Dedicated to coffee and the previous tenants. Coffee, a warm caffeinated beverage designed to keep eyelids open during the tough times and to share with loved-ones during the good times. To the previous tenants of the Yardley Building, thank you for leaving me your unwanted space. If it was not for your ruins, I would not be inspired to do what I love, create something out of nothing.
CApstone committee CHRIS HORRIGAN
JUAN CARLOS HEREDIA
DANIEL DRAGOMIR
Horrigan Development LLC 13 West 36th Street, FL 7 New York, NY 10018 917.922.2415
Phillips-Van Heusen 200 Madison Ave. New York, NY 10016 212.381.3589
dRemodeling 4229 Ridge Ave. Philadelphia, PA 19129 215.848.4444
LISA PHILLIPS
LAWRENCE MCEWEN
Capstone Research & Programming Professor
Capstone Studio Professor
Project Introduction & Design Objectives
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Section 2
Historiography & Contemporary Global Context
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section 3.1
Case Study: CitizenM
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Section 3.2
Case Study: Reading Terminal Market
37
Section 3.3
Case Study: Nest We Grow
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Section 3.4
Case Study: Torvehallerne
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section 4
Ergonomic & Technical Criteria
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section 5
Topical Explorations
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section 6
Existing Site, Context, Climate & Zoning
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section 7
Program Development & Documentation
108
section 8
Building Analysis, Code, Regulations & Standards
121
section 9
Conclusion
131
section 10
Bibliography
TABLE OF CONTENTS
SECTION 1
section 1 | 1
PROJECT INTRODUCTION & DESIGN OBJECTIVES
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The term gentrification can be defined as “the process of renewal and rebuilding accompanying the influx of middle-class or affluent people into deteriorating areas that often displaces poorer residents.”1 Gentrification can have positive and negative connotations to a community. While bringing in new community members, gentrification has the ability to push out the old community and rebuild on top of it, destroying historic aspects of the past. The project proposed will aim to welcome in new members to the community while putting the existing community members first. The project will include residential lofts for new community members and a market place/bazaar for existing community members to share their local crafts and culture with new members. The purpose of this project is to join the community during this gentrification process within Union City, NJ. By attracting certain users such as bohemians to this part of the West New York, the section 1 | 2
attraction to other talented users increases, thus “the presence of such human capital concentrations in a region in turn attracts and generates innovative technologybased industries.”2 With combining these two user groups of community members and younger bohemian users, a thriving economy and cultural center will be produced, making Union City a cultural hub.
members are able to partake and reside in such a cultural diverse neighborhood while being under 5 miles from New York, NY. By providing a market/bazaar, this allows a place for the community to get together to share and promote local crafts and goods.
general design goals
Scholarly articles, journal entries, and novels will be read to fully understand and support positive gentrification in urban and redeveloping areas. Due to recent studies with distinct urban areas, such as Soho, NY as well as Jersey City and Hoboken, NJ, statistics are able to be gathered to understand how creative talented younger people called Bohemians migrate to an artful neighborhood and in-turn, flip the demographics of those specific areas, thus resulting in a increased culturally diverse community.
General design goals for the proposed project are to re-establish gentrification in Union City, NJ by providing a zone, The Yardley Building, where existing and new members can come together and share cultural elements unique to Union City. The Yardley Building was once a bustling factory for Yardley Soap of London but now stands as a partially abandoned building with some studio space rented out to artists. By providing residential units in the Yardley Building, new community
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RESEARCH GOALS & METHODS
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the role of the designer The role of the designer in this proposed project is to design a space fitting for both public and private use and allowing these to flow evenly between each other. The public spaces will allow the existing and new community a place to gather and experience everyday life together while the private space with allow new community members to exist. The interior designer is responsible for ensuring adequate spacing among tenants and neighborhood members. The proposed project will serve not only as a community center, but a space where individuals can relax and feel at home within the community. In the proposed residential lofts, work environments, such as rentable lounge and conference space, will be provided allowing for the building to act as its own city within a city. By providing quiet working spaces for the building’s permanent users, residents are able to work and live under one roof, giving workers their valuable time back in commuting to work. The proposed market will be available for public use. Vendor stalls will be obtainable to rent allowing a plethora and interchangeable stalls throughout
the market space. Local crafts, foods, and beverages will make up the stalls in the marketplace. Permanent restaurants and cafe space will allow for users to sit back, relax, and take in the cultural exchanges happening before them. With community members renting out vendor stations, visitors will get a glimpse of what local foods and goods Union City has to offer. Intermingling public and private areas of the building will tie their project together, forever linking the old and new members of the community.
sustainability objectives The proposed renovations of the Yardley Building in Union City, NJ is to keep the existing structure of the building and work within its constraints. The Yardley Building was built over 100 years ago, providing for some beautiful elements to still stay in tact such as brick and steel work and also the original factory windows. The proposed project will be adaptive reuse to the original property. Environmental and sustainable features will be present such as use of cisterns on the site to collect rain water and recycle it back into the building’s system. Solar panels will be utilized on the northwest side
of the roof to capture renewable solar energy. The building will be designed to utilize natural daylighting as a main source of light during the day hours. Refinished existing concrete flooring will exist throughout the public portion of the building decreasing the building’s carbon footprint.
client The client for the proposed residential lofts and marketplace is a young redeveloper who is looking to revitalize Union City’s cultural aspects by renovating the Yardley Building property. The Yardley Building’s close proximity to mass transit lines make it quite attractive to young professionals working in New York City. Another attraction to buyers is the New York City skyline directly seen behind the Yardley Building. The developer’s mission is to transform this abandoned factory into a cultural hub to connect local artists and community members while maintaining a strong historical revitalization. Due to the client also being a resident of Union City, the developer sees significant potential in the turn-around rate, allowing for Generation Y users to collaborate with existing community members. The collaboration will lead to increased revenue for Union City and its neighboring cities. section 1 | 5
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section 1 | 6
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Users
Socio-economic conditions
The foreseen users of the proposed project would include middle and upper class groups, ages twentyfive and above. In specific, the bohemia lifestyle, filled with creative and artistic peoples, tend to inhabit up and coming urban cities first. Vibrant cities tend to draw in people of eccentric lifestyles and alternative cultures, allowing for these sub groups of people to form a society within a society.3 The bohemia way of way can be seen through large artists’ and studio spaces available to this user. Loft and studio living is a necessity to this user group, allowing free range to be creative while at home.4 In accompanying the bohemian artist, young professionals working in New York are able to receive more money per square foot in the proposed residential lofts of the building. The project appeals to a wide scope of users whether individuals or families.
Middle and upper class groups are the determined users of the proposed project. Materials choices will focus on appealing to the younger generation with a minimalistic approach. The design intention is to utilize the raw material aspects of the existing Yardly Building to highlight and drive a concept on the adaptive reuse of the building itself. Furniture, fixture, and equipment choices need to appeal to the middle and upper income groups in order to attract the designated demographic group. In the public market space, materials will be refurbished such as the concrete slab flooring and the existing brick and steel work. Within the private, residential sectors of the project, the same reuse of the existing materials would be utilized as well as warm, luxurious materials to contrast the existing cold hard materials. section 1 | 7
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demographics The proposed market place will be open to all members of society. All ages are welcome to experience local crafts and goods from around the community in the market space, allowing for ample social exposure. By designing utilizing a universal design approach, the market place will serve as communal grounds for all to use and benefit from. By giving residents and non-residents the opportunity to showcase their work and goods in the marketplace, visitors will flock to the market intrigued to see what local crafts are being sold. In doing so, this will attract creatives and hipster users alike, people who value learning about alternate cultures other from their own. The community will flourish with this new found interest and will be the backbone to the positive gentrification that will be taking place.5 The idea of the melting pot market place appeals to a sub-demographic of creative peoples. The sub-demographic of bohemian millennials ages twenty-
section 1 | 1
five to forty years of age are a specific target for the marketplace in order to bring in other creatives to the new space. “Creative people are not moving to these places for traditional reasons. The physical attractions that most cities focus on building - sports, stadiums, freeways, urban malls, and tourism-and-entertainment districts that resemble theme parks - are irrelevant, insufficient, or actually unattractive to many Creative Class people. What they look for in communities are abundant highquality experiences, an openness to diversity of all kinds, and above all else the opportunity to validate their identities as creative people.” 6 The residential loft demographic ranges from twenty-five to forty years of age. Families and creative individuals are all welcome regardless of race, gender, or religion. With having the residential lofts that also appeal to this creative class, these same people could
bring in a new way of approaching how to unite the community through the marketplace by bringing in more diverse vendors. The demographics for the creative class brings in more emphasis on going environmentally green. The use of bicycles to get around the city will be brought in by the proposed demographic to reduce the use of cars and ultimately their carbon footprint on the environment.7
“Great cities have always been melting pots of races and culture. Out of the vivid and subtle interactions of which they have been the centers, there have come the newer breeds nad the newer social types.” 8 - Robert Park section 1 | 9
IMAGES 1 http://zfein.com/photography/crosley/images/IMG_8625a.jpg
END NOTES 1 (n.d.). Retrieved from http://www.merriam-webster.com/dictionary/ gentrification
2 http://505living.com/wp-content/uploads/2013/07/community.jpg 3 http://www.yelp.fr/biz_photos/dunes-delicatessen-lido-beach?select=kz GpvuKMDOcbtaxa0faQ5Q
2 Florida, Richard L. “Bohemia and Economic Geography.” In Cities and the Creative Class, 114. New York: Routledge, 2005. 3 Ibid.
4 http://www.tinyurbankitchen.com/wp-content/uploads/2015/07/ wpid20596-X1C9871-640x821.jpg
“Cities are couldrons of creativity. They have long been the vehicles for mobilizing, concentrating, and channeling human creative energy. They turn that energy into technical and artistic innovations, new forms of commerce and new industries, and evolving paradigms of community and civilizatoin.” 9 - Richard Florida
5 https://c.o0bg.com/rf/image_1920w/Boston/2011-2020/2015/07/30/ BostonGlobe.com/Business/Images/greenhouse_31publicmarket-10_ business.jpg 6 http://www.littleobservationist.com/wp-content/uploads/2013/11/ P1060607_2.jpg 7 http://bymartina.com/wp-content/uploads/2015/10/DSC05211.jpg
4 DeSena, Judith N. “Neighborhood Demographics and Change.” In Gentrification and Inequality in Brooklyn: The New Kids on the Block, 34. Lanham, MD: Lexington Books, 2009. 5 Florida, Richard L. “Bohemia and Economic Geography.” In Cities and the Creative Class, 114. New York: Routledge, 2005. 6 Ibid.
8 http://weeklygravy.com/wp-content/uploads/2014/09/hipster_bike.jpg
7 DeSena, Judith N. “Gentrification in Everyday Life.” In Gentrification and Inequality in Brooklyn: The New Kids on the Block, 38. Lanham, MD: Lexington Books, 2009.
9 http://luvne.com/wp-content/uploads/2013/02/House-Nightclub-DesignBy-Nikita-Zhilyakov-4.jpg
8 Florida, Richard L. “Bohemia and Economic Geography.” In Cities and the Creative Class, 113. New York: Routledge, 2005.
