Thesis Book by Shelley Thompson

re-narrate, re-form a thesis by Shelley Thompson J.Reich Studio California Polytechnic State University, San Luis Obispo B.Arch 2011-2012

[CONTENTS]

14 two 18 three 22 four

30 preliminary ideas 36 notes 38 thesis & method of study 40 people 42 precedents

SCHEMATIC DESIGN & DEVELOPMENT

SITE INTRODUCTION & ANALYSIS

FINAL DESIGN & DOCUMENTATION

10 one

THESIS & METHOD OF STUDY

PRELIMINARY QUESTIONS

3 4 5

56 introduction & history 62 analysis

82 intent

84 spatial vocabulary 64 visits 68 cognitive map 86 interventions 120 path 70 elements 126 schematic site plan

132 presentational 138 site plan 142 discursive 160 sequences

preliminar y

10 one 14 two 18 three 22 four

questions

Architecture does not mean anything but itself in reality; it only gains a meaning or narrative through the interpretation of the viewerâ&#x20AC;? - Merlau-Ponty

PART 1 | EXPERIMENT 1

MEMORY + THE NOTION OF MENTAL SPACE

experiment

HOW DOES FILM USE SPACE TO COMMUNICATE A NARRATIVE?

As the brain processes images within a filmic narrative, a “memory” is created. This memory allows the viewer to connect to the characters, story, and places (spaces) of the film. Juhani Pallasmaa argues in The Eyes of the Skin, that “Literature and cinema would be devoid of their power of enchantment without our capacity to enter a remembered or imagined place” (Pallasmaa, 68). Because one processes information by relating current social and environmental responses to past personal experiences, the most successful books and movies are said to relate at a deep-rooted level using this memory. Just as one creates this “memory” while they watch a film, so does one while experiencing space.

A memory is created within one’s “mental space”. Mental space – how things are internally perceived- is the product of both one’s imagination and perception of the filmic or built space. Baudrillard says “Architecture isn’t what fills the space but what generates it”, to which filmmaker Christophe Gerard argues in response that “space is ultimately generated in the mind” (Gerard).

Recent scientific discoveries show that the imagination takes place within the same zones of the brain as our real visual perceptions, and that the first are equally as real to us as the latter. These workings are most highly activated when the audience “participates” in the story themselves – often referred to as “closure”. For example, in comics, the viewer fills in the space between each panel – the “gutter” – using closure (McCloud, 67). “Closure” can act on an emotional or intellectual level. In the film The Godfather, the scene of Michael Corleone’s nephew’s baptism is juxtaposed with killings of numerous gangsters. The audience forms the idea of Michael’s “baptism” into a life of crime themselves, though the movie never directly states this.

[ ]

PART 1 | EXPERIMENT 1

A Architecture is also obviously a “ re “participatory art”. Architecture does not mean anything but itself d elf iin reality; it only gains a meaning or n narrative through the interpretation of tthe viewer (Merleau-Ponty, 58). But ut en contemporary architecture is often se not as successful in evoking these ng emotional responses and creating nd narratives, as do comics, novels, and especially films.

experiment

PART 1 | EXPERIMENT 1

HOW DOES FILM USE SPACE TO COMMUNICATE A NARRATIVE?

VERTIGO

DIRECTED BY A. HITCHCOCK, 1958

Repetition is also used to invoke memory of previous scenes and heighten the emotional connections to the characters through the film’s narrative. An example of this is Stewart’s incidents of vertigo in relationship to his sense of control and dominance over both his and Novak’s life.

PART 1 | EXPERIMENT 1

In the film Vertigo, Hitchcock uses the character’s relationship to their built environment - using scale, contrast, composition, and light - to reflect the character’s emotional and mental state.

PART 1 | EXPERIMENT 2

[

HOW CAN SPACE CREATE A NARRATIVE?

Studies have shown that narrative is so powerful in generating meaning within our minds because thinking cannot be reduced to simply information processing and categorical sorting. Narrative is our main instrument of meaning-making, the embodiment of culture, communication, and education (Sparacino, 10). Also, the New Psychology has recently proven that, contrary to previous beliefs, perception is not a sum of visual, tactile, and audible givens (Images); but a way of understanding using the whole being (A cohesive experience) (Merleau-Ponty,

It is the narrative for ourselves and within ourselves which tells the story and generates individual meaning (Eisenstein, 7). 57).

Time and movement, the key ingredients of the so-called “sequential arts”, are used within both film and architecture to create narrative (McCloud, 7). Just as a film director uses time and movement to create a “scene”, an architect uses cuts, edits, frames, and openings within a single sequence of the building. Eisenstein’s term “montage” refers to the cutting and editing of single images, that can then be put into relationships that form new narrative meanings within the film. Eisenstein argues that narrative refers to that which the mind follows across a multiplicity of phenomena (through creating that “mental space”), gathered in a certain sequence into a single meaningful concept (Eisenstein, 1). Eisenstein also confesses that architecture, not film, is what underlies the close link within montage – that of mise-encadre (“put in a frame”: the physical setting’s details, sizes, widths, movements, physicality) and mise-en-scene (“placing on stage”: visual storytelling, the design aspects of a film) (Eisenstein, 18). He argues that architecture has the sole ability to connect the emotional and physical realms. And it is these ingredients that allow both the film director and architect to communicate an idea to the viewer. But why is narrative such a powerful tool? PART 1 | EXPERIMENT 2

NARRATIVE WITHIN THE SEQUENTIAL ARTS

experiment

PART 1 | EXPERIMENT 2

WORDS

HOW CAN SPACE CREATE A NARRATIVE?

lamp enlightened the platform but the faces of the boys were in shadow. One questioned me, “Are you going to Dr. Stephen Albert’s house?” Without waiting for my answer, another said, “The house is a long way from here, but you won’t get lost if you take this road to the left and at every crossroads turn again to your left.” I tossed them a coin (my last), descended a few stone steps and started down the solitary road. It went downhill, slowly. It was of elemental earth; overhead the branches were tangled; the low, full moon seemed to accompany me. excerpt from The Garden of Forking Paths Jorge Luis Borges, 1941

IMAGE

experiment

PART 1 | EXPERIMENT 2

SPACE

experiment

PART 1 | EXPERIMENT 3

IMAGE VS EXPERIENCE -THE ARCHITECTURAL PREDICAMENT

HOW CAN SPATIAL NARRATIVE RELATE TO A CONTEMPORARY IMAGE-DRIVEN SOCIETY?

(ABSTRACT)

Today, in such a globalized and consumer-driven world, a common discussion among designers is how to combat pre-constructed space and image-driven environments (Han, 9). It is an obvious cause of the “image” and “spectacle” that is so critiqued within the architectural world (Vidler, 102). Architectural representations, and even now the buildings themselves, are becoming more image-focused and less experientially driven. Images, unlike words and spaces, are received information. This means there is no need for experience or any particular insight to “get the message” – its effect is instantaneous (McCloud, 49). Hence the idea of “pre-constructed” space – we instantly understand it as soon as we see it. There is no perception, no creation of a mental space; “what you see is what you get”. Yet the success of films and the release of recent academic studies mentioned previously prove narrative is the main instrument of meaning-making. It has to be EXPERIENCED. Pre-constructed spaces and easilyinterpreted images create no narrative. The audience is not asked to participate in their built environment; “closure” or interpretation is not required.

