[re] Defining a Journey | Victor H. Rivera Graduate Thesis by Víctor Rivera Andino

[re]Defining the Journey|an inquiry on architecture education Victor H. Rivera Andino

Submitted in Partial Fulfillment of the Requirements For the Degree of Master of Architecture at The Savannah College of Art and Design ÂŠ May 2014, Victor H. Rivera Andino

The author hereby grants SCAD permission to reproduce and to distribute publicly paper and electronic thesis copies of document in whole or in part in any medium now known or hereafter created.

Signature of Author and Date ______________________________________________________________ _______________________________________________________________________________/___/___ Huy Ngo, Professor of Architecture

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Committee Chair _______________________________________________________________________________/___/___ Ryan Bacha, Professor of Architecture

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Committee Member _______________________________________________________________________________/___/___ Khoi Vo, Chairman of Interior Design Committee Member

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[re]Defining the Journey|an inquiry on architecture education Victor H. Rivera Andino

Submitted in Partial Fulfillment of the Requirements For the Degree of Master of Architecture at The Savannah College of Art and Design ÂŠ May 2014, Victor H. Rivera Andino

Esta tesis es dedicada primeramente a Dios por darme la sabiduria y bendiciones desde el dia que decidi estudiar arquitectura, a mis padres Victor y María y mi hermano Daniel por su inmenso amor, cariño, apoyo y compañia en todo momento. Nada de lo que he logrado hubiera sido posible sin ustedes. A todas las personas que han sido parte de esta travesia, en especial a Miko, que ha sido como mi hermano en estos ultimos años.

Melissa, no tengo palabras para decirte lo mucho que aprecio tu comprensión, cariño y amor que me ha acompañado cuando mas lo necesitaba. Gracias por creer siempre en mi y por nunca dejarme rendirme. Te amo.

My most sincere gratitude to my Thesis Chair Huy Ngo. Without your guidance, dedication and effort without comparison this thesis would not be what it is today. You are an example not only as a teacher but as a human being. Thank you.

I also want to thank the rest of my committee, Professor Ryan Bacha and Chair Khoi Vo for their valuable advice and for always challenge me to be the best I can be.

Table of Contents List of Figures

Thesis Abstract

01 Introduction

02 Theoretical Context

03 Regional Context|Puerto Rico

04 Site Analysis|UPRM Campus

05 Program Analysis

112

06 Concept Development

130

07 Schematic Development

146

08 Design Development

157

09 Final Presentation

170

10 Conclusion

193

11 End Notes|Works Cited

194

List of Figures

Chapter 1 Figure 1.1 - Architecture school experience. – Image by author. [pag. 13] Figure 1.2 - thesis proposal diagram. – Image by author. [pag. 15]

Chapter 2 Figure 2.1 - thesis theoretical research diagram. – Image by author. [pag. 18] Figure 2.2 - Arc de Triomphe de l'Étoile Paris, France. [pag. 19] http://thefabweb.com/wp-content/uploads/2012/07/le-arc-triomphe-1.jpg Figure 2.3 - Map of North America, Jan Jansson c. 1636. [pag. 21] http://www.maine.gov/sos/arc/graphics/BMC-9%20p.%2023.jpg Figure 2.4 - Der Weimarer Musenhof , Theobald von Oer 1860 [pag. 23] https://upload.wikimedia.org/wikipedia/commons/5/5b/Oer-Weimarer_Musenhof.jpg Figure 2.5 - Factory Workers during the Industrial Revolution. [pag. 25] http://cuwhist.files.wordpress.com/2012/04/factory-workers.jpg Figure 2.6 - Men and children working during the Industrial Revolution. [pag. 27] http://d3seu6qyu1a8jw.cloudfront.net/sites/default/files/images/bib_92651.jpg Figure 2.7 - William Morris. [pag. 30] http://2.bp.blspot.com/-EL0lJAG2cMY/T2Ntak4-IQI/AAAAAAAAWG4/0L6ZE0P2tIk/s1600/william% 2Bmorris%2B1.jpg Figure 2.8 - Hannes Meyer. [pag. 30] http://rosswolfe.files.wordpress.com/2013/08/kts-noi-tieng-the-gioi-hanner-meyer_1.jpg Figure 2.9 - Dead student during the Kent State University Shooting, May 4, 1970. [pag. 33] http://showmeyourindies.com/wp-content/uploads/2010/05/kent-state2.jpg Figure 2.10 - President of the United States Ronald Reagan [1981-1989] [pag. 35] http://cdn.frontpagemag.com/wp-content/uploads/2014/02/Ronald-Reagan.jpg Figure 2.11 - Frank Gehry in the animated series “The Simpsons”. [pag. 37] http://travel.spotcoolstuff.com/wp-content/uploads/2010/01/simpsons-gehry.jpg Figure 2.12 - Education and practice of architecture through history. – Image by author. [pag. 41] List of figures|1

Figure 2.13 - Poïesis, Ari Larkin. [pag. 43] http://www.arilankin.com/wp-content/gallery/poiesis/poiesis-ari-lankin-painting-final-540.jpg Figure 2.14 -”phenomena”. – Image by author. [pag. 48] Figure 2.15 - Genius Loci, Towards a phenomenology of architecture book cover. [pag. 50] http://g-ecx.images-amazon.com/images/G/01/ciu/66/4a/79a2124128a072386cf3b010.L.jpg Figure 2.16 - Place, a winter evening diagram. – Image by author. [pag. 56] Figure 2.17 - Delphi, Greece. [pag. 60] http://www.touristmaker.com/images/greece/Delphi-Europe-Greece.jpg Figure 2.18 - Egyptians pyramids, Gaza Egypt. [pag. 64] http://www.pptbackgrounds.net/uploads/pyramids-giza-egypt-backgrounds-wallpapers.jpg Figure 2.19 - Pantheon Rome, Italy. [pag. 66] http://18u5u83ukksg1ka6cuyxyoabzz.wpengine.netdna-cdn.com/files/2011/04/DSC_3197-Interior-dome-detail-shaft-of-light-through-the-oculus-Pantheon-Rome-Ita ly-940x625.jpg Figure 2.20 - Christopher-Norberg Schulz theory diagram. – Image by author. [pag. 68] Figure 2.21 - Peter Zumthor at his office. [pag. 70] http://i.telegraph.co.uk/multimedia/archive/02363/Zumthor_2363107b.jpg Figure 2.22 - Interior space, Therme Vals. Switzerland. [pag. 72] http://4.bp.blogspot.com/-P1rtIb0nG78/UN8Cgvtgf5I/AAAAAAAACSE/f01ZmVtifxo/s1600/Therme_1(3).jpg Figure 2.23 - View of the landscape inside the building. [pag. 75] http://farm5.staticflickr.com/4125/5094445673_001d3473e1_o.jpg Figure 2.24 - Detail, Kunsthaus Bregenz Museum. [pag. 77] http://landingarchitecture.files.wordpress.com/2013/11/3178222472_25e72c865b.jpg Figure 2.25 - Therme Vals materiality. [pag. 79] http://ssb2012emilyashby.files.wordpress.com/2012/10/next2.jpg

List of figures|2

Figure 2.26 - Peter Zumthor’s kitchen. [pag. 81] http://24.media.tumblr.com/tumblr_lt5b78GWYA1qcpxayo1_500.jpg Figure 2.27 - Peter Zumthor’s model diagram. – Image by author. [pag. 83] Figure 2.28 - Luis Barragan House. [pag. 85] http://www.o25.gr/sites/default/files/imagecache/MAX/blog/Mekan%20Ve%20I%C5%9F%C4%B1%C4%9F%C4%B1n%20Ustas%C4%B1.jpg Figure 2.29 - Modern Art Museum of Fort Worth, Tadao Ando. [pag. 85] http://www.designboom.com/wp-content/uploads/2001/09/fort-worth.jpg Figure 2.30 -Koshino house, Tadao Ando. [pag. 85] http://openhousebcn.files.wordpress.com/2012/05/openhouse-barcelona-koshino-house-architecture-tadao-ando-japan.jpg Figure 2.31 -Jewish Museum Berlin, Daniel Libeskind. [pag. 85] http://api.ning.com/files/0jOGfrIFOlL3rkp5b2X0e-6pLeVaSQ19brsj4QG6Ci774AasOtDHInLUzt2qDded2QU4NR7vpx6YxzC6Y5O8L-nzidxX4dZv/DSCN0901.JP G Figure 2.32 -Steven Holl Palazzo del Cinema, 1990. [pag. 85] http://37.media.tumblr.com/afe940236610987919ab7501793459a6/tumblr_mi7yxaJIqe1qalrrvo1_1280.jpg Figure 2.33 -Perspective, Jan Vredeman de Vries. [pag. 85] http://www.ski.org/CWTyler_lab/CWTyler/Art%20Investigations/Perspective/PerspectiveRules/Image2.gif Figure 2.34 -Steven Holl’s model diagram. – Image by author. [pag. 87] Figure 2.35 - Architectural Approach diagram. – Image by author. [pag. 88]

Chapter 3 Figure 3.1 - Regional context map. – Image by author. [pag. 90] Figure 3.2 - Architecture schools location in Puerto Rico. – Image by author. [pag. 90] Figure 3.3 - Architecture schools buildings. – Image by author. [pag. 90]

List of figures|3

Figure 3.4 - Proposed site, Mayaguez city. – Image by author. [pag. 90] Figure 3.5 - Aerial view, Mayaguez city. [pag. 92] https://lh5.ggpht.com/hYKbO7wFBb-jRMf8x5T02CbgeBvHhTsWs869qfNYjcMv94YvIQ7UHgtFGrwMW6SRevhVRw=s128 Figure 3.6 - Plaza Colón. [pag. 92] http://static.panoramio.com/photos/large/40414725.jpg Figure 3.7 - Vivaldi Building, 1932. [pag. 92] http://www.venamimundo.com/Latinoamerica/PuertoRico/fotos/Mayaguez-01.jpg Figure 3.8 - UPRM Campus entrance. [pag. 92] http://www.topuertorico.org/img/th-upr-mayag.jpg Figure 3.9 - Howard Johnson in downtown Mayaguez. [pag. 92] http://media-cdn.tripadvisor.com/media/photo-s/05/6c/7c/38/howard-johnson-downtown.jpg Figure 3.10 - Facade detail, Henry Klumb. [pag. 92] http://innbrooklyn.files.wordpress.com/2010/05/img_5456.jpg Figure 3.11 - Urban Growth. – Image by author. [pag. 94] Figure 3.12 - Mayor Roadways. – Image by author. [pag. 95] Figure 3.13 - Bodies of water. – Image by author. [pag. 96]

Chapter 4 Figure 4.1 - Site relationship with the city. – Image by author. [pag. 98] Figure 4.2 - UPRM campus property line and proposed site. – Image by author. [pag. 98] Figure 4.3 - Administration building. – Image by author. [pag. 100] Figure 4.4 - Dean’s building entrance. – Image by author. [pag. 100] Figure 4.5 - Dean’s building. – Image by author. [pag. 100] Figure 4.6- Students residency. – Image by author. [pag. 100] Figure 4.7 - Luis C. Monzón Building. – Image by author. [pag. 100] Figure 4.8 - Students center courtyard. – Image by author. [pag. 100] Figure 4.9 - UPRM Library. – Image by author. [pag. 100] Figure 4.10 - Dr. Carlos E. Chardón. – Image by author. [pag. 100] List of figures|4

