennsylvania Press, 2014. Scott Brown, Denise. Urban Concepts. Architectural Design Profile 83. London: Academy Ed. [u.a.], 1990. Sepe, Marichela. Planning and Place in the City: Mapping Place Identity. 1 [edition]. London ; New York: Routledge, Taylor & Francis Group, 2013. Speck, Jeff. Walkable City: How Downtown Can Save America, One Step at a Time. Reprint edi tion. New York: North Point Press, 2013.
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End notes_Image citation 1. Richard Marshall, ed., Waterfronts in Post-Industrial Cities: [based on a Three-Day Conference Entitled “Waterfronts in Post Industrial Cities”, Cambridge, October 1999], digital. Na chdr(London: Spon, 2007). 2. Rivertown: Rethinking Urban Rivers (Cambridge, Mass: The MIT Press, 2007). 3. Marshall, Waterfronts in Post-Industrial Cities. 4. Ann Breen and Dick Rigby, Waterfronts: Cities Reclaim Their Edge, First Printing edition (New York: Mcgraw-Hill, 1993). 5. Breen and Rigby, Waterfronts. 6. Douglas Farr, Sustainable Urbanism: Urban Design with Nature, A Wiley Book on Sustainable Design (Hoboken, N.J: Wiley, 2008). 7. Farr, Sustainable Urbanism. 8. “Halifax Seaport Farmers Market - Renovation and Expansion of Shipping Warehouse Achieves LEED Platinum | Sustainable Architecture and Building Magazine,” accessed October 9, 2015, http://www.sabmagazine.com/blog/2012/12/11/halifax-seaport-farm ers-market-renovation-and-expansion-of-shipping-warehouse-achieves-leed-platinum/. 9. Marichela Sepe, Planning and Place in the City: Mapping Place Identity, 1 [edition] (London ; New York: Routledge, Taylor & Francis Group, 2013). 10. Breen and Rigby, Waterfronts. 11. Alexander R. Cuthbert, Understanding Cities: Method in Urban Design (London ; New York: Routledge, 2011). 12. Sepe, Planning and Place in the City. 13. Sepe, Planning and Place in the City. 14. Breen and Rigby, Waterfronts. 15. Marshall, Waterfronts in Post-Industrial Cities. 16. Marshall, Waterfronts in Post-Industrial Cities. 17. Marshall, Waterfronts in Post-Industrial Cities. 18. Breen and Rigby, Waterfronts. 19. Sepe, Planning and Place in the City. 20. 1. Jan Gehl and Birgitte Svarre, How to Study Public Life (Washington: Island Press, 2013). 21. Sepe, Planning and Place in the City. 22. Marshall, Waterfronts in Post-Industrial Cities.
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Fg.03 _Wollaston Beach, Quincy, MA Fg.06 _Sydney Opera House, Jorn Utzon Fg.07 _Vancouver Convention Center, LMN Architects Fg.17 _Vancouver Convention Center, LMN Architects Fg.18 _Oslo Opera Hosue, Snohetta Fg.19_ Guggenheim Museum Bilbao, Frank Gehry Fg.20_Vancouver Convention Center, LMN Architects Fg.22_Vancouver Convention Center, LMN Architects Fg.24_Vancouver Convention Center, LMN Architects Fg.25_Vancouver Convention Center, LMN Architects Fg.28_The New York Highline, Joe Zekas Fg.29_ National Museum of Roman Art, Rafael Moneo Fg.30_Vancouver Convention Center, LMN Architects Fg.40_Cannon Street Power Plant, Cambridge 7 Architects
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