Architecture tells us nothing; it is

dead without a participatory experience.

PART 1 | EXPERIMENT 3

Therefore the experience is not profound, the story not told, a meaning not made.

experiment

PART 1 | EXPERIMENT 3

ABSTRACT

PART 1 | EXPERIMENT 3

4 NARRATIVE AND MONTAGE IN AN EXISTING CONTEXT

experiment

HOW CAN YOU BREAK OPEN AN IMAGE IN ORDER TO GIVE IT A NEW NARRATIVE AND PURPOSE? Space and time are what connect narrative with architectural qualities (Ricoeur, 68). A complication of this is context. Built context preserves the trace of all the histories of life that have marked the act of inhabiting. A new project brings a new way of living into a site, and therefore is in some way inserting itself into this tangle of existing histories – narratives – of life (Ricoeur, 69). This layer of the narrative is what clearly separates architecture from film. Eisenstein states this when he explains architecture’s quality as a “flux of form” to explode into successive states, a potential that is not contained within cinematic montage. These layers can also increase the amount and value of these spatial perceptions and the relationships between them. This also underlies why “montage” within architecture is a more contemporary approach to spatial sequence than a simple linear narrative, along with the fact that architecture also employs all five physical senses, unlike film (To be further explained in next experiment).

This object - a typewriter - has a strong mental image associated with it, yet it no longer applies to contemporary society. When dismantled, the typewriter’s fragments are single images separated from their whole.

PART 1 | EXPERIMENT 4

“Montage”, as defined before, is the filmic method in which single images are cut and edited in order to be placed into a relationship which forms new narrative meanings.

The key levers, instead of acting as the mechanism which converts the pressing of a key to a printed letter, are now what translates the source into this particular manifestation of light. The type and feed guides work as a secondary system within both pieces, in the former to aid in the quality of printing, and now to aid in the distribution of light.

(typewriter)

without base and cover

type+feed guides form tripod frame

connection rods form outer frame

[VELLUM]

(light)

PART 1 | EXPERIMENT 4

keys+key levers as shade formwork

experiment

A _typewriter without cover B_ typewriter taken apart C_detail of key levers D_ welded lamp frame E _design development section sketch F_completed lamp

F BE

PART 1 | EXPERIMENT 4

i am not a typewriter

28 preliminary ideas 34 notes 36 thesis & method of study 38 people

thesis and method of study

40 precedents

â&#x20AC;&#x153;Built context preserves the trace of all histories of life that have marked the act of inhabiting of the city dwellers of old; the new act of

new ways of living that will be inserted into the tangle of existing histories of life.â&#x20AC;?

- Paul Ricoeur

preliminar y ideas IMAGE

The IMAGE is often used to elicit an immediate reaction or emotional response, as in an advertisement. It is an isolated thought.

LINEAR NARRATIVE

The LINEAR NARRATIVE has a flow, a sequence, a procession. Ideas are communicated clearly in a specified order and controlled manner. Its purpose is to elicit particular reactions or thoughts from its audience, in a particular order. In educational theory, it is sometimes connected to ‘textbook learning’.

MONTAGE

The MONTAGE differs from linear narrative in that the individual has much more of a hand in the way they experience and process the “path”. It is not a sequence, but a set of relationships - nodes on the path. Montage strongly reflects structural thought and learning on a deep and individual level

Montage = Non-Linear or ‘Individual’ Narrative

PART 2 | PRELIMINARY IDEAS

NARRATIVE INTERVENTION IN CONTEXT

ARCHITECTURE AS FORM/ INFORMANT

Creating space which shares an understanding of its existing site and context through “cutting and editing” its already-present attributes. A new narrative which still respects and relates to the old.

Space with its primary focus to share an understanding of site and communicate its particulars as an integrated ”space-scape”, while still allowing the visitor to create their own path. In a contemporary narrative, is Architecture as a formwork or informant?

]

] ] ] ]

PART 2 | PRELIMINARY IDEAS

extrinsic theories film theor y

As mentioned previously, studies have proven that “narrative is our main instrument of meaningmaking, the embodiment of culture, communication, and education” (Sparacino). However, today’s multimedia world (film included) provides completely non-linear means of receiving information and formulating ideas, and the user has control over the sequence they receive them in. This means the true “narrative” comes from the students’ own interaction with separate elements and how he or she chooses to process them, interact with them, collaborate using them.

LINEAR NARRATIVE

FILM

Cinderella

The Godfather

NON-LINEAR NARRATIVE

PART 2 | PRELIMINARY IDEAS

Though it has long been employed in literature, much of modern film is only now delving into the topic of non-linear narrative. A good example of this is Memento (2000), which tells the story from beginning to end, as well as end to beginning, simultaneously. The result of this is a stronger reliance on the viewer’s ability to make connections between each detached scenes. As the movie progresses, the viewer is actively engaged in critically examining and questioning the plot. Though this method is much more complex, directors and film-theorists agree that the themes are more well-understood and the overall storytelling is more compelling (Cowgill).

Memento = the main storyline; the “macro-structure” = the individual’s interpretation, the conscious

educational theor y

serial thought

structural thought = the main storyline; the “macro-structure” = the individual’s interpretation, the conscious

NON-LINEAR NARRATIVE

modern “serial thought”

Sir Ken Robinson, PhD, argues that formal places of learning do not support “structural” thought - seeking creativity and seeing multiple answers or possibilities. They are instead aimed at teaching children in ways comparable to an assembly line, as the modern educational system was installed during the Industrial Revolution. Traditional educational institutions are built according to these ideologies monotonous classrooms built along a single hallway. The goal of these institutions has traditionally been to provide a macro-structure of information. A student reads this information lineally, each connected through strong causal links. This is what helps students recall facts. The “serial thought” is produced, unlike “structural thought” which must be discovered. A downside of this “serial thought” reinforcement in the education system is that much of one’s capacity for creative thought is lost over time, when it should be encouraged and reinforced through alternate educational means (Robinson). The arts are especially a victim of this mentality, as they are focused more on aesthetic experience. However, when this type of learning is encouraged, which it increasingly is able to because of the multi-media aspect of the world today (see precious page), it creates completely creative and openended learning patterns.

PART 2 | PRELIMINARY IDEAS

LINEAR NARRATIVE

THOUGHT

impact on spatial theor y . . . Eisenstein argued that 3-dimensionality and context separate architecture from film. This is what makes architecture so much more complex than what film can communicate in a single 2-dimensional storyline alone. After all, experiencing space can never be completely and strictly “linear” (Pallasma) as in the way films and novels are conceptualized.

LINEAR NARRATIVE

SPACE

the institution

A place always contains some sort of already-inherent narrative. For example, built context preserves the trace of all the histories of life that have marked the act of inhabiting. There is always an experience, pattern, circulation, node, etc. which is already in a place when one visits it.

