CITIES:
A Class on Urban Design and City Planning
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ALEXANDRIA: The Evolution of a City Grid
ALEXANDRIA, EGYPT Taylor Berry
Founded in 331 BC by Alexander the Great; It was the capital of Hellenistic & Byzantine Roman Empire until 100 years later when it was conquered by the Muslims in 641 AD. Begincen ning in the late 19th century, Alexandria became a center for internationl shipping and trade.
Reign of Cleopatra
1880s
Reign of Cleopatra: http://www.emersonkent.com/map_archive/alexandria.htm 1880s: http://www.vintage-views.com/antique-maps-of-egypt/ Present Day: https://www.arcgis.com/home/webmap/viewer.html?useExisting=1
Present Day
Alexandria was founded in 331 BC by Alexander the Great. The city was the capital of the Hellenistic and Roman Empire until 641 AD when it was conquered by the Muslims. Beginning in the late 19th century, Alexandria became a center for international shipping and trade.
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IDEAL CITY: Physical, Administration, Culture + Human Factor
PHYSICAL Comfortable Climate Inspiring Landscape Features (bay, harbor, mountains, river) Attractive Cityscape (people experience most cities by traveling) Focal Points-”Monuments” Planned City (one that can also grow by organization) Walkable or Bikable City (emphasis on pedestrain streets + a cycling network) Benefits of a large city with the feel of a small city (human scale cities) Open Space-Fresh Air Clean-No Congestion, No Pollution Sustainably Built Community-Production of Renewable Energy Minimize Ecological Footprint ADMINISTRATION: SERVICES + REGULATIONS BY A FAIR GOVERNMENT Infrastructure (roads, electrical grid, bridges, sewers, water supply, telecommunications) Secure Water Supply + Sanitation System Public Services (policeman, firefighters, garbage collectors, army, paramedics) Transportation Education System Affordable Medical + Social Services Availability of Resources Tax Base Free Trade-Center for Business + Technology Solid Economy-Relative wealth as an entity with no poverty (low living costs) Social Justice System Low Crime-Insurance of Safety Peaceful Society-No Violence Abroad or Internally Free Society-Governed by a stable democracy CULTURE Easy ability to partake in Urban Life Public Spaces Recreational Facilities (parks, stadiums, museums) Historical Attributes Diverse Society (ethnicity, age, class) Cultural divisions of a city, creating neighborhoods of specialities or interest HUMAN FACTOR Healthly People (Mentally + Physically) Maximize Potential of Individuals Complexity in Human Experience Exchange of Ideas Safdie, Moshe. “Viewpoint: What makes an ideal city?” BBC Business News. 21 June 2011. Web. 24 September 2014. <http://www.bbc.com/news/business-13807964>
IDEAL CITY
THE IDEA OF AN IDEAL CITY IS UNATTAINABLE BECAUSE BY THE TIME THE STANDARDS HAVE BEEN ACHIEVED, THERE WILL BE NEW ONES TO ARISE TO; HOWEVER, AN IDEAL CITY IS ALWAYS EVOLVING TO MEET THE NEEDS OF ITS PEOPLE, NO MATTER HOW SLOWLY, BECAUSE THERE IS ALWAYS A GENERAL WANT AND NEED TO IMPROVE LIVING STANDARDS GLOBALLY. NONE OF TODAY’S CITIES REPRESENT AN IDEAL CITY, HOWEVER EVERY CITY HAS THE POTENTIAL TO BECOME AN IDEAL CITY. ABOVE IS A LIST BY CATEGORY OF SOME ASSETS THAT TODAY’S CITIES HAVE. THE FIVE COUNTRIES THAT OVERALL HAVE THE BEST STANDARDS OF LIVING ARE GERMANY, SWITZERLAND, CANADA, AUSTRALIA, AND NEW ZEALAND, AND THESE COUNTRIES HAVE A COMBINATION OF MANY OF THESE ASSTES. THE COMBINATION OF ALL THESE ASSETS WOULD CREATE AN GREAT CITY, BUT THE MAKING OF AN IDEAL CITY REQUIRES CREATIVITY AND INNOVATION.