10 http://www.apartmenttherapy.com/doubs-freespiri-143939#_
9 Ibid. 1.
11 http://cdn2.hubspot.net/hub/372608/file-2582536108-jpg/CreativeMind-62583047.jpg
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section 1 | 11
section 1 | 1
HISTOGRAPHY & GLOBAL CONTEXT
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HISTORY OF GENTRIFICATION Gentrification can be defined as “the process of renewal and rebuilding accompanying the influx of middle-class or affluent people into deteriorating areas that often displaces poorer residents.”1 Gentrification originated in England where it was utilized to describe the return of certain types of people to inner London slums around the year 1965.2 As a dying city deteriorates over time, buildings begin to become abandoned and neglected. In some cities, years can go by before being inhabited again.3 The process of gentrification begins with these abandoned buildings being looked at for purchase for dirt cheap by development companies looking either to knock down and rebuild or refurbish the old. As this process begins, artists and creative souls flock to these areas, allowing for large studio space available at a fraction of the cost compared to already established urban living. Once the rebuilding process begins, rents skyrocket, leaving existing community members at a loss to pay these high rates, forcing them out of their community.4 With the new real estate options, section 2 | 14
younger, wealthier upper class settle into these once abandoned areas, thus leading to the revitalization of a community. With carrying both positive and negative connotations, gentrification leads to economic and cultural increase within once dwindling communities. The term gentrification, in past context, has had negative connotations. The idea of eliminating existing community members and bringing in caucasian-yuppie residents can become threatening to a neighborhood’s current residents. Lance Freeman of There Goes the ‘Hood studied how negative gentrification took over in declining city slums of Brooklyn, N.Y. Freeman states “Like dozens of urban neighborhoods. across the country the growth of the center Brooklyn ghetto followed a familiar pattern of white resistance and white flight. But as long as blacks continued to pour into Brooklyn, the ghetto grew and grew.”5 As gentrification starts to form in some cities, current members of the communities began to notice what was once completely neglected, such as the simple task of the picking
up of garbage on city streets or the cleaning up of graffiti on public buildings. For some current residents of Harlem, NY, community goers became aggravated with the gentrification that was taking place, complaining that only when caucasian americans are involved does something actually get done: ‘Why’s the garbage getting picked up more regularly now?’ Lee asked. ‘We’ve been here!’ Why, he wanted to know, did it take the arrival of whites in black neighborhoods for the police to do their job and police the community… ‘Why does it take an influx of white New Yorkers in the South Bronx, in Harlem, in BedStuy, in Crown Heights for the facilities to get better? Lee asked.6 Gentrification still leads a negative thought in the minds of threatened communities. Even though a community may be taken care of more properly once gentrifiers set in, the community becomes split, between community members who are fighting to keep their housing rent low and younger generations of people who, from the outside, seem to want to change the community for their benefit only thus forgetting about the original community that resided there.
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section 1 | 1
PRECEDENTS
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Gentrification has the ability to have a duel presence, it can be so abruptly obvious in some cities and unrecognizable in others. The most notorious, historical, and fairly recent phenomenon is the transformation of Brooklyn, NY. Around the 1960’s Brooklyn was a thriving industrial city with an economy centered around water passageways. With Brooklyn’s changing economy and racial composition, working-class caucasian residents moved out of Brooklyn and into the suburbs. “African American and Puerto Rican migrants arrived on the heels of departing white ethnics in search for work, but soon found themselves trapped in decaying tenements section 2 | 16
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surrounded by abandoned townhouses.”7 Ever since the 1990’s, Brooklyn has turned into the spot to reside, all thanks to gentrification. Other areas that have been through the process of gentrification, New Orleans’ French Quarter (Louisiana), Boston’s South End (Massachusetts), San Francisco’s Haight-Ashbury (California), SoHo (New York), Harlem (New York), Jersey City (New Jersey), and Hoboken (New Jersey), Olde City (Pennsylvania), just to name a few. These areas all put forth similar patterns and stepping stones of gentrification in major cities.
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section 1 | 1
CULTURE Gentrification was said to begin in London in the 1960’s. The trend of new people moving into the London slums and revamping the neighborhood was where the term was first coined. The trend not only struck european cities but has stretched to the United States and even to modern day Cairo, Egypt.8 The term gentrification revitalizes portions of decaying cities with help from developers looking to positively change and impact the community economically and socially. Culture and demographics for gentrification go hand in hand. The demographics of a community determine the cultural effects. As Lance Freeman states in There Goes the ‘Hood, the working class of inner city communities led to the decline of these neighborhoods, leaving the community to be labeled as the ghetto with no stabilizing forces that could enable the community from declining further.9 The culture section 2 | 18
DEMOGRAPHICS of the ghetto began, influencing and allowing lower class african americans to conduct suspicious activities.10 The process begins from this point, where as buildings become vacant for a period of time and over time appeal to wealthy developers due to their exceptional low cost. Gentrification serves as a symbol of positive change for a once abandoned urban area. The positive change has been proven to benefit the area’s economy and stimulate communal growth.
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Gentrification is linked with specific age and race criteria. Statistically african american young adults inhibit abandoned urban areas. Freeman states in There Goes the ‘Hood, “…it was the flight of the black middle class from innercity communities in the post-civil rights era that left many ghetto neighborhoods bereft of stabilizing forces that would enable them to withstand economy deprivation without descending into chaos. As a result, the economic shocks of the 1970’s transformed many black communities from relatively for but stable communities into isolated ghettos rife with crime, despair and family disintegration.”11 Prior to the process of gentrification, the existing lower class dominates the community, forcing out any middle and working classes. Members of the community who stay within these decaying neighborhoods try to aid in the turn
around, advising rising children to refrain from involvement with suspicious activities going on right on their street corners. During the process of gentrification, young, caucasian gentrifiers come into these neighborhoods, completely dividing the community into old and new. This sub-division leads to anger within the neighborhood; something neither side will agree upon just due to different backgrounds and upbringings.12 The demographics of the gentrified community drastically switch from young and elderly african american adults to young caucasian adults. The demographics mentioned above generally cover the concept of gentrification in U.S. cities. In conjunction with this project, the original demographics of Union City, having a large latino population would be fused with the anticipated demographics of the project scope of young adults and families. section 2 | 19
SOCIO-ECONOMIC CONDITIONS Each city undergoes the period in time when it was a bustling metropolis. Once the occupations start dwindling, workers who once participated in this city’s economic growth move out to areas that are more affordable or suburbs to gain more space for their newly growing families. The city is then left with declining wages, declining rents, and increased poverty levels. Minority ethnicities pour into these lower rent cities and unfortunately crime because a norm. With increased crime rates, the city streets become deserted, littered, leaving their residents scared to even walk out their door. With a plethora of abandoned buildings available in such urban areas, developers seek interest in these lands with such low price tags. Thus, the redevelopment begins. Redevelopers buy large quantities of abandoned properties and turn them into gold mines, where once before these buildings were not even thought about twice. The buildings are redeveloped and require a huge increase in rent compared to what was once affordable in the community. The increased rent prices drive existing and poorer community members and minorities out of the area to appeal to younger, wealthier buyers. The development pushes existing residents towards the outskirts of the city lines where rent still is relatively cheap and thus the process keeps occurring resulting in the overturn of once forgotten cities.
section 2 | 20
SITE CONDITIONS 18
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Specific physical context of gentrified sites include once industrialized zones. These industrialized zones are mostly urban areas with no specific climate needed. Site conditions for this project type focus mostly around old, abandoned buildings that are in need of renovations. Most of these buildings tend to be dormant factories. “These [vacant factory] lofts constituted empty spaces and served as reminders of a time when bustling factories were the backbone of New York
City’s economy and their eventual decline through deindustrialization. Loft living enabled people access to the neighborhood initially through raw, industrial space that was not previously occupied for residential living.”13 The idea of living in a vacated large space draws in a plethora of people from all backgrounds, such as bohemians, high-class business workers, and even families.
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section 1 | 1
IMAGES 22
1 http://kristabrownlee.com/wp-content/gallery/factory-windows/factorywindows-001.jpg 2 http://uptownalmanac.com/2013/02/bold-italic-criticizes-sfshomogenization-doesnt-criticize-itself 3 http://www.missionmission.org/2007/03/ 4 http://www.businessinsider.com/gentrification-is-good-for-thepoor-2015-2
END NOTES 1 Merriam-Webster. Accessed September 8, 2015. 2 Nelson, Kathryn. “The Ongoing Need to Assess Gentrification.” In Gentrification and Distressed Cities, 14. Madison, Wisconsin: University of Wisconsin Press, 1988. 3 “Gentrification.” Encyclopedia.com. 2003. Accessed December 15, 2015.
5 http://www.aoifecrofts.com/Gentrified
4 DeSena, Judith. “Neighborhood Demographics and Change.” In Gentrification and Inequality in Brooklyn, 34. Plymouth: Lexington Books, 2009.
6 http://brooklynstreetart.tumblr.com/post/113922855291/gentrification-isthe-new-colonialism-stencil
5 Freeman, Lance. “Introduction.” In There Goes the ‘Hood, 39. Philadelphia, Pennsylvania: Temple University Press, 2006.
7-16 http://www.wired.com/2015/09/photos-brooklyn-hipsters/
6 Michael, Chris, and Ellie Bradley. “Spike Lee’s Gentrification Rant - ‘Fort Greene Park Is like the Westminster Dog Show”” The Guardian. February 26, 2014. Accessed December 16, 2015.