Eisenstein adds that, a space evokes a much deeper meaning than film through this condition of always layering a narrative upon existing ones. This layering can also create an open circulation, almost like a tangled web, from which both the new and old simultaneously act as nodes upon an individual’s path. (Small explorations of this on following page.)

the modern institution

NON-LINEAR NARRATIVE

PART 2 | PRELIMINARY IDEAS

A new project brings a new way of living into a site, and therefore is always actively inserting itself into this tangle of existing histories (Ricoeur).

the interpretive center

= the main storyline; the “macro-structure” = the individual’s interpretation, the conscious

PART 2 | PRELIMINARY IDEAS

. . . what is non-linear space?

notes the presentational versus discursive. PRESENTATIONAL forms of communication usually involve the overall idea; the ‘big picture’. It is presented, meaning it attempts to give an audience a direct experience or reaction, and is more psychological than logical (Hoffman). A good example would be a painting or map, seen and understood as a complete whole, rather than a sum of parts. This form also argues that these parts alone have no meaning, such as music notes that can only form meanings when put into the form or a melody or song. DISCURSIVE forms of communication must occur through time. They cannot be perceived except through cognitive processes of short memory. Elements are arranged with their own separate meanings, into a sequence which forms a completely new meaning (Hoffman). This concept is usually associated with the idea of ‘picking something apart’, or ‘making sense of a whole’. In film, a story is always told through a series of scenes. These scenes themselves are comprised of specific camera angles and perspectives that allow one to watch the scene proceed as a whole, as well as determine elements within the scene such as a character’s facial expressions. These scenes are understood within their own entirety, each providing the audience with certain information key to the story. If a scene was watched separately from a movie, the viewer would still understand the scene and receive this information. This is the DISCURSIVE element within film. However, when these scenes are watched through an entire film, different meanings are received from the newly understood connections (closure) between the scenes - this theory is similar to Eisenstein’s ‘montage’. This is the PRESENTATIONAL view of narrative in film, that idea the viewer takes away and remembers after watching it. The presentationl and discursive are always simultaneous conditions.

In architecture, PRESENTATIONAL and DISCURSIVE are also simultaneous. Space is DISCURSIVE in that it is only understood through time, through one’s sequential experience of their environment. However, one’s cohesive memory of a space or place is PRESENTATIONAL.

PART 2 | NOTES

Hoffmann, Michael HG, Geist und Welt. The living form of human feeling and understanding. Munich: Fink, 2000.

cohesiveness and project identit y. The ‘identity’ of this project is, therefore, built upon those elements of the discursive to create the presentational. Spatial narrative is experienced through time. This means that an overall architectural “image” does not apply. The true identity of this project comes through these underlying themes & elements of the place, and how the project incorporates them. This understanding of place is reinforced at all levels of detail in this way, from distinct joints and connections to overall geographical and seasonal gestures. These careful details are what allow the simultaneity of space, landscape, ruin, and bath to occur. There is a duality without one overcoming another. The place is revealed through architectural endeavors, but the architectural endeavors should not become the place. Within a place, the idea is that one experiences each area of the path or individual intervention as a complete space. Its elements create that cohesion while still relating that person to the particulars of the place in particular ways. The presentational aspect is that, as the person continues to circulate through, aforementioned ‘themes’ become apparent through spatial vocabulary. The person can then generate their own understanding of place as a whole - a sort of “closure”, while still incredibly aware of its particular qualities. The path is therefore utterly important. It is the connective architectural tissue, which creates a seamless circulation through these various ‘simultaneities’. The path and interventions are meant to flow into one another, unified by both their common spatial vocabulary and unified materiality (concrete and corten steel). More importantly, the path and the interventions along this path are unified by their idea and purpose, in a constant framing and reinforcing of the place. Wherever you are, it is clear where you are.

PART 2 | NOTES

In the same way, scenes within a film can be completely separate experiences from one another yet are still united by the sequence and path itself.

PART 2 | THESIS & METHOD OF STUDY

thesis method of study

Film presentation is delivered in light, color, pictures, motion, chiaroscuro, sound, dialogue, music, etc.; projected on a large twodimensional visual field - a screen. Film combines these elements over time to tell a story or give an overall feeling. The design of the overall sequence and sub-sequences of these elements is called “montage”. Besides simple entertainment, films are also inherently dramatic in that they can be representations of experience presented in a concentrated way to elicit more clarified feelings and understandings of life. Architecture can employ many similar elements as in film (with the obvious advantage of architecture being material, three dimensional, and experienced through all the senses) in a sequence over time and, in turn, can provide more clarified feelings about and understanding of place (which in turn can also enhance understanding of life). Also like film, architecture is experienced both discursively in time (sequentially) and presentationally in space. Scenes within a film are processed by the viewer in their own entirety - these sequences are discursive. When the scenes are watched within the film’s entirety, newly understood connections between scenes create meaning (montage). This is the presentational - the memorable aspect of the film. The identity of this project is built upon those elements of the discursive to create the presentational. Spatial narrative is created through time, sequentially, and conventional traditional notions of architectural “image” or edifice are less relevant. While watching a film, the combination of elements within that film become the film’s experience itself. A completely immersive architecture can be the same.

Operating at this level, a series of design interventions within a natural setting can make the experience of that place more vivid, while not overpowering the place or the person’s own interpretation.

PART 2 |THESIS & METHOD OF STUDY

However, a great film can also communicate a powerful overall theme or story while being interpreted differently by different people.

PEOPLE

PART 2 | PEOPLE

The project is designed to be open to all, but is particularly for those who value structural thought’s potential such as students and community members who wish for a place for thinking, expresssing, experiencing, individual meaning-making, reflection and inspiration.

It also holds the potential to be a ‘blank canvas’ for artists and filmmakers who wish to make installations, creating their own layer of narrative within the spatial narrative just as the built environment layers upon the site itself.

PART 2 | PEOPLE

[the protagonist]

precedents

KOLDINGHUS CASTLE KOLDING, DENMARK Restoration By Inger And Johannes Exner, 1991

WORLD AS STAGE BERLIN, GERMANY Stefanie Bürkle,1999 An installation of abandoned elements as“staging” a reality upon an open area of the cityscape.

PARC DE LA VILLETTE

PART 2 | PRECEDENTS

PARIS, FRANCE Bernard Tschumi, 1982

archexhibit.com

The castle, built in the 12th century, caught fire in the early 1800’s and was left as a ruin. The goal of the renovation/addition project was to preserve the ruins as a historical monument to make a powerful impression. The ruin is framed by a new architecture, to emphasize its own inherent narrative value. The circulation in this addition focuses on an open prolonged procession from floor to splitfloor, making one more aware of the vastness of the original space. Details of the decay and textures are highlighted by the contrasting delicate tree-like columns and ceilings. koldinghus.dk

HEDMARK CATHEDRAL HAMARK, NORWAY Restoration By Sverre Fehn And Kjell Lund, 1967-1979 The church was built around 1200, and destroyed by the Swedes in 1567.

culturalprofiles.net worldarchitecture.org

NATURAL HISTORY MUSEUM SALT LAKE CITY, UTAH Ennead Architects, 2011 The form recalls the slopes of the nearby mountain range, as well as Utah’s rich mineral history. The interior exhibits are designed as a series of “trails” which allow the visitors to choose their own path.

INSTALLATION,

ennead.com

marcondes.tv

BRAZIL, Guilherme Marcondes, 2009

PART 2 | PRECEDENTS

A high-tech glass structure now completely encases the ruins, representing the monumentality the cathedral once had. The design intent was for Fehn’s structure and material to co-exist alongside that of the cathedral’s. He makes no attempt to interfere with its historic fabric, and the new intervention sits comfortably within the historic context. The site is easily understood as a layering of new and historic.