GERMANY
SWITZERLAND
CANADA
AUSTRALIA
NEW ZEALAND
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WORLD’S 15 BEST PLACES TO LIVE VIENNA, AUSTRIA: CULTURAL/ECONOMIC/POLITICAL CENTER OF NATION, TRANSFORAMTION OF OLD INFRASTRUCTURE INTO MODERN LIVING ZURICH, SWITZERLAND: ECONOMIC ENGINE OF SWITZERLAND, BANKING CENTER, LOW TAX RATES, TOURIST DESTINATION, BEAUTIFUL COUNTRYSIDE AUCKLAND, NEW ZEALAND: BEAUTIFUL WATER FEATURES, WORLD’S LARGET BOAT OWNERSHIP PER CAPITA, 2ND SAFEST CITY IN ASIAN REGION MUNICH, GERMANY: ECONOMIC CENTER-HOME TO SOME OF GERMANY’S MOST NOTABLE BUSINESSES, HIGH PURCHASING POWER PER CAPITA, IMMIGRANT
DUSSELDORF, GERMANY: ADVANCED INFRASTRUCTURE, TELECOMMUNICATION CENTER, LEADING CAPITAL OF MODERN AND CONTEMPORARY ART, LEADER IN FASHION AND TRADE FAIRS, HOME TO WORLD BUSINESSES VANCOUVER, CANADA: MILD CLIMATE WITH BEUATIFUL LANDSCAPE, GREEN CITY, SMALLEST CARBON FOOTPRINT OF ANY MAJOR CITY IN NORTH AMERICA, ONE OF THE SAFEST PLACES IN THE WORLD FRANKFURT, GERMANY: LARGEST FINANCIAL CENTER IN CONTINENTAL EUROPE, MAJOR TRANSPORT HUB, 11TH SAFEST CITY IN THE WORLD, HOME TO MAJOR INSTITUTIONS GENEVA, SWITZERLAND: NATURAL ENVIRONMENT-ONE OF GREENEST CITIES, CALLED “CITY OF PARKS,” STRICK AIR POLLUTION LAWS AND ENVIRONMENT REGULATIONS BERN, SWITZERLAND: MANY PERSERVED HISTORIC FEATURES, CENTER OF MANUFACTURING AND ENGINEERING, 2ND SAFEST CITY IN THE WORLD, BANKING HAVEN COPENHAGEN, DENMARK: HIGH CLASS MEDICAL, RECREATIONAL AND LEISURE FACILITIES, ADVANCED INFRASTRUCTURE, ECO-FRIENDLY, BICYCLE NETWORK-”CITY OF CYCLISTS” SYDNEY, AUSTRALIA: ICONIC LANDMARKS, NATURAL LANDSCAPE, INFRASTRUCTURE AND PUBLIC SERVICES PROVIDE SAFETY AND QUALITY LIVING STANDARDS, MAJOR BUSINESS HUB, MEDIAN AVG. ANNUAL INCOME MORE THAN $55,000 AMSTERDAM, NETHERLANDS: CULTURAL AND FINANCIAL CENTER, VARIETY OF LIFESTYLES, AMONG TOP 20 RANKED IN PERSONAL SAFETY, HISTORIC CANALS/BUILDINGS, TOURIST CITY WELLINGTON, NEW ZEALAND: EDUCATED POPULATION WITH 1/3 HOLDING A BACHELOR’S DEGREE OR HIGHER, GREAT CLIMATE, 40% OF HOUSEHOLDS HAVE ANNUAL INCOMES OF MORE THAN $66,000 OTTAWA, CANADA: HIGHLY EDUCATED WORKFORCE, HIGH QUALITY OF LIFE WITH A LOW LIVING COST, 3RD CLEANEST CITY CITY ACCORDING TO ECO-CITY TORONTO, CANADA: RACIALLY DIVERSE POPULATION, WORLD’S SEVENTH LARGEST STOCK EXCHANGE BY MARKET CAPITALIZATION, ONE OF THE SAFEST PLACES IN THE WORLD Naidu-Ghelani, Rajeshni. “Parenting Guide: The world’s 15 best places to live.” MSN Money. Web. 24 September 2014. <http://money.msn.com/family-money/the-worlds-15-best-places-to-live>
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IDEAL CITY, artist unknown (ABOVE)
VERISMO:THE IDEAL CITY MODERNIZED, Carl Laubin (RIGHT)
THE IDEAL CITY WAS A PROMINENT RENAISSANCE THEME, AND IN 15TH CENTURY URBINO, THE RENAISSANCE WAS “MATHEMATICAL,” LEADING TO PERSPECTIVE PAINTINGS THAT WERE DRIVEN BY HARMONY, ALIGNMENT AND SYMMETRY. THE FRESCO PAINTING ABOVE DEPICTS A SERENE AND BEAUTIFUL SCENE, VOID OF ACTIVITY. LAUBIN’S RENDITION OF THE MODERNIZED IDEAL CITY TO THE RIGHT, SHOWS THE HUSTLE AND BUSTLE OF A CONTEMPORARY URBAN SQUARE; THE STREET IS ALIVE WITH PEOPLE, AND A MODERN SKYLINE CAN BE SEEN IN THE DISTANCE. THE COMPARISON OF THESE PAINTINGS SHOW THE EVOLUTION OF THOUGHT BEHIND WHAT MAKES AN IDEAL CITY. TODAY, A CITY SHOULD BE A MIXTURE OF THE OLD AND THE NEW-IT’S A LITTLE MESSY, AND ITS INHABITANTS ARE CRUCIAL TO THE LIVELINESS AND LIVABILITY OF A PLACE. THE CONCEPT OF A RENAISSANCE IDEAL CITY IS TOO PRISTINE; ALTHOUGH, ACHIEVING THE IDEAL INHERENTLY TRANSLATES TO AN UNREALISTIC TASK, THIS IDEAL CITY IS ALMOST A MODEL, NOT PRACTICAL NOR POSSESSING ANY OF THE IMPERFECTIONS THAT MAKE A CITY UNIQUELY IDIOSYNCRATIC.