17 http://www.wired.com/2015/09/photos-brooklyn-hipsters/ 18 http://www.bahistory.org/HistoryBarrysCorner.html 19 http://www.straight.com/blogra/637686/spartacus-books-blamesgentrification-closure-downtown-eastside-store 20 http://eud.leneurbanity.com/gentrified-cities/olympus-digital-camera/ 21 https://www.flickr.com/photos/wavz13/15919782984 22 http://www.transystems.com/getattachment/aa3baab4-5f87-4998bb4d-5ad59dae6bea/P708080027_N256_web.aspx
7 Osman, Suleiman. “Introduction.” In The Invention of Brownstone Brooklyn, 3. New York, New York: Oxford University Press, 2011. 8 Shawky, Mohamed. “Downtown: Revival or Gentrification? | Egypt Independent.” Downtown: Revival or Gentrification? | Egypt Independent. July 10, 2009. Accessed December 16, 2015. 9 Freeman, Lance. “Neighborhood Effects in a Changing ‘Hood.” In There Goes the ‘hood Views of Gentrification from the Ground up, 125. Philadelphia, Pennsylvania: Temple University Press, 2006. 10 Ibid, 140. 11 Ibid,125. 12 Ibid, 132. 13 DeSena, Judith. “Neighborhood Demographics and Change.” In Gentrification and Inequality in Brooklyn, 34. Plymouth: Lexington Books, 2009.
section 2 | 22
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section 1 | 1
CASE STUDY 1: CITIZENM
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CITIZENM, NEW YORK, NEW YORK. CitizenM, a trendy-boutique hotel located on 218 West 50th Street in New York, captivates a strong personality. The hotel encompasses 230 rooms over 15 levels. CitizenM is privately owned and designed. CitizenM is an international hotel chain with other locations in Amsterdam, Glasgow, London, Paris, and Rotterdam. The hotel showcases a medium to high construction budget considering the materials and accessories utilized completed the quirky hotel design. CitizenM provides me with the knowledge of a contemporary modern retreat within a busy city. Every hotel room is standard for all guests all at the same price point. The guest rooms are technologically savvy allowing a tablet to perform common tasks within the room like controlling the tv, pulling down the shades at night, and adjusting the lighting in the room according to what time of day it is. The lobby is an oversized large living room, with a 24-hour bar, kitchen/ eating area, library, cafe space, a two-story outdoor courtyard, as well as meeting rooms and computers for all guests to access at their will. Customers are drawn to CitizenM section 3.1 | 26
because of their technology savvy innovations, family-like employees, humorous marketing techniques, and inexpensive rates. CitizenM’s clients range from 18 years and older. Typically their clients are international travelers who are familiar with the hostel/boutique European influence in this company. The users are mostly trendy hipsters approximately 20 years old to 35 years old. The user staying at CitizenM is not only there for traveling but may be staying there for business purposes. The “bleisure” client is now maximizing their stay in different areas of the world by combining their business and leisure time together. The design of CitizenM is made so that your guest room is only a place where you sleep at night, and the city as well as the hotel grounds become your playground. The hotel boasts large and spacious living rooms for guests to lounge and talk with other guests promoting community bonding.
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The hotel is nearly a two-minute walk to public transportation in every direction whether it be a bus, subway, or taxi thus opening up the possibilities of having limitless activities right at its door step. The location of the hotel calls for tight corners but has proved to be worth the 160 square foot guest room. CitizenM’s location is a prime spot in NY, allowing New York to become their guest’s playground.
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CitizenM is located directly in the hub of a major internationally known destination, Times Square in New York City. With it’s prime location, this allows users the affordability to be in walking distance to many of New York’s major attractions. section 3.1 | 27
CITIZENM, NEW YORK, NEW YORK.
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CitizenM’s design style is showcased through their eclectic choice of accessories. CitizenM boasts their designs as “hotels of the future”, as well as combining a 1970’s flare. Upon walking up the hotel’s entrance, one can sense that this is no ordinary hotel. A large double-story bookshelf exists on the exterior of the building and continues as one of the focal ones within the lobby. The bookshelf encompasses everyday items painted and turned into porcelain. An example of this would be red porcelain horse heads and roosters that exist on the bookshelf. On the interior, blacks, reds, bright greens, chromes and the warm tones of wood light the space. There are a total of 22 floors at CitizenM. The lobby, bar, and reading rooms take up the first floor. The second level becomes a mezzanine to the lobby with meeting areas and a computer business zone for guests. Floors three through 19 are reserved for guest rooms. The top 2 floors are amenities for their guests: a gym with rooftop yoga classes and a rooftop bar and grill. The first two levels are open to the public as well as the top levels, in comparison to the middle 19 floors being only open to the guests of the hotel. For security purposes, to gain access to any floors with guest rooms on them, guests must scan their room key in the elevator.
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Wayfinding at CitizenM was thoroughly executed. The elevator doors boasts white vinyl text on the doors that read “citizenM says: slide on it”. These ironic messages were all throughout the building leading guests to their next point of interest. Upon entrance guests are greeted at the lobby and given the appropriate directions, whether to virtually check in via touchscreen computer console or to take the elevator up to the rooftop bar and grill. CitizenM hotels are notorious for their sustainable design practice of housing each room in a self-sustaining cargo container. Once the shell of the building is constructed, the cargo containers are placed inside one by one. However, the Times Square location could not accomplish this due to not enough street clearance to have a crane hoist and place the pre-fabricated guest rooms. CitizenM plans to open a new location in the Lower East Side of New York in 2017 that will incorporate the pre-fabricated guest rooms. The hotel is highly reliant on technology. To check in, one uses their phone, a computer console and a personal key card choice. Once scanned in, the guests are free to go up to their rooms. Once the room key is read by their specific room door, the guest room becomes alive. section 3.1 | 29
CITIZENM, NEW YORK, NEW YORK. A Samsung tablet controls the room’s functions such as heating and cooling temperatures, dimming and brightening of the lights, window shade control, TV channel surfing and movies, and even controls the color of light in the futuristic shower. Once a guest is done with their stay, the room they stayed in “sleeps” until the next guest checks in, allowing for all products to be inactive to save on power. With CitizenM utilizing technology as a personal everyday basic item, guests can be fully emerged in this futuristic, simple culture. The predominant interior materials at CitizenM are woods, chrome metals, leathers, furs, and frosted and translucent glass. The materials chosen fit perfect for the overall design, they boast a playful, yet classic luxury approach designed for attracting their users. The guest rooms utilize wood floors for sanitary and quick cleaning purposes. The use of leathers, dark woods, textured glass, and furs in the lobby make guests feel as if they just entered their own living room. In the lobby, bright green and black leather sofas greet guests, along with plush Scandinavian style lounge chairs. The business area for guests include glass conference tables and ergonomic desk chairs. The rooftop bar and section 3.1 | 30
lounge focus on the same eclectic taste with mirror walls highlighting the breathtaking view, bright green modular couches, and a plush bear rug to tie the atmosphere together. Each guest room features little to no furniture. Each room contains an extra-large king bed that extends the entire width of the room. A desk and chair extend outward from the wall. A sink and counter unit are directly opposite an opaque glass room that encompass a private toilet and shower. During the day time, the lobby takes use of the excessive amount of natural light, while at night, huge oversized chrome and red lampshades gave off a dim ambiance as if one stepped into an old cigar bar. Lighting in the rooms can be controlled to the guests’ needs during all times of the day, whether they are working from their guest room or watching the new horror movie that just came out. The interior color palette ranges from bright greens, warm woods, reds, grays, blacks, and hints of gold. These colors set the overall ambience of the hotel giving its users a chic yet effortless upscale feel. Accessories are a key to this hotel chain in public spaces, yet there are lack there of in private spaces. The guest rooms boast a minimalist design that really heightens the relative tiny space.
CitizenM proved to be an oasis in a city that never sleeps. The ease of checking in is painless and takes less than 5 minutes. The guest rooms were a perfect size for sleeping in, leaving room to only sleep in the guest room and explore all day in the city. The hotel greatly captured its appropriate users by the choice of location, materials, and layout. Program: - Lobby - Bar - Guest Rooms - Outdoor Lounge - Business Center - Rooftop Bar & Lounge - Gym - Cafeteria - Library Spaces for Proposed Program - Each restaurant/cafe needs to have back of house storage units - Yardley Market needs to have vendor storage available. - Public areas would exist on ground level and possible second level, all levels above that are private, rooftop level can be public access. - Acoustical privacy needs to be taken into strict consideration for tenants.
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GROUND FLOOR PLAN
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MEZZANINE FLOOR PLAN section 1 | 1
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1 http://www.timeout.com/newyork/hotels/citizenm-new-york 2 http://commetrics.com/articles/2012-social-media-audit-improveprocess-nr-1/ 3 http://cdn.myfancyhouse.com/wp-content/uploads/2014/06/citizenMOpened-A-Superb-Hotel-In-Times-Square-New-York-7.jpg 4-5 http://www.hotels.com/ho463902/citizenm-new-york-times-squarenew-york-united-states/ 6 http://cdn.myfancyhouse.com/wp-content/uploads/2014/06/citizenMOpened-A-Superb-Hotel-In-Times-Square-New-York-13.jpg 7 http://www.london-se1.co.uk/news/view/4265 8 http://cdn.myfancyhouse.com/wp-content/uploads/2014/06/citizenMOpened-A-Superb-Hotel-In-Times-Square-New-York-10.jpg
TYPICAL GUEST ROOM FLOOR PLAN
9 http://www.tripadvisor.com/LocationPhotoDirectLink-g60763-d6385164i102151641-CitizenM_New_York_Times_Square-New_York_City_New_ York.html 10 http://www.urbanpixxels.com/citizenm-new-york/ 11 http://www.estatesgazette.com/blogs/london-residentialresearch/2011/09/pre-fab-luxury-affordable-hote/ 12 http://style-files.com/2007/11/09/affordable-design-hotel-atamsterdam-airport/ 13 http://cdn.myfancyhouse.com/wp-content/uploads/2014/06/citizenMOpened-A-Superb-Hotel-In-Times-Square-New-York-15.jpg 14 http://www10.aeccafe.com/blogs/arch-showcase/files/2013/03/ citizenM-Glasgow-guestroom-1-50_JPG2.jpg 15 https://www.citizenm.com/destinations/new-york/new-york-timessquare-hotel 16-19 https://instagram.com/p/6PiYY2kcWn/?taken-by=citizenm
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20-25 http://myfancyhouse.com/2014/06/14/citizenm-opened-a-superbhotel-in-times-square-new-york/citizenm-opened-a-superb-hotel-in-timessquare-new-york-16/ section 3.1 | 35
CASE STUDY 2: READING TERMINAL MARKET
section 1 | 1
READING TERMINAL MARKET
3
PHILADELPHIA, PENNSYLVANIA
Reading Terminal Market is located on 12th and Filbert Streets in Philadelphia, Pennsylvania. The market encompasses approximately 78,000 square feet. The Pennsylvania Convention Center bought over Reading Terminal Market in 1990’s and since then the market has been the busiest since its first opening in 1890’s. The market relied on a high construction budget due to the constant upkeep of the market spaces and the equipment that is needed on a daily basis to preserve local foods. The market brings people together of all ages, backgrounds, and religions. The uniting factor here is the notion of cooking ad experiencing the cuisine together. The shops highlight local food vendors from the Philadelphia area that bring goods with them and entice others to experience something that have never been able to try prior to entering. The users of Reading Terminal Market range from newborn child to elderly from all walks of life. The market is located within the urban setting of Philadelphia. With being indoors as well as above a main train station stop in Center City, Philadelphia, the users of this space can run through for a quick section 3.2 | 38
bite to eat before their next train no matter the weather or can spend the whole afternoon exploring the 79 vendors. The building was renovated and restored to it’s historic charm around the 1980’s.1 The interior boasts exposed ductwork and metal decking along with thousands of signature oversized red pendant lights. Reading Terminal Market occupies two floors below the Pennsylvania Convention Center. The ground level is open to public guests while the belowgrade level acts as storage for the 79 stalls. The below-grade level is only open to private vendors. Circulation becomes a maze almost in the market and wayfinding is impossible to see due to signage. Part of the fun is turning the corner down one of the aisles and not knowing what you will find next. Restrooms and train station entrances are clearly marked but as for what vendors are where, there are no clear indications. Circulation wraps around the eleven main corridors throughout the space. Seating area for customers are scattered throughout although most stations have counter seating. HVAC systems are constantly circulating air throughout the space.