NEUES MUSEUM BERLIN, GERMANY Restoration/Addition By David Chipperfield Architects, 2007 All usable scraps and remnants of the original were incorporated into the building. One of the main installations was a stairwell which leaps upward to light as a metaphor for Germany today.

CASTELLO DI RIVOLI TURIN, ITALY Contemporary Art Museum By Andrea Bruno, 1978 Modern materials and techniques were used to stress differences between old and new. The walkways and stairs jut out from the castle in order to underscore the separation of antique and modern.

PART 2 | PRECEDENTS

castellodirivoli.it

The walk through the building is one of purely new juxtaposed upon broken fragments of old. The goal was a visual whole which still appeared legible and honest, with the juxtaposition abled by this clarity of modern intervention. Kimmelman, Michael. “A Modern Makeover That Doesn’t Deny the Wounds of War.” New York Times. 11 March, 2009.

RED SEA INSTITUTE CINEMATIC ARTS

AQABA, JORDAN Symbiosis Designs, Ltd., 2008 This building’s intent was to be a spatial interpretation of the process of film-making and producing, specifically to encourage personal reflection. It is a ground-scape experience, where both light and shadow are exploited in ranges from washed out to intense. The building forms - using a concept of “dynamic motion” - descend and ascend in a way that encourages roaming and movement from different vantage points. This allows the students to explore spatial paradigm in understanding and planning scenography. There are also areas that particularly “fold upon themselves” and detach from the main areas in order to create silent introspective opportunities. Films are collaborative, so circulation spaces are celebrated as open domains to promote conversation and exchange of ideas. Like montage in film, different spaces are juxtaposed through long visual axes inlayed with varying compositional elements. This allows students to perceive differently from different points and therefore gain an understanding of visual montage through experience.

LANGEN FOUNDATION NEUSS, GERMANY Tadao Ando, 2004

CASTELVECCHIO VERONA, ITALY Restoration By Carlo Scarpa, 1959-1973 Scarpa’s architectural choices came directly from his knowledge of Castelvecchio’s complex history. Scarpa kept the main wall strong and untouched, as to him it was the foundation of individual freedom against Fascism. Within the museum, the interior axis is broken by art objects in a way that encourages thoughtful observaton, not authority and directionality. Scarpa’s style is most important within details of doorways, staircases, furnishings, and fixtures designed to hold the artwork in specific ways. Coombs, Tamara. Scarpa’s Castelvecchio: A Critical Rehabilitation.

PART 2 | PRECEDENTS

archdaily.com

WALTER BENJAMIN MEMORIAL PORTBOU, SPAIN Dani Karavanhe, 1994 Referred to as “Passages” and located atop a cliff near a cemetery, this piece is partart-part-space. The space begins with a tunnel which climbs down a steep and rocky path. Further down the path is placed a monument which allows unobstructed views of the Mediterranean and where Benjamin made his final attempt to escape the Nazis. http://atlasobscura.com/place/walterbenjamin-memorial

THE CAPP STREET PROJECT CALIFORNIA COLLEGE OF THE ARTS Begun 1983 THE CAPP STREET PROJECT is an international artist-residency program, as part of California College of the Art’s Oakland campus, which began in 1983: It focuses on: A) Allows artists to create site-specific installations and experiments, B) Creates a dialogue between artists, students, and community, C) Promotes public involvement in the arts to contribute to the evolution of ideas in the arts.

DOUBLE NEGATIVE wattis.org

MOAPA VALLEY, NEVADA Michael Heizer, 1969 A long trench within the earth created by displacing rhyolite and sandstone, hence “negative” alluding to the negative space of both natural and man-made.

PART 2 | PRECEDENTS

http://doublenegative.tarasen.net/

46 6

RODEN CRATER James Turrell, 1979 Turning the natural crater into a massive naked-eye observatory. Relationship between landscape and art, “inside” and “outside”. nytimes.com

BURNING MAN FESTIVAL BLACK ROCK DESERT Begun 1986 A temporary community dedicated to radical self-reliance, self-expression, and art. It brings innovative sculpture, installations, and performances to its community. burningman.com

CREATIVE TIME NEW YORK, NEW YORK Begun, 1974 Focusing on art infiltrating the public realm and fostering social progress. Artists engaging in conversation between site, audience and context.

PART 2 | PRECEDENTS

creativetime.org

KOLUMBA MUSEUM COLOGNE, GERMANY Peter Zumthor, 2003-2007

MUSEUM INSEL HOMBROICH NEUSS, GERMANY Various, 1981-1989

CRYSTAL ROOM WAIDHOFEN, AUSTRIA Hans Hollein, 2007

PART 2 | PRECEDEENTS

archrecord.com

A part-space-part-nature-part-art series of “follies” which change one’s perspective of all three. inselhombroich.de

The light coming in through the brick creates a mottled light effect which plays upon the ruins - an ever-changing environment. Zumthor’s sensuous grey brick connects the fragments of the ruins, yet inside the ramp is kept risen above the fragments. The space is treated as an open meditative space. kolumba.de

THE HIGH LINE NEW YORK, NY Diller Scofidio + Renfro, 2009

thehighline.com

ATARIA INTERPRETIVE CENTER VITTORIA, SPAIN Qve Arquitectos, 2008 archdaily.com

TEMPLE LISBOA, PORTUGAL Faile, 2010 Trying to revive Portugal’s spirit by relating to the people by using pop art and a psedo “ruin” within the bleak context. architizer.com

PART 2 | PRECEDENTS

Using path sensibility to change the rules of engagement between plant life and pedestrian. Organic and building materials in changing proportions to create unique and changing perspectives and connections to place.

TOURIST STOPS

ENTRANCE PAVILION

NORTHERN NORWAY Various Architects, 2005

ARIEGE, FRANCE Massimiliano Fuksas, Year Unknown

knstrct.com

The entrance pavilion extends a cave which showcases prehistoric cave paintings into the surrounding landscape. The steel plate structure forms a man-made intervention which spans between two different natural phenomonen.

PART 2 | PRECEDENTS

Landscrapers, Thames & Hudson

MARYHILL NATURE OVERLOOK GOLDENDALE, WASHINGTON Allied Works Architecture, 1998 â&#x20AC;&#x153;The Overlook is organized as a single, eight-foot wide ribbon of concrete that emerges from the earth, rising and falling as it moves to the edge of the cliffs. Along its 150-foot length are eight volumes that open and close to the sky. From a distance the form dissolves and reemerges as line or plane in response to the quality of light, the shape and intensity of shadow and changing point of view. Drawing closer, held in the hollow wall, the surfaces are cut by a datum that establishes a specific reference to the body and to the surrounding landscape.â&#x20AC;? alliedworks.com

IGUALADA, SPAIN Miralles And Pinos,1984 The project circulates around a processional “street” which descends from the enrance of crossing rusting steel poles into a “city of the dead”, which is conceptualized as a place where the dead and the living are brought closer together, below ground. The spaces are designed to provoke thought and memories, and relate the past, present, and future. Few pieces are chosen as elements to direct path and views, acting more as an excavated urban ruins site than a cemetery. Landscrapers, Thames & Hudson

NAOSHIMA CONTEMPORARY ART MUSEUM NAOSHIMA, JAPAN Tadao Ando, 1992 “Having explored the work of Tadao Ando, it is clear how the philosophical concept of the shintai can influence architectural design. By designing a building where one is exposed to elements of the natural world such as wind and light, it is possible to enhance awareness of the visitor’s own physical presence in a building and their relationship with the natural world. It is this realisation that embodies the shintai, the connection between physical self and the world around.” — Thomas Foggin sinearch.com clarkart.com

HOMPUKUJI WATER TEMPLE AWAJI ISLAND, JAPAN Tadao Ando, 1991 0lll.com

PART 2 | PRECEDENTS

IGUALADA CEMETERY

3 PART

site & introduction

anal ysis

54 introduction & history 60 analysis 62 visits 66 cognitive map 68 elements

The Cliff House, where but a single pane of glass seemed to separate the comforts

civilization from Nature in her rudest aspect..â&#x20AC;?