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CINCINNATI: The Evolution of a Streetscape
1910
OVERLAY
2014
STREETSCAPE EVOLUTION
1880
OVERLAY
2014
GRID EVOLUTION
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ELEVATION
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4 stories 5 stories 4 stories 6 stories 4 stories 5 stories 3 stories 13 stories 6 stories 13 stories
B: 50 ft., C: 72 ft., D: 50 ft., E: 84 ft., F: G: H: I: J: K:
7 stories
4 stories
A: 90 ft.,
A: 56 ft.,
A: 90 ft.,
50 ft., 60 ft., 32 ft., 152 ft., 84 ft., 152 ft.,
6 stories A: 84 ft.,
STREET GEOMETRY
VERTICAL
HORIZONTAL
LEFT ANGLES
RIGHT ANGLES
COMPOSITE
DEFINING ELEMENTS
WINDOWS
CORNICES
INFRASTRUCTURE
MOVEMENT
COMPOSITE
ELEVATION
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2014
STREET GEOMETRY
VERTICAL
HORIZONTAL
LEFT ANGLES
RIGHT ANGLES
COMPOSITE
DEFINING ELEMENTS
WINDOWS
CORNICES
INFRASTRUCTURE
MOVEMENT
COMPOSITE
1910
2014
COMPARISON THE IMAGE TO THE RIGHT HIGHLIGHTS THE BUILDINGS THAT HAVE REMAINED SINCE 1910. THE SERIES OF IMAGES ABOVE SHOW THE COMPARISON OF MAJOR STREET ELEMENTS AND GEOMERTY OF THE PHOTO TAKEN IN 1910 AND THE PHOTO TAKEN TODAY. TODAY THERE IS MORE ACTIVITY IN THE CENTER OF THE STREET, MAKING THE SPACE SEEM MORE CONGESTED COMPARED TO THE OPENNESS OF THE ROAD IN 1910, THE SCALE OF THE BUILDINGS, INFRASTRUCTURE AND THE METHODS WE USE TO MOVE IN THE STREET HAS GOTTEN LARGER, SO THAT IT HAS A LESS HUMAN SCALE THEN THE 1910 SPACE. THE ELEVATION IN 1910 HAD MUCH MORE DETAIL COMPARED TO THE ELEVATION TODAY IN WHICH THE BUILDINGS ARE MORE SIMPLE AND MASSIVE; LOOKING AT THE STREET, THE THE VIEW TODAY SEEMS MORE BOLD BUT THE VIEW FROM 1910 IS MORE ELEGANT, AND A COMBINATION OF THIS WOULD BE IDEAL VIEW.
SKYWALK THERE IS A SYSTEM OF SKYWALKS THROUGH A SERIES OF BUILDINGS ON THE LEFT SIDE OF FOURTH STREET. I PROPOSE ADDING TO THIS SYSTEM TO CREATE A SKYWALK THAT OVERHANGS THE BUSY STREET. THE SKYWALK COULD EVEN INCLUDE A PLATFORM FOR SITTING OR EATING, OR INTEGRATE A SMALL ROOFTOP CAFE. THE AREA WOULD BE LIT AT NIGHT WITH A CASCADE OF HANGING LIGHTS, CREATING A SCULPTURAL PIECE THAT WOULD ADD A DYNAMIC ELEMENT TO THE STREET PERSPECTIVE.
EXISTING SKYWALK NEW SKYWALK REGION
RACE STREET
FOURTH STREET
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PARIS: A City in Cinema
MIDNIGHT IN PARIS MIDNIGHT IN PARIS FEATURES A WRITER, GIL PENDER WHO IS IN PARIS WITH HIS FIANCE, INEZ, AND HER PARENTS ON A TRIP. GIL GREATLY ADMIRES PARIS AND IS PARTICULARLY NOSTALGIC FOR PARIS IN THE ‘20S. AS HE SETS OUT TO EXPLORE THE STREETS OF PARIS, HE FINDS A PORTAL TO THE TIME HE IS SO NOSTALGIC FOR, MEETING THE ICONIC ARTISTS OF THE TIME PERIOD. WHILE IN THE ‘20S HE FALLS FOR A GIRL, ADRIANA, WHO IS AN “ARTIST GROUPIE.” TOGETHER, THEY TRAVEL BACK TO THE 1890S, THE BELLE EQOPUE, THE TIME THAT SHE MOST ADMIRES. BOTH BELIEVE THEY WERE BORN IN THE WRONG TIME, AN IDEA CALLED GOLDEN AGE THINKING, IN WHICH THE BRILLIANCE OF OUR PRESENT ERA IS OVERLOOKED FOR THE GREATNESS OF THE ERA BEFORE, PERHAPS BECAUSE ONE IS UNHAPPY WITH THE PRESENT. THE MOVIE CONCLUDES WITH GIL, BREAKING UP WITH HIS FIANCE AND DECIDING TO STAY AND LIVE IN PARIS.