Figure 4.11 - Building Uses. – Image by author. [pag. 102] Figure 4.12 - Building figure ground. – Image by author. [pag. 103] Figure 4.13 - Roadways. – Image by author. [pag. 104] Figure 4.14 - Walking distance radius. – Image by author. [pag. 105] Figure 4.15 - Site view 1. – Image by author. [pag. 106] Figure 4.16 - Site view 2. – Image by author. [pag. 106] Figure 4.17 - Site view 3. – Image by author. [pag. 106] Figure 4.18 - Site view 4. – Image by author. [pag. 106] Figure 4.19 - Site natural features. – Image by author. [pag. 106] Figure 4.20 - Site dimensions and context buildings square footage. – Image by author. [pag. 107] Figure 4.21 - Walking distance radius from site. – Image by author. [pag. 108] Figure 4.22 - Site topography. – Image by author. [pag. 109] Figure 4.23 - Site temperature, humidity and rain fall charts. – Image by author. [pag. 110] Figure 4.24 - wind percentages and optimum orientation diagrams. – Image by author. [pag. 110] Figure 4.25 - Building preferred orientation and proportion. – Image by author. [pag. 110]

Chapter 5 Figure 5.1 - Architecture school studio. [pag. 113] http://31.media.tumblr.com/bc6d0e03b78230e9e84385fe3d37aac7/tumblr_mj4gdfnieE1qdnprwo1_1280.jpg Figure 5.2 - Program improvisation. – Image by author. [pag. 114] Figure 5.3 - Undefined outdoor space. – Image by author. [pag. 115] Figure 5.4 - Critique space. – Image by author. [pag. 116] Figure 5.5 - Design studios. – Image by author. [pag. 117] Figure 5.6 - College of Architecture and Landscape Architecture, UMINN. [pag. 118] http://www.archdaily.com/113813/college-of-architecture-and-landscape-architecture-uminn-steven-holl-architects/holl3-2/

List of figures|5

Figure 5.7 - Interior space. [pag. 119] http://blog.revolgroup.com/wp-content/uploads/2011/03/COLLEGE_OF_ARCHITECTURE-09.jpg Figure 5.8 - Exterior view. [pag. 119] http://www.archdaily.com/113813/college-of-architecture-and-landscape-architecture-uminn-steven-holl-architects/holl7/ Figure 5.9 - Library main room. [pag. 119] http://www.archdaily.com/113813/college-of-architecture-and-landscape-architecture-uminn-steven-holl-architects/holl15/ Figure 5.10 - Building circulation diagram. – Image by author. [pag. 120] Figure 5.11 - Visual connection to the context diagram. – Image by author. [pag. 120] Figure 5.12 - “shaft of space”. – Image by author. [pag. 120] Figure 5.13 - The Cooper Union for the Advancement of Science and Art. [pag. 121] http://i.imgur.com/kCDAfgv.jpg Figure 5.14 - Main staircase. [pag. 122] http://si.wsj.net/public/resources/images/ED-AK579_cooper_DV_20091130185053.jpg Figure 5.15 - Double facade system. [pag. 122] http://www.archdaily.com/40471/the-cooper-union-for-the-advancement-of-science-and-art-morphosis-architects/cooper-union-2-1645/ Figure 5.16 - Building ground level. [pag. 122] http://www.archdaily.com/40471/the-cooper-union-for-the-advancement-of-science-and-art-morphosis-architects/cooper-union-2-1498/ Figure 5.17 - Sustainability elements. – Image by author. [pag. 123] Figure 5.18 -Program layout. – Image by author. [pag. 123] Figure 5.19 - Atrium’s benefits. – Image by author. [pag. 123] Figure 5.20 - Apprenticeship model. – Image by author. [pag. 125] Figure 5.21 - Top undergraduate programs class distribution. – Image by author. [pag. 126] Figure 5.22 - Top undergraduate programs course relationship diagrams. – Image by author. [pag. 127]

List of figures|6

Figure 5.23 - Proposed curriculum and program. – Image by author. [pag. 128]

Figure 5.24 - Proposed program square footage. – Image by author. [pag. 129]

Chapter 6 Figure 6.1 - Design concept sketch. – Image by author. [pag. 131] Figure 6.2 - Digital design concept diagram. – Image by author. [pag. 132] Figure 6.3 - Design concept model. – Image by author. [pag. 133] Figure 6.4 - Design concept model details. – Image by author. [pag. 134] Figure 6.5 - Design concept initial sketches. – Image by author. [pag. 136] Figure 6.6 - Design methodology. – Image by author. [pag. 137] Figure 6.7 - Initial site plan layout. – Image by author. [pag. 138] Figure 6.8 - Massing sketches. – Image by author. [pag. 138] Figure 6.9 - Initial section sketch. – Image by author. [pag. 139] Figure 6.10 - Entrance. – Image by author. [pag. 141] Figure 6.11 - Outdoor spaces. – Image by author. [pag. 142] Figure 6.12 - Circulation Spine. – Image by author. [pag. 143] Figure 6.13 - Common spaces. – Image by author. [pag. 144] Figure 6.14 - Studio spaces. – Image by author. [pag. 145]

Chapter 7 Figure 7.1 - Building mass. – Image by author. [pag. 147] Figure 7.2 - Building orientation to respond to sun direction. – Image by author. [pag. 148] Figure 7.3 - Building circulation spine and private vs. public. – Image by author. [pag. 149] Figure 7.4 - Cross ventilation diagram. – Image by author. [pag. 150] Figure 7.5 - Adjustment of volumes to topography. – Image by author. [pag. 151] Figure 7.6 - Main courtyard. – Image by author. [pag. 152] Figure 7.7 - Site plan 1” = 50’– Image by author. [pag. 153] Figure 7.8 - Schematic building sections. – Image by author. [pag. 155]

List of figures|7

Figure 7.9 - Programmatic building section. – Image by author. [pag. 156]

Chapter 8 Figure 8.1 - Site actual condition. – Image by author. [pag. 158] Figure 8.2 - Site plan 1”=50’. – Image by author. [pag. 158] Figure 8.3 - First Floor Plan. – Image by author. [pag. 159] Figure 8.4 - Second Floor Plan. – Image by author. [pag. 160] Figure 8.5 - Third Floor Plan. – Image by author. [pag. 161] Figure 8.6 - Section a-a [library and offices]. – Image by author. [pag. 162] Figure 8.7 - Section b-b [main atrium and studios]. – Image by author. [pag. 162] Figure 8.8 - Complete building section. – Image by author. [pag. 162] Figure 8.9 - West Elevation. – Image by author. [pag. 163] Figure 8.10 - South Elevation. – Image by author. [pag. 163] Figure 8.11 - East Elevation. – Image by author. [pag. 163] Figure 8.12 - North Elevation. – Image by author. [pag. 163] Figure 8.13 - Building axonometric. – Image by author. [pag. 164] Figure 8.14 - Wall Section. – Image by author. [pag. 165] Figure 8.15 – Entrance view. – Image by author. [pag. 166] Figure 8.16 – Courtyard view. – Image by author. [pag. 166] Figure 8.17 – Library view. – Image by author. [pag. 166] Figure 8.18– Balcony view. – Image by author. [pag. 167] Figure 8.19 – Main atrium view. – Image by author. [pag. 167] Figure 8.20 – Frame view. – Image by author. [pag. 167] Figure 8.21 – Support spaces view. – Image by author. [pag. 168] Figure 8.22 – Second floor view. – Image by author. [pag. 168] Figure 8.23 – Studio space view. – Image by author. [pag. 168]

List of figures|8

Chapter 9 Figure 9.1 - Final Site plan 1” = 50’. – Image by author. [pag. 171] Figure 9.2 - First floor plan. – Image by author. [pag. 172] Figure 9.3 - Second floor plan. – Image by author. [pag. 173] Figure 9.4 – Third Floor plan. – Image by author. [pag. 174] Figure 9.5 - West elevation. – Image by author. [pag. 175] Figure 9.6 - South elevation. – Image by author. [pag. 175] Figure 9.7 - North elevation. – Image by author. [pag. 175] Figure 9.8 - East elevation. – Image by author. [pag. 175] Figure 9.9 - Section A-A. – Image by author. [pag. 176] Figure 9.10 - Section B-B. – Image by author. [pag. 176] Figure 9.11 - Building axonometric. – Image by author. [pag. 177] Figure 9.12 - Wall section. – Image by author. [pag. 178] Figure 9.13 - 3D Wall section. – Image by author. [pag. 179] Figure 9.14 - Entrance|Design build area perspective. – Image by author. [pag. 180] Figure 9.15 - Library perspective. – Image by author. [pag. 181] Figure 9.16 - Courtyard perspective. – Image by author. [pag. 182] Figure 9.17 - Frame perspective. – Image by author. [pag. 183] Figure 9.18 - Balcony perspective. – Image by author. [pag. 184] Figure 9.19 - Main atrium perspective. – Image by author. [pag. 185] Figure 9.20 - Support spaces perspective. – Image by author. [pag. 186] Figure 9.21 - Studio space perspective. – Image by author. [pag. 187] Figure 9.22 - hybrid studio perspective. – Image by author. [pag. 188] Figure 9.23 - Critique floor perspective. – Image by author. [pag. 189] Figure 9.24 - Garden of survival perspective. – Image by author. [pag. 190] Figure 9.25 - Final defense boards.– Image by author. [pag. 191]

List of figures|9

Thesis Abstract

Thesis Abstract|10

[re]Defining the Journey|an inquiry on architecture education

Victor H. Rivera Andino May, 2014 Through analyzing the current status of architecture in both practice and education a lack of concern for the relationship between the user and the built environment becomes apparent. Architecture has evolved into a "form" driven discipline in which history, context, and user-interaction are often neglected. This thesis will investigate how the concept of phenomenology in architecture can contribute to a better understanding of the built environment. In this notion, it is pertinent to address the work-dwelling space of architecture students in such a way that the experience of architecture becomes a source of knowledge and a learning tool; embracing, then, a practice and education of an architecture of quality, diversity, and experience.

Thesis Abstract|11

Introduction

Introduction|12

Figure 1.1 - Architecture school experience

Introduction|13

Introduction

Contradiction surrounds architecture. If we analyze the legacy of architecture throughout history we will encounter that architecture potential for agency has been utilized to reinforce hierarchies, embrace the alienation of society, neglect a social approach towards design, and strive for a business oriented practice. The consequences of these events is an architecture that neglects human experience, striving for mere formalism and reinforcing modern life through signs and symbols, thus providing a distorted image of our built environment. The

concepts

phenomenology

reveals

approach

towards

architecture that is based on the user relationship between the environment and architecture. If man can achieve a balance in this relationship, architecture and place may embrace a concrete meaning allowing man to be at â&#x20AC;&#x153;homeâ&#x20AC;?, to dwell on earth. As an architecture student I had realized that the approach that we, architects, have towards architecture, design, and place goes against the goals of phenomenology. It is for these reasons that this thesis looks forward to provide a work-dwelling space for architecture students in which the concepts of phenomenology are applied. By doing this, architecture students will experience a space that embrace the concretization of meaning and the creation of place. The provided architecture will become a source of knowledge that will influence architecture students in their approach towards place, design, and architecture by redefining the journey of architectural education. Introduction|14

|me|

architecture student

architecture school experience

faculty studio culture

curriculum

physical environment

architecture school deficiencies

programmatic leftovers

support program neglection

disconnection with place

lack of quality in core spaces

thesis proposal

Figure 1.2 - thesis proposal diagram.