- Bret Harte

place

SUTRO BATHS

CALIFORNIA

PART 3 | SITE INTRODUCTION

SAN FRANCISCO

The baths are buffered from the main residential area of Richmond by a large mountanous walking and hiking area. The access to the site is currently through either a parking lot located along the main coastal road, Point Lobos Avenue, or through the Il Presidio hiking trails north of the site. The water is a source of constant change, as it floods and recedes the low shoreline. The bay brings in various creatures; sharks, whales, fish, birds. It also creates conditions of both thick fog and strong direct sunlight. The topography of this region is extreme, with high cliffs sharply contrasting the bay where the bathâ&#x20AC;&#x2122;s ruins occur. The ruins themselves have also become part of this topography, as time has allowed natural and man-made to give way to one another. The site is also unique in that it sits directly around the San Andreas fault.

C B

PART 3 | SITE INTRODUCTION

histor y

SUTRO BATHS

PART 3 | SITE HISTORY

At its completion, the Sutro Baths were the worldâ&#x20AC;&#x2122;s largest indoor swimming pool, with an initial cost of 1 million dollars. The 100,000 sq. ft. glass enclosure could hold 10,000 bathers at once. After a slow demise from high expenses in supplies and management, a suspicious fire caught in 1966. It now sits in ruins over 40 years later. Together with the Cliff House south of the site, it is considered part of the Golden Gate National Recreation Area.

1881

Sutro purchases area, creates elaborate public garden “Sutro Heights”

1894

Sutro’s Cliff House is built

1896

Opening of Sutro Baths

1920’s Mummy, Torture, Tom Thumb Museums added to Baths

Sutro Baths are converted to ice skating rink

1973

Baths acquired by Golden Gate National Recreation Area

PART 3 | SITE HISTORY

1937

built in 1920’s

climatic concer ns

PART 3 | SITE ANALYSIS

access + circulation

topography

vegetation

built in 2011

SUTRO BATHS

anal ysis ’

catchpool

race track

baths

entrance

laundry

glass entrance

museum

ticket area

1”=200’-0”

scale

340’

100’

plan

DEXTER LAWN

SUTRO BATHS

PART 3 | SITE ANALYSIS

section A

section B 10’ 50’ 100’

visit

PART 4 | SITE VISITS

SUTRO BATHS

THE HOT, STILL, BEAUTIFUL DAY

As I walk downhill from the bus stop, the shade of the Sutro Heights trees opens to reveal Point Lobos avenue before me, the Cliff House in straight view at its edge. The trees in the trails beyond seem to rise and fall around me, almost 40 feet at their height and twisting around themselves, until they slowly fade away and reveal the sutro baths beyond. As I reach the top of the site, the first thing drawing me in is the bright light bouncing off of the calm bay, the birds bathing in its glow. I locate the first path off of the road, slowly leading me around its bay in an ampitheatre-like circulation. The path passes by a section completely covered in shadow, though it is noon and the sun is high in the sky. This area is reachable only through trekking along the hillside. I try to reach a small opening, a ruin of only a small doorway. I cannot help but obsess over what laid within that opening. Have people used it since? Its mystery seems to grab others’ attentions as well. As the path continues to wind around, it reaches a point where it crosses a path that seems to directly rise above me, and another which gently slopes down to another ruin. Through the ruin’s openings I see the rough open ocean waters beyond, with several characteristic rocks tunneling currents as they break upon the bath’s side. This gentle path pulls me down, and I immediately see a cave to my right. This cave is ominous yet beautiful, its insides hollowed out as if constantly being shaped by the waves themselves. The light hits the cave walls like a train’s headlights approaching. Others seem hesitant to enter, as if there is a warning sign at its entrance. The insides pound my eardrums, openings within its sides funnel ing in the crashing waves. However, on the other side of this cave is abandonment - stairways left behind, now unclimbable, pipes and leftover materials wild in their hazardous formations upon the cliffside. But as I look up the sunlight is almost blinding in its powerful and unobstructed rays. As I retreat back through the cave, I am again overcome by the extreme transition from inside the cave to outside it. The ruin of the bath’s laundry room sits at the side of the calm water, and as I walk through it, beautifully eroded enfilades look back at me. the bare bones of it allow me to see all the way through, almost as if each is its own personal framed view. The light seems to create violent shifts instantly as I walk through its gallery-like circulation. Outside of the ruin, I approach the foundations, which float upon this bay. I walk all the way across, admiring its openness and feelings of security. The cliffs seeming to hug me as i sit in their gentle bay. at the end of this simple and decaying concrete line, the beach approaches me, a shift from one to the other. A stairway leads sraight out into the ocean, seemingly to explain to me that it was simply left behind. what used to lay beyond it? i’d like to think it always led straight into the ocean. If only I could reach beyond it and actually walk right down into them. with this circulation, my mind wanders back to the bay, now behind me, and it occurs to me I cannot actually penetrate it. I wish steps would just rise out before me and allow me to walk across it, but it is in fact a dead end. I must retrace my steps. I again see the empty doorway in its shadows beyond, but am at a loss about how to get to it. when I walk back to the pathway, I encounter a ruin i hardly noticed before - at ground level, but breaking out into the bay. I wish I could extend it and walk into the water. I follow the pathway up to the forest. the forest connects to hking trails beyond, but it seems like a maze. There are amazing views straight out to the ocean, through they are muddled within the tree canopies. I walk down through a ridge, where boulders mimick the trees before in their rising and falling as I walk past. The rock formations are amazing. At its end, a sloped platform. The place I should have been able to reach by the abandoned staircase, now below me. I look out ata completely open ocean, views up to the golden gate bridge, and all the way down the coast. From here, I can even see around the cliff house.