PARIS IS A STRONG SETTING FOR THE MOVIE, AND THE CITY HAS GREAT CHARACTER IN THE STORY BECAUSE MANY OF THE ARTISTS IN THE MOVIE ARE PRESENTED AS CONSEQUENCES OF THE SPIRIT OF PARIS, AS IF THEY ARE A PERMANENT ENTITY IN THE PARIS LANDSCAPE. THE STORY HAS A CLEAR PATTERN OF EVENTS, OF GIL MEETING WITH INEZ AND HER FRIENDS OR PARENTS FOR TOURISTY ACTIVITIES LIKE SHOPPING AND GOING TO MUSEUMS, FOLLOWING HIS TRIP BACK TO THE PAST IN WHICH HE IS LIVING THE EXCITING ‘20S PARISIAN LIFE, GOING TO PARTIES AND MEETING ARTISTS AT BARS. THE MOVIE IS DEVOTED TO PUBLIC SPACES, THE ONLY SCENE THAT IS PRIVATE IS THE HOTEL SUITE. THE AND THE ARE
OPENING SCENE IS A MONTAGE OF 60 VIEWS OF PARIS; THESE IMAGES ARE AT DIFFERENT SCALES FEATURING VARIOUS DEGREES OF ACTIVITY WITH DIFFERENT AMOUNTS OF HARDSCAPE NATURAL ELEMENTS. THERE IS A SEQUENCE OF TIME WITH THE SHOTS PROGRESSING FROM DAY TO NIGHT, FROM SUNNY TO RAINY, TO SUNNY AGAIN AND THEN NIGHTTIME. MANY OF SCENES ARE ITERATIONS OF THE SAME PLACE TAKEN FROM A DIFFERENT VANTAGE POINT, WITH A DIFFERENT FOCUS. THESE IMAGES, AS WELL AS THE OTHER SCENES IN THE MOVIE, LOCATED IN THE HEART OF PARIS, CENTERED AROUND THE CANAL AND THE IDEA OF A “WALKABLE CITY.” “THERE’S NO CITY LIKE THIS IN THE WORLD. THERE NEVER WAS... CAN YOU PICTURE HOW DROP DEAD GORGEOUS THIS CITY IS IN THE RAIN? IMAGINE THIS TOWN IN THE ‘20S. PARIS IN THE ‘20S, IN THE RAIN. THE ARTISTS AND THE WRITERS.” “I CAN NEVER DECIDE IF PARIS IS MORE BEAUTIFUL BY DAY OR BY NIGHT... EVERY STREET, EVERY BOULEVARD IS ITS OWN SPECIAL ART FORM... FROM WAY OUT IN SPACE, YOU CAN SEE THESE LIGHTS, THE CAFES, PEOPLE DRINKING AND SINGING. I MEAN, FOR ALL WE KNOW, PARIS IS THE HOTTEST SPOT IN THE UNIVERSE.”
OPENING SCENES: MAPPED
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SACRE COEUR
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PONT ALEXANDRE III
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ICONIC LANDMARKS: ARC DE TRIOMPE & THE EFFIEL TOWER, ITERATIONS DAY & NIGHT
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A. PLACE DE LA CONCORDE
B. CHAMPS ELYSEES
C. EFFIEL TOWER
D. PLACE VENDOME
E. NOTRE DAME
SEQUENCE OF SCENES 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35.
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(3:55) OPENING SCENE MONTAGE (4:45 – 5:08) MONET GARDEN, GIVERNY HOTEL LE BRISTOL, 112 RUE DU FAUBOURG S HONORE (5:40 & 46:30) DINNER, LE GRANDE VEFOUR, 17 RUE DU BEAUJOLAIS (9:10 – 10:39) VERSAILLES (12:03) RING SHOPPING, CHOPHARD, 1 PLACE VENDOME (12:13 – 13:34) MUSEE RODIN, HOTEL BIRON, 79 RUE DE VARENNE (13:34 – 14:33) ROOFTOP WINE TASTING, HOTEL LE MEURICE, 228 RUE DE RIVOLI (16:05 – 19:08) ‘20S PORTAL, CHURCH OF ST ETIENNE DU MONT, RUE DE LA MONTAGNE GENEVIEVE (19:09 – 22:50) JEAN COCTEAU PARTY, QUAI DE BOURBON, ILE ST LOUIS (22:51 – 24:01) BRICKTOPS (LE GRAND DUC), 17 RUE MALEBRANCHE (24:02 – 29:09) RESTAURANT POLIDOR, 41 RUE MONSIEUR LE PRINCE (30:23 – 31:38) FURNITURE STORE, PHILLIPPE DE BEAUVAIS, 112 BOULEVARD DE COURCELLES (31:38 – 35: 42) RETURNS TO PORTAL GERTRUDE STEIN’S HOUSE, 27 RUE DE FLEURUS (42:50 – 44:44) FLEA MARKET, MARCHE AUX PUCES DE SAINT-QUEN, 96-110 H MONET PAINTINGS, MUSEE DE L’ORANGERIE, PLACE DE LA CONCORDE (47:38 – 50:09) CARNIVAL