Reading Terminal Market even has some sustainable tactics like “…a system that captures heated water cast off by the fridge units, harnessing its energy to power the market’s other hotwater lines.”2 The lower level acts not only as dry storage for the vendors but a place to start the preparing process.
“The market acts as a town square, because food is the great equalizer.”3
1 2
section 3.2 | 39
READING TERMINAL MARKET
PHILADELPHIA, PENNSYLVANIA
4 section 3.2 | 40
In order to stand up to the massive amounts of people daily, materials and finishes need to be able to withhold up to anything. The floor is a sea of once beige/brown tiles that have now been stained gray from heavy traffic through all kinds of weather. Seating areas are not guaranteed depending on spatial allowances by each station. Seating ranges from easy to clean plastics and vinyl upholsteries seen in old-school diners. Each station boasts their own design when it comes to their designated sections and this blend of everything is what gives Reading Terminal Market its intricate character. Depending on their merchandise is responsible for their fixtures that need to be utilized. A meat and fish salesman needs certain refrigeration units to keep his goods fresh while a honey salesman needs only storage for their products. High lighting is utilized throughout the market so every product get highlighted. The interior color palette is a mix of all the food. Neon signs line the every aisle, with daily local food brought in, the color palette is every expanding. An extensive amount of artificial light is utilized from 4AM-8PM. There are little to no
natural light opportunities. Each dealer provides their own art and decorative elements. Storage for vendors and amount of space to operate their shop are the main concerns. While gathering feedback from numerous stalls, each voiced that having extra refrigeration and storage below ground does not make their busy days anymore easier. Some suggested that storage near their facilities would prove more beneficial. The market’s design is structured to that similar to a flea market but much more structured and easy to navigate. Once walked through, vendors become so distinct that your mind unknowingly links together the locations of whats by where. Acoustic privacy is not something common here so it can get fairly loud. Specific stations have seating attached to their allowed square footage although there is common seating deep within the market that is ninety-five percent crowded at all operating times. Storage below the facilities has no correlation to the ground level.
“Everybody, from people who fancy themselves chefs to people who come in with food stamps, people from all socioeconomic, ethnic, and religious backgrounds, all come together and not only interact and coexist, but form a community and become friends.�4
5
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“Here, you ask your butcher for recommendations on pieces of meat, and if you don’t know how to cook them, he’ll give you a recipe to try. The next time you’re in, he’ll ask, ‘How did it go? Did you like it or not like it? And if you didn’t like it, maybe you’d like this instead.’”
ENDNOTES
1 https://instacart.files.wordpress.com/2014/09/6-reading-terminalmarket-logo.jpg
1 Bergen, Jane. “Reading Terminal Market’s GM Shares His Secrets.” Philly-archives. December 24, 2013. Accessed September 29, 2015.
2 http://swatstruck.com/2015/06/05/philadventures-part-1-motownphilly/
2 “Reading Terminal Underground.” Philly-archives. September 12, 2014. Accessed September 28, 2015.
3 http://www.bonappetit.com/people/out-of-the-kitchen/article/readingterminal-market-philadelphia 4 http://www.readingterminalmarket.org/merchants 5 http://takenbythehand.blogspot.com/2013/06/map-illustration-readingterminal-market.html
3 Park, Michael. “Philadelphia’s Reading Terminal Market: ‘The Old World Made New Again’ - Bon Appétit.” Bon Appétit. January 12, 2015. Accessed September 29, 2015. 4 Ibid.
6 http://www.readingterminalmarket.org/about-the-market/history 7 http://issuu.com/alexandrasebastian/docs/capstone_book_alexandra_ sebastian_2 8 http://www.maxima.net/tours/atlantic-city-philadelphiamay2015/
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section 3.2 | 43
section 1 | 1
CASE STUDY 3: NEST WE GROW
1
NEST WE GROW
HOKKAIDO, JAPAN
Nest We Grow is located in northern Japan on the island of Hokkaido. Nest We Grow is an open public structure where its main intent “… is to bring people in the community together to store, prepare and enjoy local foods…”.1 This design began by the collaboration of students and architects into an annual LIXIL International designbuild competition in 2014. The competition allowed for College of Environmental Design UC Berkeley students to pair with LIXIL JS Foundation to inspire next-generation sustainable design solutions. The project utilized local renewable materials that will withstand the local climate for years to come.
but with proper placement of materials, the structure is still able to keep warm air in and cold air out during frigid cold months of the year. Kongo Kuma & Associates as well as students from the College of Environmental Design UC Berkeley are the architects of this space. The nest was based on a middle construction budget considering elements of natural renewable resources were utilized such as heavy timber and the non-renewable transparent plastic corrugated sheets on the structure’s facade and roof. The Nest We Grow is a extraordinary precedent of merging sustainable design with everyday survival tasks such as eating.
Nest We Grow is approximately 915 square feet. There are a total of five levels throughout the structure. No enclosed spaces exist. The structure is completely exposed to the changing seasons
With building a self-sustaining structure based on the community effort of gathering and enjoying food together, the community relies on each other as well as giving back to nature to lead a beneficial lifestyle. The users of this
section 3.3 | 46
space are community members in Hokkaido, Japan. “All members of the community help to complete each stage, allowing the structure to become a platform for group learning and gathering activities in the Nest throughout the year.”2 2
3
4 section 3.3 | 47
NEST WE GROW HOKKAIDO, JAPAN
The Nest is situated in a rural town within Hokkaido island. The climate contains 4 seasons and the land is generally flat. The structure is built in-land from the water, utilizing fishing from surrounding areas and crops from more local areas. Nest We Grow was strategically designed to incorporate the community members and crops. “The wood frame structure mimics the vertical spatial experience of a Japanese larch forest from which food is hung to grow and dry. A tea platform in the middle of the nest creates a gathering space where the community can visually and physically enjoy food around a sunken fireplace. Local foods make up the elevation of the Nest as people see the food forest floating above the landform.”3 Base walls and large platform steps help block northwest winter winds while the plastic corrugated sheets on the roof and facades allow for maximum light for plants as well as heating 5
the space during colder months. A tea platform sits directly in the center of the structure, keeping that location warmer in the winter months. Sliding panels are available on the roof and facades to allow for air filtration during the summer months. The roof is designed to harvest rain water and snow melt to be utilized to irrigate any plants on the site. The overall design “signifies the Nest’s ability to bring nature in the form of air, water, and light…”.4 Each floor of the structure is organized by the program that is to exist on that level. For example, the ground level is strategically designed to handle a composting section as well as a cooking and dining area. The storing, growing, and harvesting of food occurs on the upper levels. The multitude of levels vertically interact with each other, leaving voids on certain floors to grow and store specific plants. A tea room seems almost
suspended into space within all the hanging plants. The structure of the building is of timber, concrete, soil, and corrugated translucent plastic sheets. The construction focused on a Japanese style of building where smaller pieces of wood were utilized to produce a larger column. Steel plates and moment connections were used to join the wood structure together.5 In the direct center of the roof, a skylight was built for ventilation and natural light opportunities. The main focus of this build was to guarantee use for all seasons during the course of a year, to ensure this proper panels were inserted to facilitate air movement but also keeping in warm air in the colder months and ventilating the air during summer months.
section 3.3 | 49
NEST WE GROW
8
HOKKAIDO, JAPAN
Within the Nest, wood is the main as well as rammed-earth walls and straw. These materials are completely sustainable but have the ability to rot and weather over an extended period of time. No furniture exists in the nest except for a few stools in the ground eating level. Simple, minimalistic lighting exists throughout the space so the Nest can be utilized during the earlier and later times of the day when natural lighting isn’t available. Since the structure is incased in translucent material, natural lighting lights up the space and bounces off the light wood. The overall color palette of the interior without the food storage is quite neutral, boasting light wood tones and white. Once food is stored in this facility, it adds vibrant colors such as greens, yellows, and oranges. Ample natural light floods the space and lights the Nest on most days. Artificial linear lighting is used during the early-morning section 3.3 | 50
and late-night hours. The hanging vegetables, fruits, plants, and fish, are the artwork at Nest We Grow. The space was designed to mimic “…the vertical spatial experience of a Japanese larch forest.”6 Upon entrance, one can seen throughout the space with no obstructions with exception to the structural beams. 6 7
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IMAGES 1 http://www.domusweb.it/content/dam/domusweb/en/architecture/2015/01/15/ nest_we_grow/domus-NEST-WE-GROW_003_015.jpg 2 http://www.archdaily.com/592660/nest-we-grow-college-of-environmentaldesign-uc-berkeley-kengo-kuma-and-associates/54c9afbce58ece9901000222nest-we-grow_020-jpg 3 http://www.archdaily.com/592660/nest-we-grow-college-of-environmentaldesign-uc-berkeley-kengo-kuma-and-associates/54c9af11e58ece5c5e000214group1-jpg 4 http://www.archdaily.com/592660/nest-we-grow-college-of-environmentaldesign-uc-berkeley-kengo-kuma-and-associates/54c9b065e58ece457a000215nest-we-grow_064-jpg 5 http://www.archdaily.com/592660/nest-we-grow-college-of-environmentaldesign-uc-berkeley-kengo-kuma-and-associates/54c9b0cfe58ece457a000216portada_nest-we-grow_048-jpg 6 http://www.archdaily.com/592660/nest-we-grow-college-of-environmentaldesign-uc-berkeley-kengo-kuma-and-associates/54c9afdbe58ece457a000213nest-we-grow_030-jpg
14 http://www.archdaily.com/592660/nest-we-grow-college-of-environmentaldesign-uc-berkeley-kengo-kuma-and-associates/54c9b2b2e58ece457a00021bprogram-diagram-3 15 http://www.archdaily.com/592660/nest-we-grow-college-of-environmentaldesign-uc-berkeley-kengo-kuma-and-associates/54c9b222e58ece5c5e00021bground-floor-plan 16 http://www.archdaily.com/592660/nest-we-grow-college-of-environmentaldesign-uc-berkeley-kengo-kuma-and-associates/54c9b2dde58ece457a00021dsecond-floor-plan 17 http://www.archdaily.com/592660/nest-we-grow-college-of-environmentaldesign-uc-berkeley-kengo-kuma-and-associates/54c9b30fe58ece5c5e00021fthird-floor-plan 18 http://www.archdaily.com/592660/nest-we-grow-college-of-environmentaldesign-uc-berkeley-kengo-kuma-and-associates/54c9b216e58ece457a000217fourth-floor-plan 19 http://www.archdaily.com/592660/nest-we-grow-college-of-environmentaldesign-uc-berkeley-kengo-kuma-and-associates/54c9b1ece58ece9901000225diagram-6
7 http://www.ignant.de/2015/04/29/nest-we-grow-in-hokkaido-japan/ 8 http://www.archdaily.com/592660/nest-we-grow-college-of-environmentaldesign-uc-berkeley-kengo-kuma-and-associates/54c9b018e58ece9901000223nest-we-grow_054-jpg 9 http://www.archdaily.com/592660/nest-we-grow-college-of-environmentaldesign-uc-berkeley-kengo-kuma-and-associates/54c9b09fe58ece5c5e000218nest-we-grow_072-jpg 10 http://www.archdaily.com/592660/nest-we-grow-college-of-environmentaldesign-uc-berkeley-kengo-kuma-and-associates/54c9b304e58ece5c5e00021esectional-perspectiv 11 http://www.archdaily.com/592660/nest-we-grow-college-of-environmentaldesign-uc-berkeley-kengo-kuma-and-associates/54c9b2c8e58ece457a00021cprogram-diagram-4 12 http://www.archdaily.com/592660/nest-we-grow-college-of-environmentaldesign-uc-berkeley-kengo-kuma-and-associates/54c9b296e58ece457a00021aprogram-diagram-1 13 http://www.archdaily.com/592660/nest-we-grow-college-of-environmentaldesign-uc-berkeley-kengo-kuma-and-associates/54c9b2a9e58ece9901000229program-diagram-2
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20 http://www.archdaily.com/592660/nest-we-grow-college-of-environmentaldesign-uc-berkeley-kengo-kuma-and-associates/54c9b1fee58ece5c5e00021adiagram-7 21 http://www.archdaily.com/592660/nest-we-grow-college-of-environmentaldesign-uc-berkeley-kengo-kuma-and-associates/54c9b231e58ece457a000218diagram-8
ENDNOTES 1-5 “Nest We Grow / College of Environmental Design UC Berkeley Kengo Kuma & Associates.” ArchDaily. January 28, 2015. Accessed October 5, 2015. 6 “Nest We Grow in Hokkaido, Japan.” IGNANT. Accessed October 7, 2015.