Introduction|15

Categories of influences in the education model

Curriculum This hidden curriculum, manipulated by current social, economic and political institutions, fragments and disintegrates the creation and transmission of knowledge in the design studio. Architecture students are exposed to an environment of competition, individualism and confrontation1. Faculty and studio culture During architectural education the primary class is design studio, this is evidenced by the amount of time students and professor dedicate to the class. But despite the vast amount of time dedicated to studio, compared to other classrooms environments studios are very dynamic and involve drawing, model making, conversation, and debate, activities which demand analytic, synthetic, and evaluate modes of thinking2. Physical environment One of the goals of this thesis is to provide a space that will encourage a more communicative approach to the design studio, instead of being a teacher-student relationship it can transcend to a student-student community in where the creation of knowledge is transferred from both parts equally3. Thesis proposal This thesis will result in new insight as to how to maximize user experience in architecture and become a source of knowledge through place, design, and architecture. Introduction|16

Theoretical Context

Theoretical Context|17

[1] context of thesis premise

[2] c.n schulz theory model

[3] p. zumthor model

[4] s. holl model

[language]

[architecture of power]

[architecture]

[poetry]

[education] [practice] [j. pallasma]

[phenomenology]

[pedagogy]

[phenomena]

[UCL]

[division of labor]

[architecture]

[place]

[formalism] [studio pedagogy]

[steven holl]

[knowledge]

[society]

[theory]

[thesis proposal]

[therme vals]

[zumthor]

[memories]

[paper architecture] [color]

[history] [industrial revolution]

[light|shadow] [dwelling] [cultural pedagogy]

[perception]

[dwelling]

[place] [architecture]

[time] [purpose] [sound]

research

2013

architecture

2000

pedagogy

1990

history

1980

phenomenology

1960 1930

connector

1900

thought process

1800

historic event

1400

resource

b.c.

Figure 2.1 - thesis theoretical research diagram

Theoretical Context|18

Architecture, power, and society

Figure 2.2 - Arc de Triomphe de l'Ă&#x2030;toile Paris, France.

Theoretical Context|19

To understand the actual status of both architectural practice and education, it is beneficiary to do a brief overview of some specific socio-economic factors that parallel with crucial historic events that have shaped the profession of architecture. As a result, architecture has evolved to a â&#x20AC;&#x153;formâ&#x20AC;? driven and business oriented practice. Architecture has been a profession of contradiction, reflected mainly in role to society and its actual practice. A general architecture belief is that design and buildings addresses users and works toward their best interest. Nonetheless, if we examine the architectural legacy throughout time, we could agree that architecture has been a clear and consistent representative of those in power and the built environment is being portrayed as a field of domination. Specifically, before the 18th century, with pyramids, palaces, and whole organizations of cities, architecture has been in relationship with the upper class embracing and celebrating slave labor, military conquests and the ruling of despots5. From these initial remarks an important question arises: how architecture can serve as a tool for power and inflict domination of society? In Building Change, Lisa Findley, argues that architecture has a potential for agency. Using spatial arrangements that range from small to large scale, architecture tries to control space and the people around it utilizing its potential for agency as a physical representation of those in power6. Findley remarks on four spatial strategies that represent power: (1) construction of hierarchies, (2) marginalization, (3) segregation, and (4) long-term, large scale mechanisms of spatial transformation7. Theoretical Context|20

Figure 2.3 - Map of North America, Jan Jansson c. 1636.

Theoretical Context|21

In the construction of hierarchies the elements of location, size and height contribute to the image of power, giving the dominant class a privilege position over the rest of the population. The location of certain buildings or structures, regularly in the center of the city, draw attention and certain social importance to a space, making our perception and reaction towards it different from others. The second strategy, marginalization, affects most of spatial interactions. How we move, communicate and access space is determined by outside forces. Through imprisonment, banning and exile, the negation of space is another form of oppression experienced in marginalization. This negation of space has great significance because it not only affects the physical environment of the individual but also how they relate with others and themselves. Then, marginalization, not only affects our relationship with the built environment but also our social interactions, affecting our psyche in the process. Segregation, our third strategy, is arguably attached to a human scale but at the same time can be embodied in different layers in the urban arrangements of the city. Those in power want these “undesirable” people out of sight, practically to be invisible, but at their reach if they need them. Segregation of neighborhoods, the spaces provided for them and how we perceive them contribute to the spatial agency of power. The criteria for segregation range from class, religion, gender, ethnicity and predominantly, race. For example, the commonly used word “ghetto” comes from the local name of the enclosed neighborhood where the Jews of Venice were forced to live.

Theoretical Context|22

Figure 2.4 - Der Weimarer Musenhof , Theobald von Oer 1860

Theoretical Context|23

The last strategy of power, transformation of space at larger scales, is analyzed from a geographical standpoint. Colonization in the 16th century completely changed our notion of scale and the domination of space. The great civilizations and cities found in the “new world” were massive compared to the European cities. The development of cartography brought information of how extensive the world was and showed all the new land that was available to conquer. The colony and explorers saw this new land as a blank space on a piece of paper with no cultural or social implications, blank space that represented only economic value8. Through the colonization period until the Enlightenment, the category of “fine art” played a fundamental role. Even though to society the understanding of art transcended social life, it proliferated as a commodity that manifested and augmented social power. In addition, by claiming an autonomous practice it would deceive society and cover relationships of power and domination9. The Enlightenment brought a separation of art, science, ethics, and aesthetics value and reaffirmed a division of each category on the social sphere. Scientific knowledge (facts) where then separated from ethical and aesthetics values. In relation to architecture and the built environment, the Enlightenment also meant separation. Mental and manual labor were not considered equal and for the first time we saw a split between work and the education of architecture10. The industrial revolution, a process of great importance that started during this period, changed our notion of work, place and the city completely.

Theoretical Context|24

Figure 2.5 - Factory Workers during the Industrial Revolution.

Theoretical Context|25

To put in perspective the difference of the city life and the architectural implications that the industrial revolution brought upon us I will discuss Richard Hatch’s description of the traditional city found in his book the Scope of Social Architecture. For him, the traditional city was no utopian democracy. As we stated before, figures of power like the palace, cathedral and the market represented the nobility, clergy and merchant class. Even though these institutions of power “defined” the city, if we look closer to the extent of the city we can find a considerable autonomy and a rich social life11. The spatial subdivision of the city represented the gross division of labor and the economic structure of the city could have been traced all the way to each housing unit. Every dwelling was a workshop, warehouse, training school, and a home for the family and apprentices12. The city became a source of knowledge, embracing communication and interaction between people, work and life were seen as equals. These interactions and relationships also had architectural implications as the house of the craftsman and the master builder could have been sharing a street, a wall or style even though they did not share power equally. The understanding of those relationships and public space remained a mutual interest to the city. Craft production was the dominant force of that time. Shops were small in size and they were traditionally attached to the owner’s house. Each worker owned his tools and the knowledge of how to use them could only be obtained by apprenticeship. Workers were linked to their products, they became their representation, not only socially speaking but also as an economic interdependence13. Theoretical Context|26

Figure 2.6 - Men and children working during the Industrial Revolution.

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During the first half of the 19th century merchants transformed themselves to industrialist and the revolution took place. A new mode of production and relationships changed our notion of work and the city itself. For Hatch, the central instrument in this restructuring of life was the factory. As a result, the use of machinery, faster and more skillful than men, and the spatial organization of workers under specialized building, often under surveillance and control, rationalized work. Human beings were reduced to a commodity, they could be bought for the lower price and land which at the moment had a special significance to western political culture was downgraded to a simple investment14. â&#x20AC;&#x153;Artisans, who had enjoyed interdependence and security, building and modifying their workshop homes as needed, now lived precariously at the whim of the markets in land and laborâ&#x20AC;?15. During the second half of the 19th century most of all craftsmanship were either fully industrialized or in the process of getting there. As we look back to the industrialization development and how it impacted the workers, that now did not have control over their work, tools or materials, Hatch discuss two main consequences that are relevant to our discussion. First, the workers experienced a process of deskilling. The workers were stripped away from important decisions like the place of work, the pace of work, or the production of work.

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As a result, the thinner division of labor provided an environment in which creativity was excluded and the knowledge of the workers were less demanding. The workers tasks were reduced to very simple operations diminishing their intentions of understanding any difficulties or providing improvements to the end result of the products16. No less important, the second consequence talks about the relationship between workers. As the rationalization and homogenization of labor was implemented the interchangeability of workers increased. In result, this created a competitive environment in which unemployment rates were maintained high rising ethnic and racial conflicts in society17. The industrial revolution not only had consequences in the workspace but also on how we experienced our everyday life. The city was now conceived as a machine to make money, labor was intended to satisfy consumption instead of needs, and land transformed into a market of profitable search. The new industrial division of labor became a spatial ordering principle18. To conclude Hatch argues that the natural outcome of the everyday changed people to an alienated society, these changes can be summarized in four (4) main points: 1. Society has been fragmented into â&#x20AC;&#x153;interestsâ&#x20AC;? that are the unavoidable effect of a competitive market in labor. Community is almost unknown; society is reduced to an aggregation of fearful and mutually suspicious individuals.

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Figure 2.7 - William Morris.

Figure 2.8 - Hannes Meyer.

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2. The development of the economic order imposes an ever narrower division of labor. This is an effective obstacle to shared knowledge and understanding. This problem is exacerbated by the opacity of the city – a product of the segregation and separations that delimit experience. 3. The number of roles we are comfortable playing shrinks, and with it the memory of what was formerly important human needs. 4.There has been an inversion of ends and means in regard to work. Work is no longer performed for itself, or as a way of satisfying one’s own needs or those of one’s family.

What work now creates is not ours, not what we want or need. It is done for others; what is produced is theirs. Life begins only when the workday ends19. Parallel to the social changes of society and the city, brought by the industrial revolution, the theories of William Morris and Hannes Meyer fought against the representation of power and the reduction of architecture to art or aesthetics. Our first example, William Morris, is known for being a poet, advocate of neo-gothic revivalism, designer of tapestries, painter and producer of commodities. However, the other side of Morris, the revolutionary, socialist theorist and servant of the working people is normally neglected. Contrary to his historic context, Morris, wanted to “create conditions of empowerment to the masses, and his strategy was to reawaken and popularize the lost crafts of an earlier era in order to put workers once again in control of the means of building construction”20. Theoretical Context|31

He was a pioneer in stating that design has a role in the movement of emancipation and reaffirmed that it is impossible to exclude socio-political questions from the considerations of aesthetics21. Similar to the theories of Morris, Hannes Meyer, brought resistance from the educational side of architecture. Meyer remains as the unknown Bauhaus director, event though, he had a three year career at the school from April 1927 to August 193022. The depoliticized art promulgated by an early era and reproduced by Walter Gropius, Le Corbusier, and others, made modernism a style representative of something other than itself, not of classical antiquity, but of the new timelessness of functionality23. Meyer challenged these notions. The director of the Bauhaus stood against the aesthetics of the social and supported a scientific approach to design. He believed that the design process needed a participatory process that involved the community and opposed to the image of the solitary, all mighty, designer that knew all the answers. The making of architecture was essentially a social process. His definition of architecture and the process related to it are of particular importance: â&#x20AC;&#x153;Architecture is a process of giving form and pattern to the social life of the community. Architecture is not an individual act performed by an artist-architect and charged with his emotions. Building is a collective actionâ&#x20AC;Śthe form of the building must have a social content, otherwise it is mere decoration and formalism. We condemn the exhibitionist as an antisocial element in society, and we should also condemn that type of architect for whom the building of a house is merely an opportunity to parade personal formal preferences for all the street to seeâ&#x20AC;? 24. Theoretical Context|32

Figure 2.9 - Dead student during the Kent State Univeristy Shooting, May 4, 1970.