PARTY, PAVILION DE BERCY, MUSEE DES ARTS FORAINS (50:10 – 53:39) MONTMARTE, RUE DU CHEVALIER DE LA BARRE, BY SACRE COEUR (53:40 – 58:19) BAR WITH DALI, BRUNEL AND MAN RAY (59:00 – 59:54) RETURN TO RODIN STATUE TO TALK WITH TOUR GUIDE (1:00:32 – 1:01:22) RETURNS TO PORTAL (1:02:52 – 1:03:11) WALKING ALONG THE BANK BY PONT NEUF BY ILE DE LA CITE (1:03:23) RETURNS TO FLEA MARKET (1:04:08) BOOK STAND (1:04:32 – 1:05:58) ADRIANA’S DIARY TRANSLATION, PARC JEAN OF NOTRE DAME, ILE DE LA CITE (1:10:49) SHOPPING FOR EARRINGS FOR ADRIANA (1:10:50 – 1:11:00) RETURNS TO PORTAL (1:11:53 – 1:13:49) SURREALIST WEDDING PARTY, MAISON DEYROLLE, 46 RUE DU BAC (1:13:50 – 1:16:40) PORTAL TO BELLE EPOQUE, RESTAURANT PAUL, RUE HENRI ROBERT, PLACE DAUPHINE (1:16:41 – 1:17:56) MAXIM’S, 3 RUE ROYALE (1:17:56 – 1:24:10) BELLE EPOQUE DANCERS AND MEETING WITH TOULOUSE LAUTREC, GAUGIN AND DEGAS 59 QUAI DE LA TOURNELL, RUE DES BERNADINS, ILE DE FRANCE SHAKESPEARE & COMPANY, 37 RUE DE LA BUCHERIE (1:27:53 – 1:30:42) WALKING THE STREETS AFTER HIS BREAK UP, PONT ALEXANDRE III
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TRENDS
MONET GARDEN
IN MOST SHOTS, WOODY ALLEN FIRST SETS UP A PUBLIC SPACE, SHOWING THE SCENE WITHOUT A MAIN CHARACTER IN IT, BEFORE THE CHARACTER(S) ENTER THE SHOT OR THE CAMERA PANS TO THEM. IT MIMICS THE THEME OF HIS OPENING MONTAGE AS PARIS BEING A SERIES OF PICTURESQUE IMAGES; THE SCENE IS FIRST PRESENTED AS ITS OWN ENTITY, AND THEN SHOWS HOW THE CHARACTERS OCCUPY IT, MAKING THE SPACE THE ALMOST SUPERIOR ASPECT OF THE SCENE RATHER THAN AS A BACKDROP FOR THE STORY. TO THE LEFT ARE EXAMPLES OF THIS TECHNIQUE.
VERSAILLES
MUSEE RODIN
ALLEN ALSO REPEATS A SORT OF DIALOGUE STYLE, IN WHICH THE CHARACTER IS IN A PUBLIC SPACE, BUT THE SHOT IS A CLOSE-UP, PRESENTING THE CHARACTER ALONE AND THEN AS AN OVER SHOULDER TO THE CHARACTER WHO IS DOMINATING THE CONVERSATION. IN THIS WAY THE PUBLIC SPACE BECOMES A PRIVATE SPACE, AS THE FOCUS BECOMES THE INTIMATE CONVERSATION OF THE CHARACTERS. MANY ICONIC ARTISTS FROM THE 1920S AND 1890S ARE INTRODUCED TO THE AUDIENCE IN THIS MANNER, SUCH AS THE FITZGERALDS, HEMINGWAY, GERTRUDE STEIN, PICASSO, DALI, BUNUEL, MAN RAY, TOULOUSE LAUTREC, DEGAS AND GAUGIN. THE CHARACTER OF THESE ARTISTS DEFINE THESE SPACES HISTORICALLY AND CINEMATICALLY AS MUCH AS THE PHYSICAL ELEMENTS OF THE SPACE. BELOW ARE EXAMPLES OF THIS TECHNIQUE.
MUSEE RODIN, SECOND TIME
FLEA MARKET
TO THE RIGHT ARE EXAMPLES OF REPEATED IMAGERY; THE FIRST COLUMN ARE IMAGES TAKEN FROM THE STORY OF THE FILM, WHICH RECALL SCENES FROM THE MONTGE OF THE OPENING SCENE, THE SECOND COLUMN. JEAN COCTEAU PARTY
BRICKTOPS
RESTAURANT POLIDORE
MUSEE DES ARTS FORAINS
BAR
NOTRE DAME, PARC JEAN
BELLE EPOQUE DANCERS
MAISON DEYROLLE
NOTRE DAME, PARC JEAN
BELLE EPOQUE DANCERS
PONT ALEXANDRE III
PLACE VENDOME
LA GRANDE ROUE
NOTRE DAME, PARC JEAN
PONT ALEXANDRE III
EFFIEL TOWER
1 2 3 4 5 CHURCH OF ST ETIENNE DU MONT: THE PORTAL TO THE ‘20S
8’ X 8’ GRID MAP OF THE AREA
PRIVATE INVESTIGATOR IN HIS CAR RUE DE LA MONTAGNE SAINT GENEVIEVE LAMP POST BUILDINGS PRIVATE INVESTIGATOR HIDING IN A DOORWAY OUTDOOR CAFE SEATING WITH PEOPLE EATING CAR THAT TAKES GIL BACK INTO TIME SIDEWALK BLOCKADE SIDEWALK GIL INEZ STEPS OF ST ETIENNE DU MONT