PART 4 | SITE VISITS

END

START

visit

SUTRO BATHS

THE COLD OMINOUS SKIES AND DOWNPOUR

PART 4 | SITE VISITS

Approaching the site from the cliff house itself, I am overcome by the wind as I try to trek back to its entrance. I am pulled to the parking lot above, the walkway a straight line across its length into the forest beyond. Within the forest, I realize a downpour has commensed. The canopy of trees above guides the water down onto the ground in patterns. I follow it until I reach a concrete walkway, unconnected from the trail above it. I wish for shelter, something to retreat into and focusing my way. The forest would be an easy place to lose sense of place in terms of direction. I cannot decide whether that is a good or bad thing. I finally find an opening, seemingly shaped by two trees which wind around each other. Itâ&#x20AC;&#x2122;s an epic entrance for what lies ahead, a winding road of slippery steps through the boulders. I struggle down these sandy steps, the water rushing past my feet, until I reach the platform below. The slope of the platform is made apparent by the water running through the cracks of the cliffs, turning into waterfalls as they fall down the cliffside. I wish I could follow the water off the cliffside, push out farther into the open ocean. I feel completely exposed in this spot, nothing to shade, block, or manipulate my views of the environment around me. The open sky looks completely ominous ahead, the fog so thick the gentle slopes of the bays seemingly disappearing soon after they appear to me. I do not wish to walk across the bay this time, as the water seems to overpower the thin foundation line which I followed before. the bay is flooding, eroding its sides as the water level rises. the ruin at its top is now more understandable, the water pushing out the mud around it and revealing a more cohesive piece. it appears as though it might push itself out and fall into the water. i quickly scurry back up the path, my hair soaken wet. the gentle pathway now hardly walkable, its mud sinking into my boots as I try to lightly step upon it. the bushes around firecely blow in the wind into the path, touching me at every turn. have they grown that much since my last visit, or is the wind this powerful? as i look back at the bay, it appears that the whole site is a ruin. no one walks upon it except me now - well who could blame them? the fog blurs what is ground and what is sky. its hard to discern the place at this time. Nothing comes through the fog, it feels as though my entire body is immersed in a haze. As I exit the site through the entrance nearest to the cliff house, I feel as though I am in a completely different place. The wild and fierce winds remain, but nothing blows at me, I am left alone.

PART 4 | SITE VISITS

END

START

PART 3 | COGNITIVE MAP

co gn i tiv e m ap

plotted in charcoal onto site plan based on information gained from visits 1 & 2

connection to hiking trails access access point furthest point, maximizing views cave, showing entry and exit circulation main access point from parking lot

straight view out past cliffs to ocean access point lightest areas, most daylight original foundation lines of Sutro Baths darkest area, least daylight

do c u m en tati o n

PART 3 | COGNITIVE MAP

1”=80’-0” sectional model

1”=32’-0” topography model

elements

SUTRO BATHS

PART 3 | SITE ELEMENTS

p a r t i c u l a r phemenological (and cinematic) conditionsâ&#x20AC;&#x153;themes: - chosen onsite as most important to, and defining of, the place, to be emphasized, augmented, and explored through the spatial narrative of the project.

on-site observations

PART 3 | SITE ELEMENTS

SUTRO BATHS

elements l t WAYS OF SEEING constantly changing perspectiives of the site through elevation changes and open views.

PART 3 | SITE ELEMENTS

allowed for by the topography of the area, a low bay between cliffs.

an ampitheatre-like for mation, with the reverberation of sounds such as the cliffs hitting the rocks.

NATURAL AND MAN-MADE the baths, originally an imposition of the man-made in a natural setting

a decay of one giving way to growth of the other. both experienced as a cohesive whole or har monious exchange along the siteâ&#x20AC;&#x2122;s path.

PART 3 | SITE ELEMENTS

today, now an integration of the two, for med through the effects of time.

SUTRO BATHS

elements l t THE EDGE CONDITION a precipice, threshold.

PART 3 | SITE ELEMENTS

the phenomenon of being aware of two opposite conditions at once, hearing roaring waves and wind while seeing birds play in a calm bath in bright and open sunlight.

being more aware of the path because of the proximity of these two conditions. A path as a thin and delicate string tugging flailing in between these enviroments.

THE BARE BONES bricks have broken down, reverting back to stone and ground.

a sense of line and element, everything peeled back to reveal to the texture and structures of its â&#x20AC;&#x153;bare bonesâ&#x20AC;?. the beauty of decay and ruin.

PART 3 | SITE ELEMENTS

the only remains of the baths are their foundations, now acting as a simple path which guides one through the site

SUTRO BATHS

elements l t RECLUSE AND EXPOSURE revelations, glimpses of beyond

PART 3 | SITE ELEMENTS

contrasts of caves and remaining structures of dark, damp, and concentrated sounds with the extremely open sunlight and quiet of the baths.

the way the “path” of the baths’ foundations weaves through these two conditions

SENSE OF ‘LEFT BEHIND’ the baths’ condition as left in its damaged state to the natural elements

PART 3 | SITE ELEMENTS

but also as in its relation to the larger context of San Francisco as a ruin, a rare undeveloped piece of earth left to the elements and open inhabiitation

4& PART

design

82 spatial vocabulary 84 the interventions 118 the path 124 schematic site plan

de deve development

schematic

80 intent

By designing a building where one is exposed to the elements of the natural world such as wind and light, it is possible to enhance awareness of the visitorsâ&#x20AC;&#x2122; own relationship with the natural worldâ&#x20AC;? - Tadao Ando

PART 4 | DESIGN INTENT

PROCESS

intent

Displayed at the â&#x20AC;&#x153;Section Showâ&#x20AC;? as a 3-dimensional panelled drawing

PART 4 | DESIGN INTENT

a series of sections showing intended cinematic experience through particular interventions upon the site. Each provides a completely different atmosphere concer ning the architecture enclosure, topography, views, and climate.

spatial vocabular y PROCESS

SITE THEMES

PART 4 | SPATIAL VOCABULARY

WAYS OF SEEING

focused as well as openended views, utilizing the vantage points allowed for by the site topography while still retaining its ampitheatre-like site conditions

NATURAL VS MAN-MADE

using the already-present simultaneity of natural landfor m and man-made ruin to infor m relationships between new buit environment and existing site.

THE BARE BONES

the Bath foundations, now delineating and framing the path using simplicity of line and element along with a sense of texture and decay

THE EDGE CONDITION

being aware of multiple conflicting experiences at once, the feeling of being upon a threshold

RECLUSE AND EXPOSURE

maximizing the relationship to the ground plane as well as natural caves within the cliffs to create spaces appropriate for these elements

SENSE OF THE LEFT BEHIND

emphasizing the ruin and fragmentation of the site through detailing h h delicate d li d il of any new addition as well as overall gestures of wandering and discovery.

old

new

PART 4 | SPATIAL VOCABULARY

ASSOCIATED SPATIAL VOCABULARY

section view

PART 4 | INTERVENTIONS

perspective view

opposite page_ placement of major interventions upon site above_ early topography studies and conceptual massings left_ analog diagrammatic model with massing and circulation

interventions

PROCESS

2 4

6 7

8 PART 4 | INTERVENTIONS

PROCESS

intervention 1

setting

PART 4 | INTERVENTIONS

idea

initial design

section

development

elevation

PART 4 | INTERVENTIONS

detail

PROCESS

intervention 1

portal Connecting the hiking trails of the Il Presidio to an access point of the Sutro Baths. Focus on elevation change and the light coming through the high canopy of trees above. A system pulling rainwater from high in the forest all the way down the sloping cliff.

PART 4 | INTERVENTIONS

A solid slit from above, with short glimpses of light from either side. The sound of rainwater rushing past. A sense of recluse with elements of fleeting change.

focus to the clear sunset beyond

wandering glimpses within thick forest

connection and framing entry of Sutro Baths

connection with Il Presidio trails

PART 4 | INTERVENTIONS

along descent

PROCESS

intervention 2 idea

setting

PART 4 | INTERVENTIONS

initial design

development

PART 4 | INTERVENTIONS

section

plan

PROCESS

intervention 2

02 ridge A space-scape, transitioning from recluse to exposure. Direct corrrelation between the form and landscape. Natural and man-made, an interdependent relationship.