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Even though this definition of architecture reflects one of the true purposes of the profession, advocates of this vision like Meyer, were the minority in architecture and modernism remained as the dominant style in Europe and eventually in postwar America. Beginning with the civil rights movement in the United States in the early 1950s a mayor social change was perceived in the horizon. Certain events parallel to the questioning of what was “normal” or “right” put the issues of democracy and justice at stake. Starting with the assassinations of Malcom X, Martin Luther King Jr. and John F. Kennedy, in 1965 and 1968 respectively, and the racial powered war of Vietnam, society demanded for a participatory democracy requested mainly by a vast movement of civil disobedience25. Design students were actively involved in the social awakening of the nation. During the 1960s they were among the most vocal advocates of social change, critiquing corporate modernism as part of an oppressive capitalist political system. In 1968 students at MIT had reorganize their studio space into a live-in workshop; students at Colombia University School of Architecture occupied their building to protest against a demolition of a black neighborhood, to have room for a university swimming pool, and also demanded a more direct role in their social relationship with the community. In addition, in May 1969 at Berkeley, architectural staff and students were a key factor for the resolution in the fight over control of People Park26.

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Figure 2.10 - President of the United States Ronald Reagan [1981-1989]

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These concerns of architecture students and professionals during this decade were a logical outcome of the historic context, but sadly, did not move forward. The movement encountered a setback from the conservatism that developed in the early 1970s and most middle class youth, stunned by the ferocity of the repression and without an effective political strategy, abandoned confrontation and retreated to the safety and predictability of careerism27. Through the next decade the conservatism movement had enormous consequences on design theories and architecture. The social movement experienced in the 1960s by architecture quickly turned around to a professional practice driven environment in the 1970s. The movement was completely diminished by the mid-1980s as political conservatism and economic recession drove professionals to traditional models of practice28. These turn of events had two main consequences in architecture. First, architecture experienced a specialization in the practice that now made possible for architects to hand engineers part of their job and focus mainly on the aesthetics of the project. Parallel to this division of labor, the socio-economic crisis of the seventies that affected architecture was tackled by the idea that architecture could be pursued as drawn representation29. Architecture, then, re-enters the market of fine art and once again got involved with the artistic patronage that denoted their beginnings. Architects argued that they did not have to build to be considered architects and the little social implications left were slowly fading away and were replaced with still images that marked the beginnings of paper architecture. Theoretical Context|36

Figure 2.11 - Frank Gehry in the animated series “The Simpsons”.

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To imply that architecture is only art is to deny their impact on society and place. The approach of society towards architecture is the appropriation of space, to create memories of that place, and eventually develop a sense of identity. On the other hand, the approach towards a piece of art is to maintain their original condition, to preserve the intentions of the author (architect) and his work. Architecture again enters a field of contradiction in which society wishes to leave their mark on the built environment but the privatization of society has had an enormous impact on public space and basically neglects the individual of a personal experience with their surroundings, people and architecture. In this sense, architecture is attempting to address cultural, social and political issues with formalism but in reality it is enhancing its own image and proclaiming a difference between “good” and “bad” architecture based on visual and artistic reference. Even our most basic definition of architecture does not show a clear solution in the dilemma. Architecture: the art OR practice of designing and building structures and especially habitable ones30. Current architectural trends have been striving for aesthetics styles and formalism. Equally to society, architecture has been bombarded and overwhelmed by global economy, advertisement and businesses. The resultant architecture, predominantly visual, have been codified a “reconstruction” and “deconstruction”31. This architecture of images does not offer any strategy in favor of society but instead rejects the frames of social theory that works toward the identification of an individual32.

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Critical pedagogues Peter McLaren and Tomaz Tadeu da Silva provide words that exemplify what architecture should facilitate to society: â&#x20AC;&#x153;The taskâ&#x20AC;Ś is to provide the conditions for individuals to acquire a language that will enable them to reflect upon and shape their own experience in the interest of larger project of social responsibilityâ&#x20AC;?33. In this sense, cultural studies are a critical aspect in the creation of knowledge and in understanding how society reflects upon the built environment. Cultural studies, then, gives a very informative insight on how culture is key for analyzing the social aspects structuring people life and the process by which humans gain consciousness, make choices, and sustained their identities34. Architecture in the intersection of culture, power, and knowledge must accept and embrace his potential of agency and contribute to the relationship between architecture and identity. This knowledge or meaning has to be dynamic, never static, transformative, not definitive, and proposed, never imposed. Is in this participatory process where true knowledge is experienced, transmitted, and accepted. We experience architecture of pedagogy. But in these notions, pedagogy, then, refers to those practices that define what it is important to know, how it is to be known, and how this production of knowledge helps to construct social identities35. The question, then, becomes: How does architecture become an agent of knowledge?

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[1] context of thesis premise

education practice events

1400-1800 [apprenticeship]

1800 [enlightenment period]

1930 [industrial revolution]

1960 [social revolution]

1980 [economic recession]

1990 [paper architecture,starchitecture]

Figure 2.12 - Education and practice of architecture through history.

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The previous diagram shows that the relationship between the practice and education of architecture started as a simultaneous experience and throughout history has reflected separation and unity. The current educational model does not comply with the scenarios that the practice of architecture offers and one of the goals of this thesis is to provide a hybrid model in which both branches can coexist.

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Architecture, power, and society

Figure 2.13 - Po誰esis, Ari Larkin.

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For architectural theorist, Alberto Perez-Gomez, history shows that architecture has been a profound “interdisciplinary” form of knowledge, allowing humanity to dwell on the earth36. For Perez-Gomez it is indispensable for the survival of culture to hold to this “radical orientation”. This will allow humanity to overcome individuality and be part of a more significant and timeless reality37. Throughout history, knowledge, has served as that orientation in many ways. Having said that, knowledge, must be understood as a representation of embodied consciousness, different from superfluous information. This quality of consciousness becomes necessary for human survival, not only to material needs, but instead as a way to maintain a communication with being. As a result humans will fulfill their potential of dwelling on earth. These characteristics of dwelling separate humanity from other orders of existence on earth38. Before the late 18th century, knowledge, was synonymous with a comprehensive notion that included science and poetics as complementary to each other, allowing humanity to find meaning in human actions and their relationship with life as a whole. In the same sense, architecture and art traditionally fulfilled the task of providing an “embodied” metaphysics for society. However, this task has been extremely difficult to not only accomplish but also to recognize over the last two centuries. Architects and artists tried to avoid the issue claiming, both an autonomy and self-reference of their fields. They ignore that the making of the arts (poiesis) had always involved, not information, but true knowledge39.

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For the author there are two important obstacles that the profession must overcome to reorient itself to the creation of knowledge. First, there is a necessity to overcome the fallacy to identify the history of architecture with the history of buildings. By overcoming this we can identify architecture as a recreation of symbolic order and the relationship with the articulation of the immutable, of the given, becomes apparent. As a result, we can facilitate the harmony between humanity and the world40. The second obstacle is the misconception between information and knowledge. These discrepancy have made individuals acquire great quantities of information in comparison to true knowledge. Perez-Gomez states that the obsession with information and the illusions concerning its applicability goes towards obtaining a more efficient and economic value from the “system”41. When architects apply information, with the variables of efficiency and economy as our main drivers, the values of the system and the end product are practically repetitive. As a result, this obsession with information, alongside a technological approach to the world have a negative impact on what we manage to build42. Even though computers and technology provide architects all the information for designing a more “functional” building the fundamental problem of meaninglessness will still prevail. The author, then, presents a very important statement in where he affirms that architecture is not the embodiment of information but instead the embodiment of knowledge. The factors of humanity struggles and their actual response in terms of material needs are not independent. The emphasis on shelter over dwelling has overshadowed the real issues43. Theoretical Context|45

Architects must have an understanding of the present situation and relate to the totality of culture. That understanding should be the architect’s basic knowledge, far more important than skills or architectural techniques. Our fascination of bringing the real world, with all its information, to architecture schools is detrimental to the student development, embodied making, true freedom and authentic originality44. To fight against the cultural irrelevance by which modern society has condemned architecture we, as architects, have to eliminate scientific prejudiced and accept that the gap between architectural intentions and the world of buildings often approaches immeasurable amounts45. Architects, then, face a challenging scenario in which the physical environment is sadly mute, lacking of imagery, and at the same time deal with society support of ideological uniformity and denial of the essential function of architecture as knowledge. The author quotes Octavio Paz to explain the role of the architect in this confusing and contradictory world: “The knowledge of the architect, present and future, must enable the architect to "make" in this considered manner, inform-ing the architect's

praxis

with

history-theory-criticism,

articula-tion

mytho-poesis

which

might

incorporates

defined dreams

as and

imagination, allowing for an authentic cultural diagno-sis in thought and action”46. The essay concludes with a quote from Herakleitos that expresses in an extremely short sentence what should be an indistinctive characteristic of all architecture as a representation of knowledge. “The hidden harmony is stronger than the visible.”47 Theoretical Context|46

As was made evident in the discussion of Alberto Perez-Gomez essay, Architecture as embodied knowledge, architects, architecture, and society have exchanged their notion of knowledge for information. As a result our perception of our everyday world, relationship with the environment and our expectations of architecture are completely distorted. We see architecture as a mere shelter overcoming the concept of dwelling.

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Figure 2.14- ”phenomena”

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To address these issues the concept of phenomenology will be discussed. The discipline of phenomenology can be defined initially as the study of structures of experience, or consciousness. Literally, phenomenology is the study of “phenomena”: appearances of things, or things as they appear in our experience, or the way we experienced things, thus the meaning things have in our experince48.The origin of this word on Greek language is “phainein”, meaning to show, and “phainomenon”, meaning thing appearing to view. We can conclude that phenomena is related to our physical world, to our senses, things we can see and touch. The highest exponents of the movement of phenomenology in the first half of the 20th century were Edmund Husserl, Martin Heidegger, Maurice-Ponty and Jean-Paul Sartre. The nature, extent, and applications of the term of phenomenology are very complex and require a profound analysis that involves knowledge of various fields outside architecture. In addition, even though phenomenology addresses our interaction with the environment and daily life experiences, phenomenologist have been mainly concerned with other fields and have given little attention to the phenomenology of place and their impact and relationship to architecture. It’s for these reasons that the work and literature of Christian Norberg-Schulz have been selected for further analysis.

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Figure 2.15 - Genius Loci, Towards a phenomenology of architecture book cover.