GIL TRAVELS BACK IN TIME TO THE ‘20S BY GETTING IN A CAR THAT COMES DOWN RUE DE LA MONTAGNE SAINTE GENEVIEVE, AND STOPS AT THE CHURCH OF ST ETIENNE DU MONT. MANY OF THE LOCATIONS THAT GIL TRAVELS TO ARE ACTUALLY CLOSE IN PROXIMITY TO THE CHURCH. THE FACADE OF THE CHURCH IS NOT SHOWN IN THE MOVIE, AS GIL WAITS ON THE SIDE STEPS OF THE CHURCH, LOOKING DOWN THE STREET AS THE CAR ARRIVES. AFTER GETTING LOST WALKING THE STREETS OF PARIS, GIL SERENDIPITOUSLY FINDS THIS PORTAL, AND THE SCENE OF HIM GOING BACK IN TIME IS REITERATED THROUGHOUT THE MOVIE, CREATING A SEQUENCE OF TIME, ALTERNATING BETWEEN THE PRESENT AND THE PAST. THE SAME IMAGERY IS REPEATED: WALKING DOWN THE STREET, WAITING ON THE STEPS, WAITING IN THE STREET, THE CAR PULLING UP, GETTING IN THE CAR, AND THE CAR DRIVING AWAY. ABOVE, THE WHITE LINES OF THE IMAGES TO THE RIGHT SHOW THESE CONNECTIONS OF THE DIFFERENT PORTAL SCENES. THE SCENES TO THE LEFT SHOW THE PLACES GIL GOES WHEN HE TRAVELS BACK IN TIME. PORTAL 1: WALKING THE STREETS LOST, GIL SITS ON THE STEPS OF THE CHURCH. A CAR PULLS UP AND GIL IS USHERED INTO THE CAR AND TAKEN TO A PARTY WHERE HE MEETS THE FITZGERALDS, AND THEN GOES TO BRICKTOPS, A CLUB KNOWN FOR AN INFAMOUS DANCER NAMED BRICKTOPTHE NIGHT ENDS AT RESTAURANT POLIDOR, WHERE GIL MEETS HEMINGWAY, WHO TELLS GIL THAT HE WILL TAKE THE BOOK HE IS WRITING TO GERTRUDE STEIN TO BE EVALUATED. GIL LEAVE THE BAR TO GET HIS MANUSCRIPT BUT WHEN TRIES TO RETURN TO THE BAR, IT IS MODERN DAY. PORTAL 2: GIL RETURNS TO THE STEPS WITH INEZ HIS FIANCE TO TAKE HER TO THE ‘20S. SHE GETS FRUSTRATED WAITING FOR THE SURPRISE AND TAKES A TAXI BACK TO THE HOTEL. THE CLOCK STRIKES MIDNIGHT AND THE CAR PULLS UP WITH HEMINGWAY INSIDE WHO TAKES GIL TO GERTRUDE STEIN’S HOUSE. SHE AGREES TO LOOK AT BOOK AND HE MEETS PABLO PICASSO AND HIS MISTRESS ADRIANA, WHO IMMEDIATELY CAPTIVATES GIL. PORTAL 3: THIS SCENE BEGINS WITH GIL ALREADY IN THE ‘20S, AT A PARTY WITH CARNIVAL RIDES, AT THE MUSEE DES ARTS FORAIN. HE MEETS WITH ADRIANA AGAIN, AND THEY WALK THE STREETS OF PARIS, MEET WITH A DISTRESSED ZELDA FITZGERALD AND TALK ABOUT THE GREATNESS OF PARIS AS A CITY ON THE STEP NEAR SACRE COEUR. THEY GO TO BAR, WHERE ADRIANA LEAVES, AND GIL HAS A CONVERSATION WITH THREE ARTISTS: DALI, BRUNEL AND MAN RAY. PORTAL 4: INEZ’S PARENTS HIRE A PRIVATE INVESTIGATOR TO FOLLOW GIL, WHO FOLLOWS GIL TO THE CHURCH STEPS. GIL GOES TO GERTURDE STEIN’S HOUSE WHERE HE GETS ADVICE ON HIS BOOK FROM STEIN, AND LEARNS THAT ADRIANA HAS LEFT PICASSO AND RUN AWAY TO AFRICA WITH HEMINGWAY. PORTAL 5: IN HIS LAST TRIP BACK IN TIME, GIL GOES TO A SURREALIST WEDDING PARTY THAT IS DECORATED WITH STUFFED ANIMALS. HE MEETS ADRIANA WHO HAS RETURNED FROM AFRICA, THEY HAVE A CONVERSATION WITH BUNUEL IN WHICH GIL GIVES HIM HIS IDEA FOR A MOVIE (EXTERMINATING ANGEL). GIL AND ADRIANA ARE WALKING AROUND PARIS AGAIN AND ARE SITTING IN PLACE DAUPHINE WHEN A CARRIAGE PULLS UP. THEY ARE TRANSPORTED TO THE BELLE EPOQUE ERA, THE 1890S, WHERE THEY GO TO MAXIMS AND WATCH A DANCE SHOW. THEY SIT AND TALK WITH TOULOUSE LAUTREC, GAUGIN AND DEGAS. ADRIANA DECIDES TO STAY IN THE BELLE EPOQUE ERA AND GIL REALIZES HE MUST RETURN TO HIS OWN TIME, INSTEAD OF LIVING IN THE PAST WITH ADRIANA.