PART 4 | INTERVENTIONS

A continuation of the rainwaterâ&#x20AC;&#x2122;s path, emphasizing the slope until it runs through the cracks of the cliff to the west.

pulling from path above

opening for climb to the north

controlled openings reveal boulders beyond

corten steel partition rising and lowering directly with the terrain

PART 4 | INTERVENTIONS

continuing rain water

cliff edge

PROCESS

intervention 3

setting

idea

PART 4 | INTERVENTIONS

initial design

development

plan

PART 4 | INTERVENTIONS

elevation

PROCESS

intervention 3

03 li ghthouse A vertigo-inducing climb through cave-like recluse into an ultimate exposure allowing views to the golden gate bridge to the north and all the way down the coast to the south. Gesturing a transition from the dark ruins to the expansive bright sky above.

PART 4 | INTERVENTIONS

Relationship to larger context.

fully exposed views spanning from golden gate bridge down coastline

hollowed-out shell as reclusive “cave”

(e) abandonded stairway built into cliff

PART 4 | INTERVENTIONS

steel cables lifting up from abandonded stairway

PROCESS

intervention 4

setting

idea

PART 4 | INTERVENTIONS

initial design

100

development

section

PART 4 | INTERVENTIONS

plan

101

PROCESS

intervention 4

04 pool Emphasizing the entry into the cave, while providing shelter in an otherwise extremely exposed area. The edge condition. Channeling sounds of the crashing waves upon the cliffs while revealing a focused view to the gentle bay and bathing birds.

PART 4 | INTERVENTIONS

Creating circulation through the ruins, connecting land over water using delicate steel connections and a glass walkway

102

tunneling the sound of crashing waves of open ocean....

pulling circulation to waterline & new boardwalk

creating formal entry into cave

....while framing views to the calm bay opposite

(e) ruins within bath

PART 4 | INTERVENTIONS

glass walkway bridging over bath,from ruin to ruin

103

PROCESS

intervention 5

setting

PART 4 | INTERVENTIONS

idea

104

initial design

PART 4 | INTERVENTIONS

development

105

PROCESS

intervention 5

05 lobb y &

funicular access

The main control and information point, viewable from anywhere on site. Placed at the existing main entrance, and digging into the earth so as to retain the ampitheatre-like views from the parking lot above.

PART 4 | INTERVENTIONS

A sole view out to the lighthouse and open ocean directly beyond, but a forced path into the earth and to the funicular terminal, which runs from the height of the bay down its gentle slope and attaches to the ruins at the bottom. This endeavor is mainly for physically disabled visitors who still wish to access the ruins and bath.

106

a crack of light from above

shifting walls and ground

the ground (roof) splits

PART 4 | INTERVENTIONS

view to the open sea

107

PROCESS

intervention 6

setting

PART 4 | INTERVENTIONS

idea

108

initial design

PART 4 | INTERVENTIONS

development

plan

109

PROCESS

intervention 6

06 skyspace A space adding onto the ruin of the Sutro Bathâ&#x20AC;&#x2122;s laundry room, this space focuses on the enfilade created by the decaying walls.

PART 4 | INTERVENTIONS

Skylights create differing light paths through the day as well as the seasons, creating a uniquely guided path through this dark space at any point in the day and year. The corten steel skylights are attached to the ruins with delicate connections, also allowing for a gap to retain the random strong rays of light from the ruins edges.

110

skylights creating particular shadow patterns and therefore a path which corresponds to the diurnal & seasonal cycles

PART 4 | INTERVENTIONS

(e) maze of anonymous decaying rooms

111

PROCESS

intervention 7

setting

plan

PART 4 | INTERVENTIONS

initial design

idea

112

4 | INTERVENTIONS PARTPART 4 | INTERVENTIONS

development

section

section perspective

113

PROCESS

intervention 7

07 enfilade

galler y

Extrustion of existing ruin to bring circulation into the bay. Floating steps directly respond to the changing tides. The steps downward weather as the ruins do. Enfilade created by deep slatting. Framing view to the ocean.

PART 4 | INTERVENTIONS

Side viewing room creates an enclosed recluse area from the completely exposed topography beyond it.

114

(e) ruin with window to bath series of frames pulling from window to bath to reform focused viewing space

frames placed upon (e) ampitheatre ruins to structure informal viewing space

...with

for both high and low tide

PART 4 | INTERVENTIONS

facilitating access into bath....

115

PROCESS

intervention 8

setting

PART 4 | INTERVENTIONS

idea

116

plan

initial design

diagrammatic section

development

PART 4 | INTERVENTIONS

section with lighttube detail

117

PROCESS

intervention 8

08 groundspace A space whose entry is through an existing ruin of a Sutro Bath entryway, currently opening straight into a hill. Groundspace uses lighttubes and parabolic reflective surfaces (top and bottom) to create an even lighting atmosphere during both day and night.

PART 4 | INTERVENTIONS

This space allows for repose and recluse, while focusing oneâ&#x20AC;&#x2122;s attention to the spatial quality allowed for by the surrounding terrain and padding from city noise and lights.

118

light tubes corresponding to topography changes

(e) ruin

parabolic

surfaces creates atmosphere of completely even daylight or nightlight

PART 4 | INTERVENTIONS

underground gate within ruin

119

path anal ysis

PROCESS

PART 4 | PATH

The site narratives and cognitive map explain the path availability at two extremes of the Sutro Bathâ&#x20AC;&#x2122;s climate and environmental conditions. The path (and interventions as well) will be designed based on the already inherent circulation upon the site, taking into account these environmental and climatic factors and where insufficient dead ends and blocked areas occur, while not altering or imposing upon the patterns of wander and discovery.

120

THE HOT, STILL, BEAUTIFUL DAY (Visit 1) THE COLD OMINOUS SKIES AND DOWNPOUR (Visit 2)

The main path conditions:

MAIN ACCESSIBLE ENTRANCE

DEAD END

USE IN SUN AND LOW TIDE

This area, heavily covered by trees and reachable by both the Il Presidio trails as well as the main entrances to the Sutro Baths, is inhabitable in all climate conditions. However, it is used much more often in rainy and windy weather, as the tree canopies creates a blanket of sky cover.

Main entrance to baths, only real entrance usable at all seasons and times of the day. Path accessibility past this point an issue. The abandoned staircase prevents movement through the site, a dead end where there used to be dramatic movement through the cave and continuing upon the ruins and atop the cliffside.

Only usable in sunny weather, and usually low tide. No availability during high tide and rainwater flooding. Absolutely no availability of experiencing or passing through the bath area at all.

DEAD END

Completely in shadow even in broad daylight. No access to ruins in this area. No pathway available. dead end.

DEAD END

No access to bath. Marshes and high tide blockage. Must retrace steps.

DEAD END

No access to Cliff House or terrain above. Must retrace steps.

DEAD END Staircase which leads to straight out into the open ocean.

PART 4 | PATH

USE IN WIND AND RAIN

121

path strategy

PROCESS

PART 4 | PATH

try point

122

EXISTING PATHWAYS AND ENTRANCES PROPOSED PATHWAYS AND ENTRANCES

Strategy Particulars: CONNECTING SHELTERED PATH

Using a pathway to bring focus to a maze of muddled elements, also using sloped pathway as rainwater drainage. Creating a sense of shelter from the elements while still highlighting the dense environment.