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Christian Norberg-Schulz (May 23, 1926 – March 28, 2000) was a Norwegian architect, architectural historian and theorist. Though he practiced as an architect in his country, he is well-known for being one of the first architectural theorist to bring the thinking of phenomenology, specifically Martin Heidegger thoughts, to the field of architecture. A series of books from 1963 to 1980 developed the idea of phenomenology in architecture. Common to all of them is the view that architecture represent a means to give man an “existential foothold”49. Intentions in Architecture (1963) stated that “the environment influences human beings, and this implies that the purpose of architecture transcends the definition given by early functionalism”50. It was also presented that one of the basic needs of man is to experience his life situations as meaningful, and the purpose of the work of art (architecture) is to “keep” and transmit meanings51. In Existence, Space and Architecture (1971) the concept of existential space was introduced. This term mainly treated the relationship between man and his environment52. The last book of this series was selected for a more extensive analysis. In Genius Loci (1980) Norberg-Schulz implements Heidegger philosophy to understand architecture as a concrete phenomenon. In addition, he defines his concept of “existential foothold” as a synonym to Heidegger concept of dwelling. Therefore, dwelling, is the purpose of architecture. The concept implies something beyond shelter. It implies that the spaces where life occur are places, in the true sense of the word.

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A place is a space which has a distinct character. Architecture means to visualize the genius loci or “spirit of place” and the task of the architect is to create meaningful places, whereby he help man to dwell53. The analysis of Norberg-Schulz book, Genius Loci, is divided in three parts: place, natural place and man-made place. The result of this analysis is an understanding of the relationship of man with his environment, his architectural response to natural elements and how to create a balance between man-made structures and natural places. It is important to point out that for Norberg-Schulz there are not different kinds of architecture, but only different situations which require different solutions in order to satisfy man physical and physic needs54. In this sense, our approach as architects should be “one” architecture that responds to different factors such as the environment, boundaries, context, and history without losing our stake in the creation of meaning, knowledge and place. Place The perception of our everyday life, just as our current architectural status, is based on neglecting some aspects to emphasize others. As mentioned earlier, our life-world is constructed on “phenomena”. For Norberg-Schulz our everyday life phenomena consist of people, animals, flowers, trees and forests, of stone, earth, wood and water, of towns, streets, and houses, doors, windows, and furniture. These elements are defined as “given”. Then, everything else, such as atoms, numbers, and all kind of data (information) are abstractions or tools which are constructed to highlight other processes than those of everyday life55.

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It has become our common nature to give more importance to these abstractions or information than to our true phenomena resulting in a lack of attention to the “sense of place” and a distorted and superficial perception of the environment. True phenomena gives character to space allowing man to obtain meaning from a certain experience and therefore change their understanding from space to place. Then, what is the definition of place? The first notion that came to our minds can be related to geographical location, where activities and events develop. But in relationship to the phenomenology of place the author refers to place as “a totality made up of concrete things having material, substance, shape, texture, and colour56. Together these things determine an environmental character, which is the essence of place57. Activities of our everyday lives require different places. As a result, our houses, towns, and cities consist of a series of places. Even though architecture and planning has “address” this issue, their focus has been on a more quantitative notion and the implications of space and environment are downgraded to mere functionalism and dimensionality. We cannot minimize “sense of place” to only these notions. As Norberg-Schulz exposes in this example, basic functions to man like eating and sleeping cannot be perceived as equals. Each one denotes different properties and demands on space depending on cultural and environmental conditions58.

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In this sense, place cannot be understood solely by analytic or scientific concepts. Such an approach excludes our daily life experiences, neglecting meaning and objectifying place. Is in these experiences that phenomenology focuses. However, a direct reference to the relationships between experience, architecture and phenomenology are scarce. The author, then, has to rely on language and literature as our source of â&#x20AC;&#x153;informationâ&#x20AC;? to represent our experiences59. Poetry, specifically, has been able to concretize those experiences and represent our interactions with space, focusing on meaning and eluding references

functionalism,

dimensionality

and

aesthetics

imposed

contemporary life. Norberg-Schulz presents a poem used by Heidegger to explain how literature can represent a life-situation in where the notions of place are extremely palpable.

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A winter evening Window with falling snow is arrayed, Long tolls the vesper bell, The house is provided well, The table is for many laid.

Wandering ones, more than few, Come to the door on darksome courses. Golden blooms the three of graces Drawing up the earthâ&#x20AC;&#x2122;s cool dew.

Wanderer quietly steps within; Pain has turned the threshold to stone There lie, in limpid brightness shown, Upon the table bread and wine.60

George Trakl

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Figure 2.16 - Place, a winter evening diagram.

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Norberg-Schulz, then, presents a short but insightful analysis of how elements of the poem construct the notions of meaning and place. The first observation in the Trakl poem is the use of concrete images and things such as snow, window, house, table, door, tree, bread and wine. In addition, the character of the falling snow exposes a separation of sky and earth and how time elapses, represented in this case by the seasons (Winter). Nature is also represented by the “golden” tree, which provides a unified image of earth and sky that results in the world. In the first verses of the poem there is a clear distinction between the inside and the outside. The inside is presented by the house. The enclosure of the house, provider of shelter and security, also reflects a connection to the outside with the presence of a window. Even though the description of the inside is not told in detail, some differences can be point out from the outside. Luminous and warm in contrast to cold and dark on the outside. At the same time the outside held together natural and man-made elements such as the snow and the vesper bell. The latter one, with its sound, includes the “private” notions of space to a “public” totality. Finally, man is showed as a wanderer on “darksome courses” rather than being shown inside the house, which is built to provide shelter and safety, he comes from the outside, from the “path of life”. This path is the representation of man attempt to orientate himself in the unknown environment. As man enters through the threshold the table is shown. Here is where men come together, is the symbol of the center61. Theoretical Context|57

We can, then, name three categories that helps us recognize the structure of place: (1) Distinction of natural and man-made phenomena, between landscape and structures. (2) Boundaries between earth and sky (horizontal and vertical) and outside – inside. (3) Character, which is defined by how things are, giving an understanding of everyday phenomena62. Natural Place The analysis of the Trakl poem, discussed above, presented different elements and relationships between man and the environment. When man finds meaning in the environment they feel at home63. These meanings expresses an understanding of our interactions with the environment or “place”. We recognize a specific place and our perceptions of it are different, we remember a certain element of the space, a shadow, a smell, or a texture. For Norberg-Schulz to recognize these elements in our construction of natural place is important, but at the same time, they do not represent the complexity of the relationship between man and his environment. Natural place, then, is formed by structures and meanings. Our phenomenology of place is directly related to these concepts and our understanding of nature64. The author discusses five categories of natural understanding that help man visualize natural places. The first category is based on the meaning of concrete natural elements, things, and their relationship between the boundaries of heaven, earth and man’s existence.

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For ancient civilizations their understanding and meaning of creation is based on a “marriage” between heaven and earth. The implication of these boundaries are then applied to natural elements such as mountains, trees, forests and water. The mountain, a natural element that belongs to the ground, also rises to the sky establishing a proximity to heaven. The interaction of this object between the two boundaries changes our interpretation and meaning of it. The top of the mountain, because of his proximity to heaven, becomes a place within the comprehensive landscape. A place which makes the structures of being manifest65. The tree also reflects a particular meaning. Not only does the tree embrace the unity of earth and heaven but also re-enacts the very process of creation. As consequence, vegetation can be seen as the manifestation of living reality66. However, not all meaning given to natural elements are positive. The forest receives a different connotation as the recipient of strange and menacing forces. Is in the limitless extension of the forest that man loses his orientation and feels like entering another “world”. We can state that our positive notions of space are based in delimited or enclosed situations that embrace a human scale, resulting in a feeling of shelter and security trough the experience67. Water, the last example, gives identity to land and is conceived as a fertilizer, a symbol of life. Ideal landscapes of the 15th and 16th century placed bodies of water alongside human settlement; characterizing a local importance in the development and survival of men. Theoretical Context|59

Figure 2.17 - Delphi, Greece.

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Norberg-Schulz, quoting Mircea Eliade, points out that “such places are never chosen by man, they are merely discovered by him; in other words the sacred place in some way or another reveals itself to him”68. These places serve as object of man’s orientation and identification between the boundaries of heaven and earth, constituting a spatial structure. The second category of natural understanding consist in abstracting a systematic cosmic order from the flux of ocurrences69. This order is based on either the invariable movement of the sun and the cardinal points. In Egypt civilization, the local geographical structure also played an important role. The south-north direction of the Nile constitutes a primary element of man orientation70. This implies that the world is understood as a structured “space” where the main directions depend on the relationship with the sun, the geographical location, and orientation, resulting in different qualities and meanings71. The definition of the character of natural places is our third category of natural understanding. The abstraction of characters was the achievement of the Greeks, and was evidently made possible by the very structure of the Greek landscape72. These landscapes reflect a personality of their own and is this basic property of the Greek environment that reflects an individual character of place. In some places you will find protection coming from your surroundings and menace coming from others. In addition, these natural elements showed a specific shape or function allowing the Greeks to personify the elements as anthropomorphic gods.

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In conclusion “by relating natural and human characters, the Greeks achieved a “reconciliation” of man and nature which is particularly well concretized at Delphi”73. The fourth category of understanding consist of the concept of light. Throughout history the experience and significance of light has been represented in different forms. For some civilizations it meant knowledge, for others love and even sanctity. However, for this discussion, light is one of the most general natural phenomenon but also the less constant. It changes from morning to evening and practically disappears at night. These variations link light to the temporal rhythms of nature and represent the passing of time through the day. The passing of time present our last category of natural understanding. Seasons are also connected to these temporal rhythms of nature. Depending on geographical location, seasons, give a different perception and feeling of the objects on the environment even though it does not change their physical attributes. In general these categories designate the meanings man has abstracted from the flux of phenomena74. Man-Made Place To dwell in earth man has to settle in between heaven and earth and concretize his situation as a man-made place. Here, the word settle does not have an economic connotation but instead means man’s ability to create “existential space” that allows him to symbolize meaning75. In contrast of the natural environment, the man-made environment because of his meaningfulness allows man to be at home. Theoretical Context|62

Since the early stages of humanity man has recognized that to create a place means to express the process or feelings of being. As a result, the man-made environment is not a simple tool or result of random events but instead it has structure and embodies meanings. These meanings and structures are reflections of man’s understanding of the natural environment and his existential situation in general76. As consequence, the man-made place discussion must depart

from a natural basis making the concretization of buildings and

architecture a response to the understanding of nature; mentioned earlier as things, order, character, light and time. The processes involved in translating these meaning

into

man-made

forms

can

defined

“visualizations”,

“complementation” and “symbolization”. Man, then, builds his world77. To discuss the first mode of building we go back to the Egyptians for example. The Egyptians pyramids are “artificial mountains” which were built to show the properties and meaning of a real mountain. The pyramids express different responses of the society towards the environment such as their mythology with the sun-god Ra, their location between the oasis and desert (life and death) and the visualization of the spatial structures of the country. By means of visualization and symbolization the ancient Egyptians thus concretized their known world78. The notion of cosmic order was also concretized by the Egyptians as their orthogonal space unified the east-west course of the sun and the north-south direction of the Nile.

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Figure 2.18 - Egyptians pyramids, Gaza Egypt.