section 3.3 | 55
CASE STUDY 4: TORVEHALLERNE
section 1 | 1
PROGRAM FOOD STALLS APPROPRIATE CIRCULATION PUBLIC RESTROOMS SEATING FOR PATRONS
1 section 3.4 | 59
section 3.4 | 60
TORVEHALLERNE
COPENHAGEN, DENMARK
section 1 | 1
2
Torvehallerne is located in Copenhagen, Denmark. Torvehallerne is an indoor/outdoor market located next to the famous IsraelPlads, a massive town square, and opened its doors in 2011.1 The grounds are home to two glass halls that have the ability to be inclosed as well as space for fully outdoor venders. The market was designed by Danish architect Hans Peter Hagens. Torvehallerne boasts a high construction budget due to the new environmental solar design, large amount of glass, and steel utilized on the structure. The aspect of serving fresh and artisan food brings the community together on the basis or trying and experiencing new local goods. At the Torvehallerne market, indoor vendors are able to carry more diverse products due to setting prices higher than that of the outdoor market space. With having two opposite ends of the spectrum, users of all ages and income can come and enjoy all offerings this public market offers. The state in Denmark owns the land while the
municipality has all rights to run it. The municipality in-turn rented to a private investor and that is who, today, runs the property.2 The users of this complex are mostly hipster locals looking for a way to spend their Saturdays all the way to international travelers that have heard of the magnificent structure. Customers not only can do their daily grocery shopping for the freshest ingredients, they can grab a snack for the whole family and take the rest of the day exploring the grounds. The building is located in an urban setting directly in the heart of Copenhagen. Fairly young community members inhabit the city as city dwellers with the median age being around late 30’s.3 Denmark is known to have little sunlight throughout most months of the year so the architect strictly utilized this to his advantage. Natural light floods the two indoor markets allowing the use of energy to decrease and to promote a heathy and sustainable living in Copenhagen. section 3.4 | 62
TORVEHALLERNE
COPENHAGEN, DENMARK The structure alone boasts a minimalistic design aesthetic, letting the 80+ food vendors/stations color the interior.4 The exterior and interior blend seamlessly with no step to the outside, letting the users on the inside feel as if they never went into the building. There is one level to the markets. The stations coexist in a linear pattern evenly filling the building, exits between every food station provide ample circulation to outdoor and indoor spaces. Due to the rectangular structures, the circulation flows through the building to the direct opposite side as well as filters out through the sides of the space to the courtyard. The architect strategically designed the buildings “so that the food is the party”.5 “The structure of the vendor stalls is connected to the structure of the roof of the hall. The resulting form is an elevated triangulated system of steel tubes supporting a slightly pitched roof with a linear skylight at the ridge.”6 3
There are approximately 4-5 square
stations per linear row within the buildings. These stations can be further subdivided into four separate vendors or one single vender can utilize the whole space.7 The building’s sustainable properties are the ample use of natural light that floods the space no matter the weather. Thirty-seven trees were planted on the site and placed to mimic the same steel column grid found in the markets. Materials and finishes are brought about by each individual station. “Each stall is designed independently, so the whole projects works as an individual system of difference and repetition.”8 For the interior, medium-sized tiles were chosen to mimic the color and muted texture of the original cobblestone paths on these grounds. White metal decking lines the ceilings with black-painted steel beams. The white metal decking radiates the natural light throughout the space. Each station provides their own seating, if there is any at all, as well as their own overall design. The art here is
the street vendors that bring this neighborhood alive. Natural lighting is key to Torvehallerne’s operation. Artificial lighting projects onto the ceiling, reflecting off the white-painted metal decking and lighting up the atmosphere of the overall space. Vendors have the ability to utilize artificial lighting more within their shops. On the glass structures themselves, brilliant white and red, larger-than-life produce decals exist on the glazing. These decals serve to “humanize and enliven their individual scale”.9 Universal Design Studio created main elements such as branding, graphics, and means of wayfinding. Large, building-size numbers were designed as decals to sit on the glass to showcase to users which building houses what products. Universal Design Studio states that colored patterns were utilized to create differentiation within the market stalls. section 3.4 | 64
TORVEHALLERNE
COPENHAGEN, DENMARK
A logo was also completed where the grid lines of original cobblestone served as a precedent. Torvehallerne’s hip experience, design, and historical connections really showcase gentrification in a positive light. Prior to Torvehallerne’s existence nearly only fifteen years ago, gas stations and parking lots filled this area.
is better than the next, promoting equality and local economy profit increases. Each vendor has approximately 100-650 square feet of ample enough space to run their business.
4
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Architect Hagens with research dug up that Copenhagen was home to market traditions from the late 1800’s to mid-1900’s.10 This once bustling city, died, and recently was able to come back to life with the sheer simple fact, food brings people together. In turning this part of Copenhagen around in a positive direction, this new market now brings tens of thousands of visitors daily to this already renowned city. The public market meets all the needs of a public space including indoor and outdoor room for vendors of all incomes. No space section 3.4 | 65
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IMAGES 1 https://c1.staticflickr.com/9/8445/7975319192_c4f3e89aa5_b.jpg 2 http://2.bp.blogspot.com/-vUVrpaEwVqQ/ThHL1rg1YzI/AAAAAAAAAHk/ r2E0lczIbaI/s1600/birdsEye.png
ENDNOTES 1 Dehenzel, Chris. “Stocking the City.” Archinect Blog. August 3, 2012. Accessed October 14, 2015. 2 Dehenzel, Chris. “Stocking the City.” Archinect Blog. August 3, 2012. Accessed October 14, 2015.
3 http://cdn.archinect.net/images/514x/ac/ackdphblmfa2h9dk.jpg 4 http://cdn.archinect.net/images/514x/b1/b1i80le51obzp3sl.jpg 5 http://torvehallernekbh.dk/app/images/torvet_print_logo.png 6 http://cdn.archinect.net/images/514x/n5/n5upxsbcro6y0usu.jpg 7 http://cdn.archinect.net/images/514x/k8/k85l0m5hj3o8qmx5.jpg
3 Dehenzel, Chris. “Stocking the City.” Archinect Blog. August 3, 2012. Accessed October 14, 2015. 4 Rodbard, Matt. “Copenhagen: At Torvehallerne Market, Impeccable Taste, Design And Smoked Scallops.” Food Republic. August 28, 2012. Accessed October 14, 2015. 5 Dehenzel, Chris. “Stocking the City.” Archinect Blog. August 3, 2012. Accessed October 14, 2015.
8 http://cdn.archinect.net/images/514x/20/20qgwokjccuphf5t.jpg 9 https://upload.wikimedia.org/wikipedia/commons/a/ae/ Torvehallerne_2011-09-09.jpg 10 http://coffeecollective.dk/wp-content/uploads/2013/11/WTorvehallerne-4-1024x682.jpg 11 http://www.pigenogpomfritten.dk/wp-content/uploads/2013/05/gorms. jpg
6 Dehenzel, Chris. “Stocking the City.” Archinect Blog. August 3, 2012. Accessed October 14, 2015. 7 Dehenzel, Chris. “Stocking the City.” Archinect Blog. August 3, 2012. Accessed October 14, 2015. 8 Dehenzel, Chris. “Stocking the City.” Archinect Blog. August 3, 2012. Accessed October 14, 2015.
12 http://www.photo-gallery.dk/oversigt/arbejdsmiljoeer/torvehallerne/ image/torvehallerne-237.jpg
9 “Interior Design, Architectural Design and Furniture Design at Universal Design Studio.” Interior Design, Architectural Design and Furniture Design at Universal Design Studio. Accessed October 15, 2015.
13 http://eyjan.pressan.is/silfuregils/wp-content/uploads/2015/05/cpn_ torvehallerne_1_thomassteens_c3_b8rensen.jpg?f5df2f
10 Dehenzel, Chris. “Stocking the City.” Archinect Blog. August 3, 2012. Accessed October 14, 2015.
12 section 3.4 | 69
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section 1 | 1
ERGONOMIC & TECHNICAL CRITERIA
1
In designing a mixed-use residential building, there are a plethora of design aspects that need to be taken into account. Within the mixed-use design, spaces such as lobbies, restaurants, game rooms, and bazaar-like commercial retail spaces will be included. The residential aspect of the proposed building will consist of criteria for private apartments, private baths, and other amenities.
Furniture, Finishes and Equipment Furniture and finishes for the mixeduse portion of the building will focus on high traffic movements of people in and out of the facility. Sustainable vinyl fabrics and durable furniture will lead to longer life spans for these products. Material finishes should include the same design approach with high traffic areas which will need finishes that will section 4 | 73
withstand high amounts of users. Sustainable flooring options, such as polishing the existing concrete flooring conditions, will lead to longevity in much larger spaces. With a food storing and prepping zone, specific sanitary conditions and materials need to be specified so that no contamination occurs. Utilizing finish materials that resist bacterial growth and ones that clean-up fast and easy are a must where food is being handled and distributed. Specific equipment, such as refrigeration, cooking, and plumbing units are proposed to be placed within the building’s public space. This equipment requires specific spatial needs when being placed up against walls or other units. Electrical equipment and storage are taken into consideration when designing this public space. Maintenance for this equipment is pivotal for daily business operations to take place. Within the proposed residential portion of the structure, higher-end furnitures and materials are to be selected. Lower traffic of
people throughout the residential portion of the building will yield for more luxurious furniture and materials that will not face much wear or tear compared to the more public space of the building. Specific mechanical and plumbing units will be present for the residential portion. Maintenance in these facilities is needed for common household dilemmas that might occur within residential spaces.