RESTAURANT POLIDOR
(24:02 - 29:09)
THE FIRST TIME GIL GOES BACK IN TIME, HE ENDS HIS NIGHT IN THE ‘20S AT THE RESTAURANT POLIDOR WITH THE FITZGERALDS. HEMINGWAY IS SITTING AT A TABLE, AND THEY HAVE A CONVERSATION WITH HIM, FIRST AS GROUP, THEN ZELDA IS OFFENDED BY HEMINGWAY’S COMMENTS REGARDING HER BOOK AND LEAVES; SCOTT SITS DOWN AT THE TABLE WITH FITZGERALD AND AFTER TALKING ABOUT ZELDA, HE LEAVES TO GO FIND HER. GIL THEN SITS WITH HEMINGWAY AND DISCUSSES LITERATURE AND GIL’S NOVEL, WHICH IS ABOUT A MAN WHO WORKS IN A NOSTAGLIA SHOP. AFTER HEMINGWAY TELLS GIL HE WILL TAKE HIS MANUSCRIPT TO GERTRUDE STEIN, GIL GOES TO RETRIEVE IT FROM HIS HOTEL BUT THEN GOES BACK TO THE BAR TO DECIDE UPON A MEETING PLACE BUT FINDS THAT HE IS BACK IN THE PRESENT, AND THE RESTAURANT HAS BECOME A LAUNDRY MAT. THIS SCENE OF TALKING TO ARTISTS AT A TABLE IS REPEATED THROUGHOUT THE MOVIE, AND THE WAY THE PUBLIC SPACE IS PRESENTED IS SIMILAR IN ALL ITERATIONS. OTHER CUSTOMERS CAN BE SEEN EATING, DRINKING, SMOKING, PLAYING CARDS AND CONVERSING IN THE BACKGROUND AS SCOTT AND GIL TALK TO HEMINGWAY; YET THE SPACE IS STILL VERY INTIMATE AS CLOSE UP SHOTS AND OVER THE SHOULDER SHOTS PUT FOCUS ON THE CHARACTERS SPEAKING AGAINST A SMALL BACKDROP OF THE SETTING. IT IS NOT A CROWDED SPACE BUT THE SCENE IS FILLED WITH MANY SMALL OBJECTS AND THE WOOD INTERIOR MAKES THE SPACE SEEM HOMELY. IT IS A SMALL SPACE, AND THE ACTIVITY IN THE BACKGROUND IS RATHER CLOSE TO THE MAIN CHARACTERS WHICH PRIMARILY OCCUPY THE FOREGROUND. THE SHOT IS FILMED SO THAT THE FEEL OF THE ENVIRONMENT AND THE SETTING AS A WHOLE CAN BE SEEN BUT IT IS A PRIVATE PORTRAYAL OF THE CHARACTERS IN A PUBLIC LANDSCAPE.
3’ X 3’ GRID
BAR PEOPLE PLAYING CARDS, DRINKING, SMOKING AND EATING IN THE BACKGROUND PURPLE CIRCLE - ZELDA FITZGERALD
COLUMNS GREEN CIRCLE - HEMINGWAY ORANGE CIRCLE - SCOTT FITZGERALD
TABLES (WITH SETTINGS)
WINDOW DISPLAY LAMP POST YELLOW CIRCLE - GIL SIDEWALK WITH WATER RUNNING DOWN STREET STREET CAR
CARNIVAL PARTY
(47:38 - 50:09)
THE THIRD TIME GIL GOES BACK TO THE ‘20S, THE SCENE BEGINS WITH A SHOT OF A CAROUSEL AND GIL DANCING. HE SEES THE FITZGERALDS TALKING TO ADRIANA AND JOINS THEIR CONVERSATION. THE FITZGERALDS LEAVE TO TALK TO SOMEONE ELSE, AND ADRIANA TELLS GIL SHE WANTS TO SHOW HIM SOMETHING. THEY WALK INTO ANOTHER ROOM, WHERE SHE SHOWS HIM A CAROUSEL FROM THE TURN OF THE CENTURY, HER FAVORITE ERA. HEMINGWAY JOINS THE CONVERSATION , FLIRTING WITH ADRIANA, UNITL GIL ASKS ADRIANA IF SHE WOULD LIKE TO GO SOMEWHERE QUIETER TO TALK, AND THEY LEAVE THE PARTY. THIS SCENE TAKES PLACE IN PAVILION BERCY AT THE MUSEE DES ART FORAINS; IT IS A PRIVATE MUSEUM THAT IS ENCLOSED, BUT WOODY ALLEN HAS FILMED IT SO THAT THE CEILING ISN’T SEEN AND THE SPACE IS DARK, GIVING IT AN ALMOST OUTDOOR FEEL, AS CARNIVAL RIDES ARE USUALLY OUTDOORS. GIL REFERENCES THE PARISIAN LIGHTS IN THE MOVIE, AND THIS PARTY IS AN HOMAGE TO THE IDEA OF PARIS AT NIGHT. THERE ARE MANY PEOPLE AT THE IS PARTY, DANCING, DRINKING AND ON THE RIDES. ALTHOUGH THIS SPACE IS QUITE LARGE, THE SCENES DO NOT SHOW A VERY DEEP BACKGROUND BECAUSE THE SPACE IS COMPRISED OF MANY DIFFERENT ROOMS. IT SHOWS PEOPLE A COUPLE ROWS DEEP IN THE MIDDLE GROUND IN SOME SCENES; AND IN OTHERS, THE MAIN CHARACTERS ARE IN THE FOREGROUND CONVERSING WITH THE CARNIVAL ATMOSPHERE AS THE BACKDROP.