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This orthogonal space, cave like interior, and cultural landscape suggest general comprehensive orders, which to some extent satisfy manâ&#x20AC;&#x2122;s need for understanding nature as a structured whole79. Character, in the other hand, is more intangible than natural things or spatial relationships, therefore, they need special attention from the builder. These concretizations of character contains a language of symbolic form and consist of basic elements that can be arranged and combined in different ways. The Greeks were the main developer of this language. Alongside to the creation of personality in the landscape, the Greeks combined their natural place with architecture resulting in symbolic structures (temples) that also gave presence to that particular place. The articulation of Greek architecture, therefore, cannot be understood in merely visual or aesthetics terms. The articulation of these structures meant creating a particular character, and this character, simple or complex, determined every part of the building80. Distinct to the specific articulation and physical language of character, the creation of light was based in dematerialization. This action introduced light as a symbolic language, a divine manifestation. Medieval man â&#x20AC;&#x153;builtâ&#x20AC;? light, the most intangible of natural phenomena81.

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Figure 2.19 - Pantheon Rome, Italy.

Theoretical Context|66

Even though time, in its basic properties and qualities is not classified as phenomena, his relationship with the natural rhythms of nature have produced important abstractions in architecture. Contrary to time, buildings and settlements are static. However, man has been successful in recreating time and movement through basic temporal structures that exposes spatial properties. Movement and direction are general characteristics of manâ&#x20AC;&#x2122;s life. Therefore, the architectural response to the dimension of time are concretized in the concepts of path and centre. Generally, this path takes us to a meaningful goal where movement is recessed and man experiences ownership over time. For example, in the Christian basilica, path (nave) and goal (altar) are united to symbolize the â&#x20AC;&#x153;Path of Salvationâ&#x20AC;? of Christian doctrine82.

Theoretical Context|67

[2] c.n schulz theory model

Figure 2.20 - Christopher-Norberg Schulz theory diagram.

Theoretical Context|68

In conclusion, Norberg-Schulz affirms that man-made place visualizes, complement, and symbolizes manâ&#x20AC;&#x2122;s understanding of his environment and gathers a series of meaning. Therefore, through buildings, man creates structures that possess individual genius loci. This genius is directly related to what is concretized and the meaning embodied on that particular structure, resulting in an architectural articulation responsive to the environment qualities looking to satisfy manâ&#x20AC;&#x2122;s physical and psychic needs. As mentioned above, the concept of phenomenology in architecture is not discussed, investigated, or practiced with regularity in the field of architecture. Nonetheless if we look at the analysis just portrayed on Norberg-Schulz literature we can conclude that the elements and relationships that compose phenomenology and the construction of place are in no way out of this world or unachievable. An architect which work can be categorized as phenomenological architecture is Peter Zumthor.

Theoretical Context|69

Figure 2.21 - Peter Zumthor at his office.

Theoretical Context|70

Born in Basel Switzerland, in 1943, Zumthor, was trained as a cabinetmaker, designer, and architect at the Kunstgewerbeschule Basel and Pratt Institute in New York. In 1979, he founded his own practice in Heldestein, Switzerland. His idea of architecture and place are very unique, for that reason an analysis of his thought process and architectural work will be discussed, specifically his book Thinking Architecture. The analysis of Zumthorâ&#x20AC;&#x2122;s main ideas has been divided in five topics: architecture, landscape, design, materials and memories.

Theoretical Context|71

Figure 2.22 - Interior space, Therme Vals. Switzerland.

Theoretical Context|72

Architecture The analogy between music and architecture is recurrent in the writing of Zumthor. The elements of disharmony, broken rhythm, fragments and clusters of sound used in contemporary music have their counterpart in current architecture. Even though Zumthor is not opposed to the use of these radical notions in both music and architecture, he recognizes that there are some limits and architecture must have a physical relationship with life83. Society, specifically architects, cannot settle with architecture of signs or messages that downgrade architecture ability to embody meaning. To him, postmodern life is surrounded by signs

and

symbols

that

expose

contradictory

opinions

society.

consequence, society cannot fully understand the dynamics developed by economy and politics by these contradictions resulting in the crumble of traditions, the merge of cultural traditions with global culture and the prevalence of mass communication and arbitrariness. Our world becomes a blurred image in which our only concrete reference of reality is ourselves84. However, similar to Norberg-Schulz, Zumthor believes that concrete things still exist, with a real presence that is self-evident. These things, earth and water, the light of the sun, landscapes and vegetation or even objects made by man such as machines, tools, or musical instruments go beyond mere symbols or information.

Theoretical Context|73

To acquire this status architecture must address the issues that are inherently its own. Instead of becoming another symbol without meaning, architecture must show a resistance and â&#x20AC;&#x153;speak its own languageâ&#x20AC;?. This language cannot be mistaken with architectural styles, it represents a specific response to a particular situation, place and culture85. Zumthor, in another similarity with Norberg-Schulz, presents the concept of dwelling of Heidegger arguing that the relationship of man to places and through places is based on his dwelling in them. The architect commitment, then, is to create concrete buildings where meaning and knowledge support an environment that can serve as home for man. Nonetheless, is important to point out that the building in itself does not produce meaning or poetics. But as a work of art, architecture is concerned with insight, understanding, and truth, allowing us to understand something we were unable to do before. It is in these notions that poetics meets architecture and that encounter relies on the relationship of place, purpose, and dwelling.

Theoretical Context|74

Figure 2.23 - View of the landscape inside the building.

Theoretical Context|75

Landscape For Zumthor some buildings complement or even belong to their surroundings. These buildings, with time, grow naturally into being part of the essence, history and character of a place. It is anchored firmly to the ground. New works of architecture are conceived in specific historical situations and it is necessary for all buildings to enter in a dialogue with that situation. This dialogue will result in an acceptance of the buildings by its surroundings, embracing our emotions and collecting our feelings86. Just like the Greeks incorporated character to both their structures and landscapes, Zumthor affirms that buildings can develop a presence within the place it stands on, reflecting an inner tension, something above and beyond the place itself, creating a notion of place. The resultant architecture is not a mere object, but is part of a whole; design is not part of a traditional scheme and rejects the superfluous information of contemporary life. â&#x20AC;&#x153;We throw a stone into the water. Sand swirls up and settles again. The stir was necessary. The stone has found its place. But the pond is no longer the sameâ&#x20AC;?87.

Theoretical Context|76

Figure 2.24 - Detail, Kunsthaus Bregenz Museum.

Theoretical Context|77

Design To Zumthor designing is inventing. However, the logical development of a work of architecture depends on rational and objective criteria. In this sense it is important to point out that the design process is based on a constant interrelation of feeling and reason. As a result our experiences, emotions and desires demand to be concretized but they must be molded and controlled by reason. Nevertheless, reason should never be repetitive, static or definitive and a balance must be achieved by a system of orders. This system of orders revolves around the functional and technical aspects of architecture and their implications cannot be ignored. It is then the task of the architect to develop transitions between form, function and dimensions creating a concrete connection between the parts and the whole. Architecture, then, faces a challenge of creating a whole out of details that relates to numerous aspects of the building. Details frame our transitions in a building and show a formal rhythm, proportion and inherent relationship in the objects. Details display objects â&#x20AC;&#x153;belonging or separation, tension or lightness, friction, solidity, fragility88. In these details buildings find their presence.

Theoretical Context|78

Figure 2.25 - Therme Vals materiality.

Theoretical Context|79

Materials “Bring out the meaning of materials”. That is Zumthor’s main task in relation to his building materials. He states that equally to buildings materials themselves are not poetic and it is his work to create a poetic quality in the context of the architectural object89. Tangibility, smell, and acoustics are examples of “given” qualities of materials but sense and meaning emerge in a specific composition dictated by the architectural context. We must ask ourselves what materials can become and a good answer can “throw new light” on both the way in which the materials are generally used and its own inherent sensuous qualities.

Theoretical Context|80

Figure 2.26 - Peter Zumthorâ&#x20AC;&#x2122;s kitchen.

Theoretical Context|81

Memories For Zumthor architecture, specifically his articulation and design process, are influenced and shaped by memories. The images that compose these memories are related to his training and practice of architecture, they contain the professional knowledge about architecture that he has gathered over the years. Other memories go all the way back to his childhood in which he experienced architecture without realizing it. He remembers a particular door handle, the sound of gravel under his feet, the ceiling under a certain light, tiles on the floor and the smell of oil paint coming from the cupboard. All these images mentioned above come from his memories of his aunt kitchen. He affirms that the space did not have anything special but it was that feeling of being naturally a kitchen that imprinted that memory indelibly on his mind. “Memories like those contain his deepest architectural experiences he knows and they are reservoirs of the architectural atmospheres that he explores as an architect”90. As he enters the design process he finds himself “sinking” into half-forgotten memories in an attempt to capture what he remembers from that particular experience, what meant to him at the time, and how he can recreate the vibrant atmosphere in which things showed a specific place and meaning. In the end he cannot formulate any special form and the goal of the process is to create something new and different with no reference to a previous work of architecture that could reveal the secret of these past memories.

Theoretical Context|82

[3] p. zumthor model

Figure 2.27 - Peter Zumthorâ&#x20AC;&#x2122;s model diagram

Theoretical Context|83

â&#x20AC;&#x153;Architecture is exposed to life and if its body is sensitive enough it can assume a quality that bears witness to the reality of past lifeâ&#x20AC;?.91

Theoretical Context|84

Figure 2.28 - Luis Barragan House.

Figure 2.29 - Modern Art Museum of Fort Worth, Tadao Ando.

Figure 2.30 -Koshino house, Tadao Ando.

Figure 2.31 -Jewish Museum Berlin, Daniel Libeskind.

Figure 2.32 -Steven Holl Palazzo del Cinema, 1990.

Figure 2.33 -Perspective, Jan Vredeman de Vries.

Theoretical Context|85

Questions of Perception|Phenomenology of architecture

“The architect’s work exists silently, in the public realm, and is therefore, unavoidable, an affirmation. This is perhaps a dilemma, one that makes architectural practice in the late twentieth century difficult, yet fascinating. Unlike the critic and the philosopher, the architect must embrace the contradictions between perception and logic, the slippage between architectural intention and realization, and the unpredictability of the future’s judgment upon the acting present, and “resolve” or con-fuse these aporias through his/her personal imagination.”92 Introduction Steven Holl

Theoretical Context|86

[4] s. holl model

Figure 2.34 -Steven Hollâ&#x20AC;&#x2122;s model diagram.

Theoretical Context|87

[proposed model] [3]

[2]

[4]

Figure 2.35 - Architectural Approach diagram.

This thesis will result in new insight as to how to maximize user experience in architecture and become a source of knowledge through place, design, and architecture.

Theoretical Context|88

Regional Context| Puerto Rico

Regional Context|89

Cuba

Architecture schools in Puerto Rico Haiti

Puerto Rico

Dominican Republic Figure 3.1 - Regional context map.

Figure 3.2 - Architecture schools location in Puerto Rico.

1 UPR|rio piedras campus

Arqpoli, Hato Rey

Catholic University, Ponce

Figure 3.3 - Architecture schools buildings.

Proposed Site Context|Mayaguez City

Figure 3.4 - Proposed site, Mayaguez city.