2
proximetrics, ergonomics, and anthropomorphics Proximetrics can be defined as “the study of the relationship between humans in a particular culture and their use and perceptions of space.”1 People in certain cultures believe in numerous ideas of how close is too close when discussing personal space. Being too close in someones person space can negatively affect the atmosphere for users. Image 3 refers to a chart that showcases spacial zones where people tend to feel more conformable with people furthest away from them.2 In the mixed-use portion of the building, numerous people are able to gather within intimate space distance while waiting on a line to buy a vendor’s product. This space recommended in the chart is necessary to implement to assure comfort to all users of the proposed project. The distance can also expand to the furthest point of spatial relation with being possibly twelve feet from the next given group of people at any time. In more private spaces such section 4 | 75
3 as the residential portion of the facility, each apartment should be given separate relax and rest zones to give users the feeling of separate zones to unwind from the day’s events. Image 4 shows a master suite taking private space into account. A place of solitude is designed to read and relax.3 Having private space is beneficial to the overall health and wellbeing of a person. A separate bathroom facility is located within the master suite allowing for privacy within a home of multiple occupants. Ergonomics can be defined as “the study of workplace design.”4 Employees working in the marketplace will see the benefits of designing with ergonomics in
5
4 mind. Working prolonged periods of time, whether siting or standing can hinder the body’s overall health and wellbeing.(Image 5)5 For craft and food vendors, always being on one’s feet can lead to back and leg pain. Storing of vendor’s items needs to be taken into account so one does not overstretch trying to reach for their products in an already crowded space.(Image 7)6 The carrying of merchandize, food, and other prepping items require close proximity storage so employees do not excessively lift and place heavy weights of objects for prolonged periods of time.7 For lobby settings, having staff for twenty-four hours around the clock can lead to excessive sitting and standing at times.8
Anthropometrics is defined as “a science that is concerned with measurements of the human body; more specifically, it is the science of body measurements and proportions of the human body in various activities.”9 Personal space becomes affected in public space if not designed properly. Each individual body measurement in a large space can eventually get pushed together to form the maximum amount of persons in one space. Spatial relations need to be respected concerning measurements of sitting in a restaurant space. Anthropometrics in public spaces usually are designed to just fit the requirements while residential design allows for expanded space per person’s needs.
materials Durable and sustainable materials are intended to be utilized for the mixed-use portion of the proposed design. Areas with high traffic as well as areas that need to be properly kept sanitary will exhibit materials that do not disintegrate easily as well as clean quickly and easily.10 Durable products may not be as sustainable as wished, but due to sanitary needs for overall health conditions, these products must be utilized. Maintenance of materials are vital for the overall health conditions of the community participating here. The residential portion of the design will include luxury materials which will increase the project budget. The reuse of many of the existing materials within
6 7 the space, such as bricks, concrete, and steel, higher end materials will balance out the space, aesthetically and budget-wise. Maintenance of the luxury materials will not be as often due to the significantly less amount of traffic going through the residential spaces compared to the public zones.
“Buildings should serve people not the other way around.” - John Potman
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LIGHTING Natural Lighting is a necessity in the public/commercial space of the structure. Considering the commercial/bazaar area will be in operation during day and night hours, natural lighting will decrease energy costs. The appropriate lighting design approach would be to rely on natural daylighting that can reflect off the interior space and flood the space with light. Each commercial section can rely on more focused lighting for products but overall general lighting will be kept to a minimum to keep the space sustainable. L.E.D. lighting will be recommended within each vendor space to save on any possible heat gain from average incandescent light bulbs as well as excessive energy use. Daylight will be controlled by having specific types of refractive surfaces available in public spaces to really maximize the use of natural day light. For specific daylighting inspirations, case study four: Torvehallerne Indoor Market in Copenhagen, Denmark showcases how to deal with natural daylighting in an overall cloudy environment on a daily basis. The incorporation of natural day light greatly affects the users and lifts their overall mood and wellbeing.11 Within residential section 4 | 77
design, high emphasis is put on natural daylighting as well allowing for significantly lower energy footprints. The use of large windows and skylights allows for little to no artificial lighting to be used throughout the daytime allowing for a sustainable action to take place. Artificial lighting is utilized mostly during the nighttime hours. Privacy becomes a main concern when allowing in natural daylight through larger window. Transparent glass can be used to still let in daylight but keep in privacy.
sustainable design Sustainable methods of design can be seen in the reuse of existing materials throughout the building. Existing concrete flooring on every level will be re-purposed along with any existing brick walls. Existing steel is going to be kept and exposed to showcase the beauty of this once utilized space. Solar panels on the building’s roof will lover the energy costs. Cisterns will be located on the grounds to recycle water through the plumbing system. Overall, sustainable design influences this project type due to emphasis on decreasing the world’s carbon footprint.
acoustic control Acoustic control is needed within the commercial/public zones considering there are numerous existing hard surfaces that will refract the sound. Acoustic panels and hanging systems will be utilized in higher traffic areas, eliminating noise travel between the commercial side of the building and residential side. In the residential area, acoustical privacy will be increased between apartments and partition walls in each apartment.
wayfinding AND SIGNAGE Larger spaces such as the commercial/retail space need simple, yet detailed wayfinding to navigate the bazaar of shops. Consistent color in wayfinding can help locate and give direction to users they can recognize throughout the whole space.12 Lighting, wayfinding and signage can also help signal to users their location and where they need to get to. Wayfinding can hold a significant place within the overall design aesthetic.13 Signage and wayfinding play an important role in both the public commercial and private residential space.
8 section 4 | 78
9
visual control
security
Within the commercial zones of the proposed plan, visual control is needed for storage aspects of products, food, and general back of house elements. Maintenance for these areas also need to be visually controlled from the intended users to ensure proper maintenance as well as not overall crowded areas that may hinder maintenance being done. Back of house storage is advised as well as alternate mechanical spaces to control the overall commercial zone. Visual control within the residential portion of the building is needed where only the private members can access entrance and other amenities, visually closed-off and not accessible to public users to the commercial spaces. Separate entrances can be physically implemented on the building grounds to defer public guests from using the same entrance. Security features can be taken into account where certain doors and elevators will be able to be opened unless specific key cards are utilized and administered to only residents of the building.
o ensure safety within the community, security cameras will be placed around the exterior of the building. The commercial space will be open to the public during specific hours of the day. After hours, entrances will be locked and closed off. For the residential entrance, security card key entrances will be put into place as well as a twenty-four hour staffed front desk to ensure maximum safety for residents. Each elevator taking residents to their apartments will need to swipe their card before gaining access to upper floors. Resident parking will be allotted within an existing gated parking lot.
section 4 | 79
universal design, ada, and code ADA and universal design will be applied to the overall design. ADA access will be provided on every public floor. Universal design approaches will be considered when designing the commercial portion of the project. Standard measurements and practices will be used for all spaces.
IMAGES 1 http://www.jamiebettsphoto.com/media/original/9729701054_ c2fd2fbf23_k.jpg
1-9 Nussbaumer, Linda L. “Proxemics.” In Human Factors in the Built Environment. New York, New York: Bloomsbury Books, 2014.
2 https://upload.wikimedia.org/wikipedia/commons/2/25/Budapest_great_ market_hall.jpg
10 Reznikoff, S. C. Interior Graphic and Design Standards. New York: Whitney Library of Design, 1986. Print.
3-7 Nussbaumer, Linda L. “Proxemics.” In Human Factors in the Built Environment. New York, New York: Bloomsbury Books, 2014.
11 Panero, Julius, and Martin Zelnik. Human Dimension & Interior Space: A Source Book of Design Reference Standards. New York: Whitney Library of Design, 1979. Print.
8 http://images.monocle.com/1/0/800/uploads/image/gallery/te_ mathallen_mg_1184.tif-5122428e51f2c.jpg 9 https://ediblematters.files.wordpress.com/2015/01/panorama-markthalrotterdam.jpg
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ENDNOTES
12 Nussbaumer, Linda L. “Proxemics.” In Human Factors in the Built Environment, 220. New York, New York: Bloomsbury Books, 2014. 13 Panero, Julius, and Martin Zelnik. Human Dimension & Interior Space: A Source Book of Design Reference Standards. New York: Whitney Library of Design, 1979. Print.
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section 1 | 1
TOPICAL EXPLORATIONS
1
human behavior Human behavior is a term that can be described as a person’s actions and conduct in a specific moment in time.1 Human behavior is greatly tempered with in commercial settings. The idea of promoting and heightening the senses is common. Fro example, in supermarkets, the bakery, produce, and floral section is placed more towards the entrance of the store to ensure the consumer coming in, that items may be baked fresh daily, crisp and colorful produce exist here in the store, while the flowers “boosts the store’s image…through the bright colors and fragrant smells.”2 The stocking of these first three sections visible upon entrance to a supermarket give the intention that the store is filled with fresher items and entices consumers to take a look around.3 The layout is strategically planned out in supermarkets where, when first entering, the bakery, produce, and floral sections set the stage. Common items such as dairy and bread products tend to be located in far back left hand corners of supermarkets to ensure the consumer will have to travel through the store and pass other items they might want to impulsively buy.4 section 5 | 85
Farmers markets, although not as pressuring to buy items, strategically place their farm-fresh goods similarly to supermarkets. The idea of freshly picked produce just picked for consumers as well as the idea that these items came from farms not too far away from the local community. As soon as consumers purchase these items, they are giving back to the community. “Farmers’ markets offer opportunities for local farmers and small businesses to sell directly to consumers, grow a consumer base, and test new products and pricing strategies. Farmers’ markets also provide opportunities for consumers to purchase fresh, high-quality produce, attend educational events and concerts, and to socialize.”5 Since these public markets are usually outside, streets and their surrounding environment become the design associated with markets. Urban markets are surrounded by bricks, cobblestone, concrete and glass buildings while markets in rural areas might be surrounded by farms and lush landscapes. Indoor markets usually boast the same materials seen in urban grocers where hard, durable surfaces are utilized for the floor material to remind the users of the markets’ 2
origin: city streets. The food displayed brings out the warmth and color of the space, inviting users into the space. This interaction leads to socialization between worker and consumer. For displaying goods and foods, lighting is needed so users can easily see what products are being sold and at what price. Public spaces often flourish when specific needs are met. Some key features as to why some public spaces fail are lack of places to sit, poor entrances, domination of a place by vehicles, dead zones around the perimeter of a space, and inconveniently located transit stops.6 Natural human behavior indicates that safety is a number one goal in public spaces at all times of the day as well as appealing to all user age groups, allowing increased traffic and profit to this new area.7 Having both indoor and outdoor public space is extremely important to the wellbeing of any individual. “Natural environments provide mental and physical restorative benefits.”8 Edible spaces provide sensory stimulation, where users will be able to associate the concept of locally grown produce such as herbs and plants to a space that was once 9 3 vacant.