12’ X 12’ GRID
CARNIVAL STAND GREEN CIRCLE - HEMINGWAY RED CIRCLE - ADRIANA GREEN CIRCLE - HEMINGWAY ORANGE CIRCLE - SCOTT FITZGERALD YELLOW CIRCLE -GIL PURPLE CIRCLE - ZELDA FITZGERALD PARTY PEOPLE CARNIVAL STAND CAROUSEL
PONT ALEXANDRE III
(1:27:53 - 1:30:42)
AFTER GIL AND INEZ BREAK OFF THEIR ENGAGEMENT, INEZ TELLS GIL TO “WALK THE STREETS OF PARIS” BECAUSE THAT IS ALL HE DOES. THE SCENE SWITCHES FROM NIGHT TO DAY, AS HE GOES TO A CAFE AND BOOKSTORE DURING THE DAY AND THEN IT BECOMES NIGHT, AND HE WALKS TO THE MIDDLE OF PONT ALEXANDRE III. HE STOPS AND STARES AT THE EFFIEL TOWER AS ITS LIGHTS TWINKLE, AND THEN IS APPROACHED THE GIRL FROM THE FLEA MARKET, GABRIEL, WHO IS WALKING BACK FROM DINNER. HE TELLS GABRIEL THAT HE IS GOING TO STAY AND LIVE IN PARIS, AND SHE IS EXCITED FOR HIM. IT BEGINS TO RAIN, AND GIL OFFERS TO GET A TAXI, BUT GABRIEL SAYS “SHE DOESN’T MIND, PARIS IS MORE BEAUTIFUL IN THE RAIN,” WHICH IS SOMETHING THAT GIL HAS HELD TRUE THROUGHOUT THE MOVIE. THEY WALK AWAY TOGETHER DOWN THE BRIDGE WHILE PARIS IS AT ITS MOST BEAUTIFUL-IN THE RAIN, AND LIT UP AT NIGHT. IN THIS SCENE, THERE ARE ONLY TWO PEOPLE IN THE SCENE, GIL AND GABRIEL. THERE IS NO OTHER ACTIVITY BESIDES THEIR CONVERSATION, OTHER THAN THE PARIS LIGHTS FLASHING IN THE NIGHT, AND REFLECTING IN THE SEINE RIVER. IN THIS SCENE, THE EFFIEL TOWER IS IN THE BACKGROUND, SO THE MOVIE BEGAN WITH THIS ICONIC IMAGE OF PARIS AS WELL AS ENDS WITH IT. THE MIDDLE GROUND CONSISTS OF THE SCULPTURAL ELEMENTS OF THE BRIDGE, AND THE SEQUENCE OF LAMP POSTS DRAW YOUR EYE BACK FORTH ACROSS THE DEPTH OF THE SETTING. THE SPACE OF THIS SETTING IS IMMENSE BUT, LIKE OTHER SCENES, HE MAKES THE SPACE INTIMATE AND SMALL BY FOCUSING ON THE CHARACTERS FACES AS THEY CONVERSE, TALKING THEM OUT OF THE CONTEXT AND PUTTING AN EMPHASIS ON THE CONVERSATION. THE MOVIE ENDS IN A VERY PUBLIC SPACE, SHOWING WHAT PARIS IS BEST KNOWN FOR, THE SCENERY OF ITS DETAILED AND DECORATIVE INFRASTRUCTURE.
12’ X 12’ GRID EFFIEL TOWER WITH FLASHING LIGHTS IN THE FAR DISTANCE MAP OF AREA PONT DES INVALIDES IN DISTANCE
LIGHTS OF PARIS REFLECTING ON THE WATER
GRAND PALAIS SEINE RIVER GIL’S LINE OF SIGHT AS HE VIEW RUE COURS LA REINE
GATEAWAY TO BRIDGE LAMP POSTS BROWN CIRCLE - GIL RED CIRCLE - GABRIEL COLORED LIGHTS OF PARIS NIGHT LIFE PONT ALEXANDRE III
5
CINCINNATI: An Accessible Campus
WHEELCHAIR REVOLUTION To the left and above diagrams the revolving platform in plan and section, showing wheel chair dimensions and restraints
Kate Dooley, Student, Multiple Sclerosis “I use the shuttle everyday, and it’s easy, but it could be easier...so easy that I don’t even believe I’m in a wheelchair.”
BUS STOP
To make navigation onto a bus an easier experience, and in specific, the University of Cincinnati Shuttle-stop: engineering building: 1._ People with wheelchair disabilities should have an phone app that alerts the bus driver when and where they are waiting for the bus; in this case, there could also be an interactive touchscreen with the digital map of the buses locations which is inside the Engineering building, a common spot to wait for the bus, that could alert a driver when a handicap person will be getting on the bus. As such with the shuttle, wheelchair access is in the back, which is more convenient for the disabled person, however the system now requires the bus driver to get out of the bus to open the handicap access hatch; if this could be amended to become automated, it would be easier for both the user and the driver. The app would prevent the bus driver to unknowingly leave the disabled person behind if they are waiting out of sight near the back of the bus 2._ The turning radius of a wheelchair is 60”, which is space that can be hard to achieve for small and crowded buses. I propose that a bus has circular mechanized platform controlled by the disabled person that will be able to rotate into the necessary position; there would be a button inside the bus but it could also be controlled using the same bus app as mentioned before. The platform can be 44” on diameter at the maximum; it can be smaller because the perimeter only needs to encompass the wheels of the wheelchair but the smaller the diameter is, the harder it will be to navigate. In addition the platforms will have tracks that, once the wheel chair is in position, will retract and lock the wheelchair into safety, and in case of emergencies, the user will be able to disable the safety lock.