Regional Context|90

Located on the west coast of the Island, where the Yaguez river meets the Mayaguez Bay, the City of Mayaguez began as a Spanish colonial port town under the patronage of Nuestra Señora de la Candelaria. Because of its port, Mayaguez developed quickly, achieving the status of town in 1836 and city in 1877. Relatively unaffected by Puerto Rico’s becoming part of the North American colonies in 1898, the city’s growth continued increasing. By the end of the World War II, Mayaguez had become the third most important city in Puerto Rico with a population of 88,000 in 1950. Today, with a population of over 100,000, Mayaguez is Puerto Rico’s third largest city.93 The layout of the old town is a vestige of its colonial past. Located on a hill just south of the Yaguez river, the city’s civic and historic center is marked by a public plaza, Plaza Colón, with the main Catholic Church and City Hall at either end. Most of the buildings range from 3 to 5 stories, with commercial space on the first floor and residential above. The small colonial streets are busy, mostly one way, and allow on-street parking. The area remains actively commercial with small local shops, especially along Calle Post. Half a kilometer west of the city center is the old port. No longer active, the remaining fishing and shipping industry warehouse buildings are either abandoned or have been replaced by car dealerships. Several public housing projects, in Candelaria and Columbus Landing, have been built nearby. The area, including the restoration of the colonial Customs House, have been made by the city.94

Regional Context|91

Figure 3.5 - Aerial view, Mayaguez city.

Figure 3.6 - Plaza Col贸n.

Figure 3.7 - Vivaldi Building, 1932.

Figure 3.8 - UPRM Campus entrance.

Figure 3.9 - Howard Johnson in downtown Mayaguez.

Figure 3.10 - Facade detail, Henry Klumb.

Regional Context|92

Scattered throughout the city are residential neighborhoods, Marina Concordia, Barcelona, Buena Vista, Ponce de Leon, Mayaguez Terrace, etc., separated from one another by changes in the street pattern, major roadways, or the Yaguez River. Most of the houses are one and two story detached homes, the condition of the housing varies according to the neighborhood, and although much of it old, almost all appears occupied. The infrastructure, however, is in need of significant improvements, particularly the electrical wiring throughout the city. Among Mayaguez’s attractions are the Yaguez Theater, the Plaza Colón, the Market Plaza, the Federal Tropical Research Station and Botanical Gardens, the Puerto Rico Zoo, the Palacio de Recreación (Sports Complex), and the RUM campus. The economic base of the city, originally a labor intensive manufacturing industry (agriculture, textile, and tuna) has been steadily replaced since the 1950’s by “high tech” industries (electronic and pharmaceutical.) Primarily composed of small businesses, the city’s economy supports two large employers: the Campus and the Star-Kist tuna plan, located northwest of the city and employing over 5,000 local residents. The city also contains a large number of medical and health related facilities located just north of the civic center95.

Regional Context|93

Figure 3.11 - Urban Growth.

Urban Growth Originally developing along the river and coastline, the cityâ&#x20AC;&#x2122;s growth is now principally determined by the regional roadways. Although large areas of undeveloped land continue to surround the city, they are rapidly being developed.

Regional Context|94

Figure 3.12 - Mayor roadways.

Roadways Separating the old port area from the rest of the city is PR-2, a three lane expressway and principle roadway traveling north-south. Elevated at times, PR-2 is a physical barrier that creates a distinct division between the economically well-off areas to the East and the economically depressed areas of the West. Regional Context|95

Figure 3.13 - Bodies of water.

Bodies of Water The Yaguez River establishes the northern boundary to most of the city, with a few neighborhoods above this line. Although an important element in defining the urban patterns of the city, the river has historically been regarded as an eyesore and the land around it underutilized. Its banks have been canalized to prevent flooding with adjacent land serving as parking lots or remaining undeveloped. Regional Context|96

Site Analysis| UPRM Campus

Site Analysis|97

Figure 4.1 - Site relationship with the city.

Figure 4.2 - UPRM campus property line and proposed site.

Site Analysis|98

UPRM Campus History

Much like the adjacent city, the Mayaguez Campus also began on top of a hill. “Colege Hill.” As it is often referred to, is a steeply sloping hill north of the city center, just across the Yaguez River. The main campus gate sits at the base of the hill along Calle Post and from here, the main campus road, Caobos Street, winds its way to the buildings above. Thus from its inception, the topography and natural features in and around the Campus have played an important role in shaping its growth. Construction of first campus building began in 1912 with Federico Degetau Hall, named after Puerto Rico’s first Resident Commissioner, soon followed by the José de Diego Hall (1916), named after the notable legislator and poet who cofounded the College. These two buildings and the Chancellor’s former residence constitute the first stage of building on the Campus. The second stage of campus growth began in the mid 1930’s with the construction of the Dean of Student’s Building. In 1936, both the Luis de Celis Hall and the Luis Monzón Hall were built. During these first two stages of growth as the School of Agriculture, the early campus buildings were tightly clustered on top of College Hill with agricultural fields and farms on the downward slope to the north. The close proximity of these buildings created a series of interconnected, highly defined outdoor areas, which with the benefit of skilled landscaping, which still remain very attractive gathering spaces96. Site Analysis|99

Figure 4.3 - Administration building.

Figure 4.4 - Dean’s building entrance.

Figure 4.5 - Dean’s building.

Figure 4.6- Students residency.

Figure 4.7 - Luis C. Monzón Building.

Figure 4.8 - Students center courtyard.

Figure 4.9 - UPRM Library.

Figure 4.10 - Dr. Carlos E. Chardón.

Site Analysis|100

During the 1950â&#x20AC;&#x2122;s the Campus entered into its third stage of growth, a period of unprecedent expansion. Bordered on the east by the Federal Tropical Research Station lands and on the south by Calle Post, the campus grew to the north and west where it eventually was defined by PR.108 and the Quebrada de Oro canal respectively. At the center of this roughly defined square, was built the campus center, the General Library, and the Arts and Science Building, Chardon. These three buildings enclosed a large, formal cardinally oriented courtyard, the main quadrangle, marked by flamboyant trees and diagonal pathways. The public nature of these buildings, their positioning, design, and close relationship to the older campus buildings contributed to successfully creating a new center with a sense of place and a cohesiveness, which to this day remains the principal gathering space on Campus. The final period of growth, from the 1970â&#x20AC;&#x2122;s to the present, did not follow traditional patterns. Larger buildings with adjacent parking began to fill in the remaining areas of the main campus. Once full, clusters of building were built on nearby hilltops, such as the swimming pool and new dormitory complex to the west and the new engineering complex to the north. These new buildings had little formal relationship to the existing buildings, ignored the traditional formations around public open spaces and courtyards, and utilized large portions of land for relatively little gain. This shift from a dense, tightly knit and pedestrian oriented campus to a low density, car oriented, and clustering system has resulted in a loss of clarity and cohesion and a threefold increase of the campus limits97.

Site Analysis|101

N Figure 4.11 - Building Uses.

academic|research residential research & development general use|support rotc [army & air force] administrative services recreational Site Analysis|102

Figure 4.12 - Building figure ground.

The early buildings of the Campus developed a cohesive architectural language of from, scale and materials. They took consistent approaches to building location and orientation, construction materials and decoration. They enclosed within their built forms courtyard spaces that provided places of social interaction and exchange, as well as solitude and reflection. All of these elements were combined to give a coherency to the built environment that has been lost in some of the newer Campus developments98. Site Analysis|103

Figure 4.13 - Roadways.

The regional roadways, Spur-2/Calle Post and PR-108, have also defined edges to the campus, south and north respectively. However, now that the campus has extended north beyond PR-108 with the engineering cluster and the nuclear research center, the roads remain a barrier. Fenced on both sides and with few gates, pedestrians are left to cross the increasingly heavy traffic or to use the pedestrian overpasses. With the expansion of Calle Post, the physical separation between the Campus and the City will become even more severe99. Site Analysis|104

Figure 4.14 - Walking distance radius.

The main campus is pedestrian oriented with crisscrossing patterns of pathways connecting the numerous open spaces created by the close proximity of the older buildings. In fact, so numerous and well used are these in-between spaces that specific gathering spaces are hard to define. Few specific gathering spaces could be identified as most of the open spaces around newer buildings remains undefined. Although most of the clusters can be accessed by foot, these areas suffers from a lack of clarity for pedestrian movement100. Site Analysis|105

Figure 4.15 - Site view 1.

Figure 4.16 - Site view 2.

Figure 4.17 - Site view 3.

Figure 4.18 - Site view 4.

Figure 4.19 - Site natural features.

Site Analysis|106

Figure 4.20 - Site dimensions and context buildings square footage.

Site Analysis|107

Figure 4.21 - Walking distance radius from site.

Site Analysis|108

Figure 4.22 - Site topography.

Site Analysis|109

Climate

temperature

86 84 82 80 78 76 74 72 70 68 66 64

humidity

62 60

rain fall Figure 4.23 - Site temperature, humidity and rain fall charts.

Wind N

wind percentages

optimum orientation

Figure 4.24 - Wind percentages and optimum orientation diagrams.

Sun

preferred orientation

building proportion

Figure 4.25 - Building preferred orientation and proportion.

Site Analysis|110

The most striking visual aspects of the Campus are its rich topography and lush vegetation, both landscaped and undeveloped. The entire northeastern half of the campus, where the proposed site is located, is bordered by large tracts of virgin land. No less noteworthy are the original campus buildings, whose scale, texture, materials, positioning and orientation complement the natural beauty and enrich the visual fabric. The careful positioning of these buildings on top of the hills provide view corridors between buildings and vistas across the Campus and adjacent City101.

Site Analysis|111

05 Program Analysis| Architecture School

Program Analysis|112

Figure 5.1 - Architecture school studio.

â&#x20AC;&#x153;A building for the teaching of architect should engage not distract the inhabitants of such a building. However, the lack of any systematic documentation of user responses to architecture buildings clearly suggests a repeat of previous malfunctions and unnecessary dissatisfaction. Universal solutions are not the purpose of acquiring such a knowledge base, but rather it is intended to allow designers to predict consequences resulting from their design decisions102.â&#x20AC;?

Program Analysis|113

Deficiencies

Figure 5.2 - Program improvisation.

One of the main problems with architecture schools planning is the lack of space for other activities outside studio. As we know, architecture students spend considerable time working in the building resulting in students performing activities such as eating, relaxing and talking inside the facility. Therefore, we should design with this in mind and do not create improvised spaces after the design is finished.

Program Analysis|114

Figure 5.3 - Undefined outdoor space.

The relationship between indoor and outdoor is extremely important in every design. For this reason the design should incorporate physical and visual interactions with the immediate context. In addition the outdoor space should be designed in a way that can adapt and respond to different activities.

Program Analysis|115

Figure 5.4 - Critique space.

As we can see in this picture our traditional critique space is the hallway. By doing this the circulation of the building is affected and sometimes the students is interrupted during the presentation. I believe that critique space should be a fundamental part for an architecture school as it represents the exchange of knowledge and the portrayal of students work.

Program Analysis|116

Figure 5.5 - Design studios.

The main space of an architecture school is studio. As we can see in this picture studios are design based on numbers and dimensions. How many tables can fit here, how many students we can put there? Some basic consideration are ignored such as: natural light, acoustic quality, visual relief and appropriation of space.

Program Analysis|117

College of Architecture and Landscape Architecture, UMINN. [Steven Holl]

Figure 5.6 - College of Architecture and Landscape Architecture, UMINN.

Program Analysis|118

Figure 5.8 - Exterior view.