BRIDGING CAVE TO PLATFORM Defining a path which connects the cave below to platform above using abandoned staircase as guide. Maximizing views by pushing upwards and outwards. ADA RESOLUTION Because the site is mainly used as a hiking trail, it is not acessible to some. There should still be a main pathway for them to experience the site - which will need to be a funicular due to the extreme slope, and it will pull from the main entry point, which is accessible from a large parking lot, and down into the bath below. The lower area will be made as accessible as possible. BATH ACCESS Introducting a pathway which responds to the bath’s high and low tides in order to push circulation into the bay. Creating space focuses on the openness and exposure allowed for during sunny and still weather.

OPENING CIRCULATION

Creating a path to the empty ‘doorway’ ruin, as well as a connection point to the Cliff House. Creating space which utilizes the sense of discovery and darkness constantly upon this spot.

existing

proposed

(linear narrative)

(montage)

PART 4 | PATH

BASIC CIRCULATION CONCEPT:

123

path design

PROCESS

PAVING AND SEATING creating an element which unifies the interventions into an integrated whole, while still allowing a sense of wandering and simultaneity of new & old, natural & man-made.

insertion of corten steel benches within system

...into uniform paving system upon site

PART 4 | PATH

textured concrete planks...

124

RAINWATER CONTROL

SEATING AREA

CLIFF EDGE

RAINWATER CHANNELS

RIDGE LIGHTHOUSE

Integration of rain channel within path design to funnel rainwater from highest elevation point near Portal, through Ridge, and off of platform at cliffâ&#x20AC;&#x2122;s edge and Lighthouse (shown right). The rainwater will be dispersed through a pattern within the paving and exit the platform through several already-existing slits in platform wall.

plan

rainwater channel

paving system

PART 4 | PATH

section

125

SCHEMATIC SITE PLAN 126

with co gnitive underlay

SCHEMATIC SITE PLAN 127

128

130 presentational 136 site plan 140 discursive 158 sequences

PART

Finaldesign

documentation menta menta 129

â&#x20AC;&#x153;...rival in magnitude, utility, and beauty.... p a v i l i o n s , b a l u s t r a d e s , promenades, alcoves and corridors...the

and fragrant magnolias touching the very rim of the reveling waves.â&#x20AC;? - Eugenia Holmes, on Adolph Sutroâ&#x20AC;&#x2122;s newly built Baths

130

[p re sen tati o n al]

131

(e) INFRASTRUCTURE

(e) RUINS

132

e x i stin g

133

134

co gn i tiv e m ap p in g

135

INTERVENTIONS

PATH

136

p ro p o sed

137

138

s i te plan

139

140

s i te m o del

141

begin

142

[di sc u rs iv e]

143

downpour

144

fog rolls in

146

147

wind tunnels

clouds clear

148

149

waves crash sunlight pools

150

151

birds bathe

JUNE 21st 9:00 AM 152

DECEMBER 21st 12:00 PM

MARCH + SEPT 21st 3:00 PM 153

154

155

water calms l

afternoon light

156

157

clear night

158

159

end 160

[seq u en ce s]

161

te r m in al f u n i c u lar r id ge

162

fo ye r m ain en t r y

163

l i ghtho u se

aban do n ded stai r way

164

cav e

165

bo ard walk bath

166

gal l e r y

r u in

167

ap p

ap p enna 168

ap p en di

ap p en di x

ap p en di x ap p en di x ap p en di x p en di x ap p en di x ap p en di x ap p en di x p p en di x ap p p en di d x ap p enapdip pxennapddip een di xapp p en di ap p p en d di i x p di d i x d napdip enx di en n di x d d ap p p e en n di d i x d app p ene d ddidi d app p enn di d x p p appi xp eapp p pene n ddidixx ap p en e n di d x d di x x x i xap p enapd p ened dappappp enp enddiidi p en d d x ap p en ddiapxp en di x 169

abst ract sho w

detail sho w

portal....

a connection between the Sutro Baths and the Il Presidio hiking trails beyond a sense of visual focus to the sunset beyond while still promoting wandering within the forestâ&#x20AC;&#x2122;s maze a simple and systematic construction allowing for corten steelâ&#x20AC;&#x2122;s immediate sound in a downpour as well as its time a glimpse of light from the tall canopies above with particular views at onesâ&#x20AC;&#x2122; sides. an intervention communicating waterâ&#x20AC;&#x2122;s soft yet rushing cleanse, as well as its harsh gradual decay

secti o n sho w

ap p en ddi x ap p en di x 170

...a cinematic interpretation of place

shelley thompson studio reich

v el l u m sho w

e u[re i ch]a st u di o sho w

ch u m a sh sho w

171

[SELECTED WORKS CITED]

172

Bachelard,Gaston. The Poetics of Space. Boston, Mass: Beacon Press, 1994. Benjamin, Walter, Michael W. Jennings, B. Doherty, T.Y. Levin, and E F. N. Jephcott. “The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media.” Cambridge, Mass: Belknap Press of Harvard University Press, 2008. Gerard, Christophe. “Annotations : Selected Works.” Info : Selected Works. Indexhibit, 2001. Web. 21 Nov. 2011. <http://www.criticalspace.co.uk/ index.php?/annotations/annotations/>. Eisenstein, Sergei. “Montage and Architecture”, with an intro by Yves-Alain Bois, Assemblage, no. 10 (1989): 111-31. Han, Annie, Daniel Mihalyo, and Gary Sangster. After. Boise, ID: Boise Art Museum, 2009. Print. Joyce, Michael. Of Two Minds: Hypertext Pedagogy and Poetics. Ann Arbor: University of Michigan, 1995. Print. Kearney, Richard. On Stories. London: Routledge, 2002. Print. Laurillard, D., Stratfold, M., Luckin, R., Plowman, L. & Taylor, J. “Affordances for Learning in a Non-Linear Narrative Medium”. Journal of Interactive Media in Education, 2000 (2) <www-jime.open.ac.uk/00/2> McCloud, Scott. Understanding Comics. Northampton, MA: Kitchen Sink Press, 1993. Merleau-Ponty. The Film and the New Psychology, trans. H. Dreyfus and P. Dreyfus (Evanston, Ill: Northwestern University Press), 1964. Pallasmaa, Juhani. The Eyes of the Skin: Architecture and the Senses. Chichester: WileyAcademy, 2005. Rakatansky. “Spatial Narratives,” The Harvard Architecture Review 8 (New York: Rizzoli)102-121, 1992. Ricoeur, Paul. Time and Narrative, Volume 1, trans. K. McLaughlin and D. Pellauer. Chicago: The University of Chicago Press, 1984. Robinson, Ken: Changing Education Paradigms Video on TED.com. TED: Ideas worth Spreading. Web. 01 Dec. 2011. <http://www.ted.com/talks/lang/en/ken_robinson_changing_education_paradigms.html>. Sparacino, Flavia. “Narrative Spaces: Bridging Architecture and Entertainment Via Internet Technology”. 6th Intl Conference on Generative Art, Politecnico di Milano University, Milan, Italy, 10-13. Dec 2002 Sterritt, David. The Films of Alfred Hitchcock. Cambridge, England: Cambridge University Press, 1993. Print. Vidler, Anthony. Warped Space: Art, Architecture, and Anxiety in Modern Culture. Cambridge, MA: MIT, 2000. Print. 173

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