In residential spaces, users generally lean towards a home with warm tones, one that is cozy yet functional. Younger generations of home owners are leaning towards apartment spaces in areas close to city centers. In and along outskirts of cities, a plethora of abandoned buildings are left from usually a time when the city once prospered during the industrial ages. Once the industrial boom became scarce in the U.S., these factories came to be abandoned ruins left for the city’s homeless to vacate in. As the process of gentrification stepped in, the idea of turning abandoned factories into large apartment spaces became popular. Lofts became and still are the signifiers of young generation urban sprawl. The lofts boasted old bricks, steel, concrete, wood, and glass that were original to the building’s infrastructure. The industrial aesthetic became chic and transformed itself into a new design category. The existing materials proved to make the spaces feel cold and un-finished, hence the use of overly textured furniture and white finished walls to balance out the look. Natural light became a musthave with utilizing the oversized factory windows. section 5 | 86
color theory Color associations in markets and food spaces tend to follow a specific theme: utilize color to highlight the vibrance of the products being displayed. Colors have the power to bring out other senses. In such cases odors can play a role in this as well which can lead to stimulating emotions and memories.10 “The odor and color of food are, therefore, the two ingredients that have much to do with appetite stimulation…”.11 To entice appetite in markets and restaurants, the use of specific colors and materials are purposely selected to drive the user to purchase products.
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4
According to Frank Mahnfke’s Color, Environment, & Human Response, psychological studies have been conducted on what colors stimulate appetite. Warm reds, oranges, yellows, and clear greens have been proven while purples, mustards, and gray tones have the power to decrease one’s appetite.12 When displaying food, blue-greens such as turquoise, are recommended.13 In cafeterias and coffee shops, certain colors are utilized to increase purchases and food appetite. Table tops are
suggested to be in wood grains with brick walls, and wrought-iron work.14 Warm lighting also sets cues to the color of these scenes allowing users to feel cozy and warm in certain spaces and comfortable to relax. Food display should use ample lighting. Bright yellow hues go best with promoting baked goods which comes from an association with golden wheat fields and sunshines, while sea green can promote seafood purchase. White is recommended to showcase the cleanliness factor.15 In residential spaces, colors tend to lean towards the warmer side of the spectrum since they link our thoughts with comfort and cozy experiences. Neutral and cool tones can be complemented and contrasted with warm accents. For living and dining rooms, natural colors are suggested with contrasting accents such as furniture pieces. Kitchens are recommended to feature neutral tones as well to keep the focus on the food being prepared in this space as the true art.16 section 5 | 88
texture perception Texture can be defined as “the characteristics physical structure given to a material, an object, etc., by the size, shape, arrangement, and proportions of its parts.”17 Textures stimulate the eye which in turn makes the brain over-process certain functions. Colors have the ability to morph any space; for example, a small room painted white on all four walls, ceiling and floor with one and door opening may make the room seem large, bright and airy. If the room was black, it would seem smaller, claustrophobic, and daunting. The same aesthetic goes along with texture applications. Texture applications such as the use of concrete, woods, glass, metals, and stone can evoke multiple senses. “The structure of a surface, say of a rock, leads to a pattern of bumps and dips which we can feel with our fingers…The surface variations that lead to texture we can feel also tend to lead to variations in the intensity of light reaching our eyes, producing what is known as ‘visual texture’.”18 section 5 | 89
Textures have the ability to completely change one’s mood. The choice of textures within an interior environment can alter one’s feelings such as pebble flooring in a bathroom, or wood flooring in a den. These materials can modify the overall feel of a room just due to their physical texture and what our minds associate them with. “People walking barefoot on large smooth stones, like cobblestones, feel tranquil and energized at the same time; they experience a sort of peaceful burst of adrenalin. This peacefully excited state is coupled with lower blood pressure readings than when people are walking on smoother surfaces.”
Adding this aesthetic even increases rent in some areas, according a developer in Washington: “…exposed brick is a close cousin to the industrial loft aesthetic that gained popularity in the late-1970s. The look appeals to renters who want their home to expresso their individuality…”.19 Key traits of industrial lofts are exposed pipes and ductwork, wood and metal surfaces, vintage furniture and accessories, and of course exposed brick.20 The beauty in the unfinished look is truly the gem here. Wood tones and natural light bring warmth to the desired industrial loft spaces. The contrasts of the typical raw loft materials are the bottom line as to what attracts certain user groups to these living accommodations. A harmony can be seen and felt between two aesthetics of a polished interior versus a raw-unfinished interior.21
In residential loft spaces, textures provide the overall aesthetic that most young homeowners are searching for in urban settings. The history of once working factories is hidden and felt by certain exposed textures such as exposed brick, existing concrete flooring, and imperfect glass. 5
6
The idea of mixing new finishedwhite walls with old walls gives the feeling that “Something old is not just old, and it is better than just new.”22 Texture perception is based on an individuals’ reactions to prior knowledge. Younger generations are known to utilize loft, industrial places in efforts to distinguish and express their creative side, a side that rises against a typical white-wall apartment in a ritzy, posh condo. The unfinished, raw aesthetic is what defines this user group, for they want to utilize and renew a lifecycle of a once abandon space.
section 5 | 90
IMAGES 1 http://www.archdaily.com/263158/the-waterhouse-at-south-bund-nerihu/5029c92928ba0d2561000094-the-waterhouse-at-south-bund-neri-huphoto
10 Mahnke, Frank H. “Food and Foodservice.” In Color, Environment, and Human Response: An Interdisciplinary Understanding of Color and Its Use as a Beneficial Element in the Design of the Architectural Environment, 188. New York, NY: Van Nostrand Reinhold, 1996.
2 https://www.flickr.com/photos/patrik2/8442504950/in/photostream/ lightbox/
11-12 Ibid, 189.
3 http://kropped.deviantart.com/art/3-Free-Rust-Textures-212801851
13 Ibid, 190.
4 http://cdn.myfancyhouse.com/wp-content/uploads/2013/02/StylishClub-“Printing-House”-by-Nikita-Zhilyakov-2.jpg
14 Ibid, 192.
5-6 http://cdnassets.hw.net/46/fc/1ab0dbae43028bb96584ede3aa81/6b4 e061b-dfb5-4cb3-8c2e-ebc488fa1439.jpg
15 Mahnke, Frank H. “Food and Foodservice.” In Color, Environment, and Human Response: An Interdisciplinary Understanding of Color and Its Use as a Beneficial Element in the Design of the Architectural Environment, 193. New York, NY: Van Nostrand Reinhold, 1996.
7 http://libeskind.com/wp-content/uploads/rom.jpg 8 https://www.instagram.com/p/6NPcopE089/
ENDNOTES
7
8
16 Pile, John F. “Use of Color in Various Functional Contexts.” In Color in Interior Design, 159-163. New York, New York: McGraw-Hill, 1997. 17 texture. Dictionary.com. Dictionary.com Unabridged. Random House, Inc. http://dictionary.reference.com/browse/texture (accessed: November 03, 2015).
1 What Is Human Behavior? Definition & Explanation.” Educational Psychology. Accessed October 31, 2015.
18 Rosenholtz, Ruth. “Texture Perception.” Gestaltrevision. July 1, 2014. Accessed November 4, 2015.
2-3 “The Psychology Behind a Grocery Store’s Layout.” Notre Dame College Online. January 4, 2013. Accessed October 31, 2015.
19 Clark, Patrick. “Exposed Brick Popularity in Apartment Rental Market.” Bloomberg.com. January 29, 2015. Accessed November 4, 2015.
4 Berlinger, Joshua. “A Few More Ways That Supermarkets Mess With Your Minds.” Business Insider. November 28, 2012. Accessed October 31, 2015.
20 Simmons, Kate. “Key Traits of Industrial Interior Design.” Modern Interior Design Furniture Decoist RSS. January 20, 2014. Accessed November 4, 2015.
5 Gumirakiza, Jean Dominique, Kynda R. Curtis, and Ryan Bosworth. “International Food and Agribusiness Management Review.” 17, no. 2 (2014): 67. Accessed November 2, 2015.
21 -22 “G Studio Creates Unfinished Feel in Tokyo Loft Apartment.” Dezeen G Studio Architects Creates Unfinished Aesthetic in Tokyo Loft Apartment Comments. March 21, 2015. Accessed November 4, 2015.
6-7 Francis, Mark. “Urban Open Spaces: Why Some Work and Others Don’t.” In Urban Open Space: Designing for User Needs, 14. Washington, D.C.: Island Press, 2003. 8-9 Kopec, David Alan. “The Community and Neighborhood.” In Environmental Psychology for Design, 197. 2nd ed. Fairchild Books, 2012.
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section 5 | 92
EXISTING SITE, CONTEXT, CLIMATE & ZONING
section 1 | 1
CITY-TOWN-VILLAGE
neighborhood
The site is located in Union City, NJ in Hudson County. Union City is a prime location being 4.5 miles west of New York, New York and 11 miles northeast of Newark Liberty International Airport. Being 5 minutes of New York, workers are able to easily commute into the city with paying twice as less for housing for twice the amount of space compared to housing directly in the city. Newark International Airport is a quick 15 minute drive away making this site a potential tourist stop destination on their way into the city. Union City is an up and coming neighborhood that is destined to undergo gentrification. Historically, Union City and North Hudson County were once known as the embroidery industry of America. It all started in the 1870’s when a German immigrant brought over a newly developed sewing/embroidery machine invented by a man from Switzerland, Issac Groebli. Dr. Robert Reiner from Germany was the first man to handle and start work with the new embroidery industry in Union City. With Union City’s close proximity to the Garment District in N.Y. as well as two major cross-country domestic train routes in Hoboken, N.J., the embroidery market flourished in Union City.1 Average rainfall is approximately 46.42 inches annually.2
The site is located on a cliff constructed of bedrock that overlooks Hoboken and New York in the distance. The Yardley Soap Factory building is one of the last of its size at this location. Many vacant lots are atop this cliff. Many more smaller factories are located more inland, disguised within residential communities. The residential homes in the neighborhood resemble typical row homes, similarly to those found in Boston, Jersey City and Philadelphia.
1
1940’s
3
According to the United States Census Bureau, the community of Union City has a population of 68,668 people as of 2014.4 As of 2010, 23.7% of the population in Union City is under 18 years of age and 10.5% is over 65 years of age.5 84.7% of the population is of Hispanic or Latino descent and 58% are caucasian.6 The median household income in 2012 was approximately $40,414.00.7 45.7% of the population consists of 1910’s individuals who are years twenty-five to fifty-four of age.8 The neighborhood boasts popular use of public transportation for the community locally as well as to direct mass transit lines in N.Y.
Average high temperature is 60.2 degrees fahrenheit and the average low temperature is 45.1 degrees fahrenheit.3 The overall city plan is made up of horizontal streets parallel with N.Y. The city is primarily comprised of residential units in 2015 and older factories that are now being rented out as studios for artists and business centers. section 6 | 95
5
2
2015
4
2015
section 6 | 96
street
6
Site Zoning
1920’s
8
The site is flanked by local and secondary/connecting roads that lead to primary roads.9 As of now the site is labeled as industrial use with vacant lots to the north and church and charitable property to the south.10 According to the Union City Master Plan for the upcoming years, produced in 2009, the proposed site is located in a redevelopment zone.11 The site is comprised of existing structure as well as vacant land to the north and south.
1920’s
Overall, the site plays a key role in the proposed project. With not only having such close proximity to the center of New York City, the New York skyline views offered to the east of the site draw in the most speculation. Without these views, the project would not inhabit the anticipated demographics or proper gentrification.
7 9 2015 2015 The building site is located on a residential and commercial street. Commercial businesses exist on street level while residential apartments are located above these businesses. Considering Palisades Avenue is one of the most popular main avenues in Union City, the businesses here rely on local community members as well as non-locals to add to the city’s economy. On the ground level of the typical row homes found in Union City are local businesses. The row homes range from three to four levels. Some factory buildings located on this street range from four to five levels above ground. section 6 | 97
10
section 6 | 98
Union City, NJ Site plan
12
11
section 6 | 99
13
15
section 6 | 100
surrounding site
16
17
section 6 | 101
Northeast Palisades Ave
Northeast Palisades Ave
site analysis
southwest Palisades Ave
19
east 6th street
20
18 southwest Palisades Ave southwest Palisades Ave
21
22
section 1 | 1
23
section 6 | 103
east view from site - new york skyline section 6 | 104
IMAGES 1 http://www.whatwasthere.com/images/uploads/screen/Photo_55672.jpg
ENDNOTES 1 “Union City, NJ History.” Union City, NJ History. July 4, 2014. Accessed November 7, 2015.
2 http://www.whatwasthere.com/images/uploads/screen/Photo_55672.jpg 3 http://www.whatwasthere.com/browse.aspx#!/ll/40.752054,-74.037931/ id/58411/info/sv/zoom/15/ 4 http://www.whatwasthere.com/browse.aspx#!/ll/40.752054,-74.037931/ id/58411/info/sv/zoom/15/ 5 http://www.ucnj.com/App_Themes/Default/images/seal.png
2 “Temperature - Precipitation - Sunshine - Snowfall.” Climate Jersey City. 2015. Accessed November 7, 2015. 3 “Temperature - Precipitation - Sunshine - Snowfall.” Climate Jersey City. 2015. Accessed November 7, 2015. 4 “Union City (city) QuickFacts from the US Census Bureau.” Union City (city) QuickFacts from the US Census Bureau. October 14, 2015. Accessed November 7, 2015.
6 http://www.whatwasthere.com/images/uploads/screen/Photo_55639.jpg 7 http://www.whatwasthere.com/images/uploads/screen/Photo_55639.jpg
5 “Union City (city) QuickFacts from the US Census Bureau.” Union City (city) QuickFacts from the US Census Bureau. October 14, 2015. Accessed November 7, 2015.
8 http://www.whatwasthere.com/images/uploads/screen/Photo_55875.jpg 9 http://www.whatwasthere.com/images/uploads/screen/Photo_55875.jpg
6 “Union City (city) QuickFacts from the US Census Bureau.” Union City (city) QuickFacts from the US Census Bureau. October 14, 2015. Accessed November 7, 2015.
10 Eyer, and Gruel & Associates. “Union City Master Plan.” April 23, 2009. Accessed November 8, 2015.
7 “Union City, NJ.” - USA.com™. 2010. Accessed November 7, 2015.
11 Eyer, and Gruel & Associates. “Union City Master Plan.” April 23, 2009.Accessed November 8, 2015.
8 Eyer, and Gruel & Associates. “Union City Master Plan.” April 23, 2009. Accessed November 8, 2015.
12 Eyer, and Gruel & Associates. “Union City Master Plan.” April 23, 2009. Accessed November 8, 2015.
9 Eyer, and Gruel & Associates. “Union City Master Plan.” April 23, 2009. Accessed November 8, 2015.
13 https://c2.staticflickr.com/4/3741/9077459520_0d72961da2_b.jpg
10 Eyer, and Gruel & Associates. “Union City Master Plan.” April 23, 2009. Accessed November 8, 2015.
14 Eyer, and Gruel & Associates. “Union City Master Plan.” April 23, 2009. Accessed November 8, 2015.
11 Eyer, and Gruel & Associates. “Union City Master Plan.” April 23, 2009. Accessed November 8, 2015.
15 Eyer, and Gruel & Associates. “Union City Master Plan.” April 23, 2009. Accessed November 8, 2015. 16 - 21 Google Maps 22 Stephanie Matzek section 6 | 105
23 Stephanie Matzek
section 6 | 106
section 1 | 1
PROGRAM DEVELOPMENT & DOCUMENTATION
1-3
program chart
section 7 | 109
section 7 | 110
program chart continued
section 7 | 111
section 7 | 112
adjacency matrix
section 7 | 113
program block planning
section 7 | 114
section 7 | 115
section 7 | 116
IMAGES 1 https://s-media-cache-ak0.pinimg.com/736x/49/7a/67/497a67d1300409 f85706b2b45090f516.jpg 2 https://s-media-cache-ak0.pinimg.com/736x/7a/70/72/7a70720f800c3d ecdd6a52bc89817dd8.jpg 3 http://cdn.trendhunterstatic.com/ phpthumbnails/239/239207/239207_3_800.jpeg 4 https://snapshotsforsoreeyes.files.wordpress.com/2013/09/img_0283_ hdr.jpg
4
section 7 | 118
section 7 | 119
section 1 | 1
BUILDING ANALYSIS, CODE REGULATIONS & STANDARDS
1
existing building analysis/ CODE REGULATIONS The Yardley Building encompasses a total of 181,050 square feet on an approximate 3 acre plot of land in Union City, NJ. The structure is native to Union City since 1916 as a soap and perfume factory in its’ early days with the company Yardley Soap of London. The architect of the factory is unknown. The building is of a typical factory design with large windows encompassing smaller frames of glass, typical 10 foot ceilings on each level and structural columns every 20 feet on center. The prominent materials utilized for this construction were concrete and metal. The building does not integrate any sustainable design practices. The existing building will be outfitted to form a mixed-used space that encompasses a market/galleria with residential units. Commercial and retail space will utilize the ground, second, and 5/rooftop level. The entire building is to be utilized along with existing stairways and elevators.
section 8 | 122
project data: Project Name: MarketPlace/Loft Residence Address: 600 Palisades Ave Date of Completion of Original and Additions: May 2016 Number of Stories: 6 Total Gross Square Footage: 181,050 Sq. Ft.
applicable building code information: Zoning Ordinance: Hudson County, NJ Fire Code: ICF 2009 Building Code & Date: IBC 2009 Energy Code: IEC 2009
MIxed use group classifcation: Assembly Group A-2 Mercantile Group M Residential Group R Storage Group S-2
Assembly group a-2 Gross Square Footage: 88,825 sq. ft. SF/Occupant: 15 net Number of Occupants: 5,921.6 Water Closet Male: 39.4 Water Closet Female: 39.4 Lavatories Male: 14.8 Lavatories Female: 14.8 Drinking Fountains: 11.8 Service Sink: 1.0 1
mercantile group m
fire protection requirements:
Gross Square Footage: 34,000 SF/Occupant: 30 gross Number of Occupants: 1,133.3 Water Closet Male: 1.15 Water Closet Female: 1.15 Lavatories Male: 1.0 Lavatories Female: 1.0 Drinking Fountains: 1.13 Service Sink: 1.0
Fire Exits Enclosures: 2 hours Shafts and Elevator Hoistways: 2 hours Tenant Space Separations: 2 hours Smoke Barriers: Assume 30 minutes Corridor Fire-Resistance Rating: R: Required fire-resistance rating with sprinklers = .05 A2: Required fire-resistance rating with sprinklers = 0 M: Required fire-resistance rating with sprinklers = 0 S2: Required fire-resistance rating with sprinklers = 0
residential group r
incidental use areas:
30 Dwellings Water Closets: 30 Lavatories: 30 Baths: 30 Kitchen Sinks: 30 Wash Machines/Dyers: 30/30
Refrigerant machinery rooms - Separation of 1 hour or provide auto sprinkler system Laundry - Separation of 1 hour or provide auto fire extinguishing system
Storage group s-2
building limitations:
Gross Square Footage: 17,000 SF/Occupant: 300 gross Number of Occupants: 56.6 Water Closet Male: 1.0 Water Closet Female: 1.0 Lavatories Male: 1.0 Lavatories Female: 1.0 Drinking Fountains: 1.0 Service Sink: 1.0
Work within existing building parameters keeping existing structure.
section 8 | 123
EXISTING STRUCTURE
exterior facade of Yardley Building
exterior facade & parking lot
interior space ground level
Interior space ground level
4 section 8 | 124
3
2
5 section 8 | 125
Interior spacesground level
6
exterior facade
7
12 13
8
section 1 | 1
10
11
9 14 15
Interior spaceground level
rooftop
section 1 | 1
IMAGES 1-18 Stephanie Matzek
rooftop views
16
section 8 | 128
17
18
section 8 | 129
PROJECT RESEARCH CONCLUSION
section 1 | 1
“A community is made up of intimate relationships among diversified types of individuals - a kinship group, a local group, a neighborhood, a village, a large family.” - Carroll Quigley
This project proposal contrasts typical negative aspects of gentrification and serves to join the community! A community that builds its commerce by selling local products such as crafts, foods, and arts. By designing a location where the community has a location to share in each other’s talents, existing members to grow and trust in each other. In researching the community in and surrounding Union City, NJ, a live/work community marketplace proves to be a vital component in keeping the community connected. The project scope originally began with a hospitality concept where users would visit this location with being able to visit New York at their disposal while also staying in a mini-city within the building. Once beginning research, the section 9 | 132
concept turned to focus on the idea of making this location more permanent to its new users and existing community members. Focusing towards a live/work residential portion in combination with a commercial aspect appeals to both community and non-community members with drawing in consumers to the once abandoned space. A commercial space within the structure will include a market/bazar that will feature arts, local crafts, local food vendors, etc. that will be bring commerce to the area and also act as a destination point. In correspondence to the market space, alternate restaurant and cafe spaces will exist inside the one structure allowing for multiple businesses to
converge under one roof. The residential portion of the structure will exist on the upper levels allowing for distinct separation of public and private spaces. With approximately 30 apartment spaces, small gym, rentable lounge and business space, the residential portion of the building will act as a complete separate space from the market. Due to the structure’s location, the emphasis of the building will be drawn to the New York skyline as well as to it’s historical roots with a modern twist.
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For years gentrification has been looked at negatively; through the proposed project, the community will merge together and the gap between old and new residents will unrecognizable. section 9 | 133
Bergen, Jane. “Reading Terminal Market’s GM Shares His Secrets.” Philly-archives. December 24, 2013. Accessed September 29, 2015. Berlinger, Joshua. “A Few More Ways That Supermarkets Mess With Your Minds.” Business Insider. November 28, 2012. Accessed October 31, 2015. Clark, Patrick. “Exposed Brick Popularity in Apartment Rental Market.” Bloomberg.com. January 29, 2015. Accessed November 4, 2015. Dehenzel, Chris. “Stocking the City.” Archinect Blog. August 3, 2012. Accessed October 14, 2015.
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