Figure 5.7 - Interior space.

program library

auditorium

seminar space

offices

studio space

cost [7.7 million] addition [47,710 sf.] Figure 5.9 - Library main room.

Articulating interior and exterior spaces, the CALA expansion promotes campus activity and pedestrian circulation while unifying both schools on campus. The addition is two overlaid L-shaped masses which include a library, auditorium, office, seminar and studio space. The addition is a complement and counterpoint to an existing building by Thorshov and Cerny. While this building is centralized and homogeneous, the addition offers peripheral views and morphological multiplicity103. Program Analysis|119

Promotes campus activity and pedestrian circulation unifying both schools.

[circulation new|existing building] Figure 5.10 - Building circulation diagram.

Peripheral articulation to provide an enhanced visual connection to the exterior.

[views] Figure 5.11 - Visual connection to the context diagram.

Bracketing of “shafts of space” that will activate the campus with circulation. Figure 5.12 - “shaft of space”.

Program Analysis|120

The Cooper Union for the Advancement of Science and Art [Morphosis]

Figure 5.13 - The Cooper Union for the Advancement of Science and Art.

Program Analysis|121

Figure 5.15 - Double facade system.

Figure 5.14 - Main staircase.

program laboratories offices exhibition galleries auditorium lounges multi-purpose space cost [111.6 million] 175,000 sf.

Figure 5.16 - Building ground level.

41 Cooper Square, the new academic building for The Cooper Union, aspires to manifest the character, culture and vibrancy of both the 150 year-old institution and of the city in which it was founded. Dedicated to Peter Cooperâ&#x20AC;&#x2122;s vision that education leads to civic, cultural and practicable enrichment, the institution has subsequently grown to become a renowned intellectual and cultural center for the City of New York104. Program Analysis|122

- green roof - 50% reduction of heat gain in summer season. - 75% of spaces receive natural light. [sustainability] Figure 5.17 - Sustainability elements.

[studios|classrooms]

The program layout is very simple and

[atrium]

straightforward throughout the building. Classrooms and offices to the side and vertical circulation in between.

[studios|offices]

[program distribution] Figure 5.18 -Program layout.

The atrium, more than a iconic presence, allows natural light and ventilation into the building. [benefits of the full-story atrium]

Figure 5.19 - Atriumâ&#x20AC;&#x2122;s benefits.

Program Analysis|123

After an analysis of the two main models of architectural education, apprenticeship and higher education, a series of diagrams were produced. These diagrams reflect that the current architectural education model needs a more hands on involvement of students and a more efficient incorporation of support courses alongside the design studios. This hybrid model will provide students with a more flexible model in which the learning experience can be maximized.

Program Analysis|124

Apprenticeship model

The complete act is observed and contemplated. Modeling

Through close guidance, the learner begins to articulate the teacher actions. Approximating

The learner starts operating in a more detailed manner his capabilities increases Fading

as the expert assistance decreases.

The learner attempts the actions within real society and he only seeks advice Self-Directed Learning

when needed.

The learner apply skills to multiple scenarios and continuing to grow in ability in the field Generalizing

Figure 5.20 - Apprenticeship model.

Program Analysis|125

higher education model [ top 5 undergraduate programs ]

Cornell [5 years, semesters]

Sci-Arc [5 years, semesters]

Rice [5 years, semesters]

Syracuse [5 years, semesters]

design environ. systems structures Cal. Poly [5 years, quarters]

representation history bldg. tech

pro. prac seminar arch analysis

Figure 5.21 - Top undergraduate programs class distribution.

Program Analysis|126

struct. repres.

env. systems

repres.

studio

struct.

studio

history

arch. analysis

studio

seminar

bldg. tech

env. systems

arch. analysis

env. systems

repres.

struct.

repres.

studio

pro prac.

history

repres. bldg. tech

struct.

repres.

env. systems repres.

bldg. tech

repres.

design

design 1

studio

arch. analysis

studio

arch. analysis history

bldg. tech

studio

pro prac.

history

studio

bldg. tech

studio

bldg. tech

studio

seminar

bldg. tech.

studio

struct.

bldg. tech.

studio

history

arch. analysis

history

pro prac.

struct.

arch. analysis

studio

bldg. tech.

studio

pro prac.

history

env. systems

bldg. tech.

history arch. analysis

pro prac.

struct.

history

struct.

pro prac.

history

struct.

pro prac.

history

struct.

pro. prac

history

pro. prac

arch. analysis

Figure 5.22 - Top undergraduate programs course relationship diagrams.

Program Analysis|127

proposed model|program

environmental systems

studio 1

studio 2

representation

studio 3

structures

representation

history 1

studio 4

studio 5

history 2

history 3

structures

studio 6

bldg. tech.

studio 7

studio 8

bldg. tech.

history 4

design build

pro pract.

seminar

model shop

library

auditorium

critique space

lobby

cafĂŠ

courtyard

lecture rooms

laboratories

administration

galleries

common space

lounges

landscape

Figure 5.23 - Proposed curriculum and program.

The proposed curriculum will give students a more balanced approach toward courses as the design studio will be complemented with other courses. We have identified the need of a more flexible experience in the design studio and the combination of other courses will be beneficiary for students and professors. In addition a third programmatic group has been identified and will help enhance the user experience in general.

Program Analysis|128

group 1 - studio space 16 undergraduate studios @ 600 sf. = 9,600 sf. 6 graduate studios @ 600 sf. = 3,600 sf. - support spaces 8 classrooms @ 400 sf. = 3,200 sf. - design build area [2,000 sf.]

group 2 - model shop - library general space @ 6,000 sf. 3 offices @ 100 sf. = 300 sf. - auditorium 250 seats @ 6 sf. = 1,500 sf.

- laboratories - critique space [ 2,000 sf.] 5 computer labs @ 1,500 sf. = 4,500 sf. - lecture rooms - gallery space [ 1,000 sf. ] 4 rooms @ 400 sf. = 1,600 sf. - administration 5 staff offices @ 100 sf. = 500 sf. 20 prof. offices @ 100 sf. = 2,500 sf.

group 3 - lobby [ 2,000 sf. ] - cafĂŠ [ 1,000 sf. ] - lounges [ 1,500 sf. ] - common space [ 1,000 sf. ] - multi-purpose [ 2,000 sf. ] - landscape [ * ]

- circulation [ 5,460 sf. ] - storage [ 2,730sf. ]

total square footage: 52,190 SF.

Figure 5.24 - Proposed program square footage.

Program Analysis|129

Concept Development

Concept Development|130

Figure 6.1 - Design concept sketch.

The initial design idea wanted to display the main concepts obtain from the theoretical context while expressing the needs of an architecture students, both curricula and building wise. Concept Development|131

Figure 6.2 - Digital design concept diagram.

Concept Development|132

Figure 6.3 - Design concept model.

Concept Development|133

Figure 6.4 - Design concept model details.

Concept Development|134

To have a better understanding of what this proposal should be we asked several architecture students what architecture school should be. These are some of the answers: - The collection of skills and vision to address world issues. - The pinnacle of creative freedom. - An exploration. A tool for creativity and design. - Architecture school should be a collaborative environment where we take information from various fields and begin to articulate architectural language. - Inspirational captivating studios. - Collaborative open. - An invitation to develop creatively and practically in a collaborative environment. - Conceptual + Critical. - To be able to explore external experiences, creating memories. - My â&#x20AC;&#x153;home away from homeâ&#x20AC;? where I can work in an environment that promotes creativity and allows me to interact with others. - The time to discover order out of chaos.

Concept Development|135

Figure 6.5 - Design concept initial sketches.

Concept Development|136

Direct path

In a conventional model the student is presented with a direct path that follows a journey from point A to point B.

Direct path + curriculum

Throught out that journey a fixed curriculum is inserted and the experience of learning architecture is limited to that boundaries.

Shift in curriculum + support courses

This proposal looks forward to create a shift in the boundaries of this journey and implement a collaborative approach to architecture education.

Recognition of â&#x20AC;&#x153;pocketsâ&#x20AC;?

As a result of this shift and addition of the support program we also want to focus on those spaces between the core program. These spaces can be a great opportunity to enhance education, collaboration and user experience.

New direction and path

The resultant path will represent a new direction and experience of both architecture and education.

Figure 6.6 - Design methodology.

Concept Development|137

Figure 6.7 - Initial site plan layout.

Figure 6.8 - Massing sketches.

Concept Development|138

Figure 6.9 - Initial section sketch.

Concept Development|139

The following series of images represent a conceptual exploration of the user experience in the proposal and the different characteristics of how each space will address site, context, program and user issues.

Concept Development|140

Figure 6.10 - Entrance.

Concept Development|141

Figure 6.11 - Outdoor spaces.

Concept Development|142

Figure 6.12 - Circulation Spine.

Concept Development|143

Figure 6.13 - Common spaces.

Concept Development|144

Figure 6.14 - Studio spaces.

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Schematic Development

Schematic Development|146

50,000 sf. mass

Figure 7.1 - building mass.

A building mass containing the complete program square footage is added to the site.

Schematic Development|147

Figure 7.2 - Building orientation to respond to sun direction.

East to West orientation responding to sun direction on site.

Schematic Development|148

Figure 7.3 - Building circulation spine and private vs. public.

The mass is divided in three main groups: public, semi-private and private with a circulation spine intersecting the volumes.

Schematic Development|149

Figure 7.4 - Cross ventilation diagram.

To provide natural ventilation the volumes are shifted and a series of atriums are incorporated. The major influence of winds come from the East.

Schematic Development|150

Figure 7.5 - Adjustment of volumes to topography.

The volumes are adjusted to the topography creating a shift in circulation and revealing pockets between areas.

Schematic Development|151

Figure 7.6 - Main courtyard.

The highlighted area will serve as the main courtyard and social space for users while offering open spaces and views.

Schematic Development|152

b d

50 0

150 350

Figure 7.7 - Site plan 1â&#x20AC;? = 50â&#x20AC;&#x2122;

Schematic Development|153

natural light

section a-a

natural ventilation

doble facade system

views and shading circulation spine

reflected light

section b-b potential egress

view to courtyard

atrium

natural light

section c-c Figure 7.8 - Schematic building sections.

Schematic Development|154

lecture library

lecture auditorium

courtyard

design build

galleries cafĂŠ

studios

model shop

section d-d Figure 7.9 - Programmatic building section.

Schematic Development|155

Second Review Comments Site - Vehicular versus pedestrian - Show hierarchy of these - Missing site sections 3d massings Climate - How can you start relating to it? - Is this to be cutting edge? -What analysis comes from site analysis? -What analysisis comes from climate analysis? User experience -What is the synopsis of this? Program Building is teaching model? Precedence for pieces of architecture needed.

Schematic Development|156

Design Development

Design Development|157

poor pedestrian circulation

connection with engineer building

limited parking

integration of proposal in site

visual connection with natural features

embrace natural features

Site actual status, opportunities and deficiencies

Figure 8.1 - Site actual condition.

Site Plan 1” = 50’

Figure 8.2 - Site plan 1”=50’.

Design Development|158

13.

3. 10.

0’-0”

7. -2’-0”

11.

2. +2’-6” +5’-0”

-2’-0”

+2’-6”

13. 5.

13.

10.

First Floor Plan 0 5

1. plaza 2. design build area 3. administration 4. library 5. computer room 6. auditorium 7. courtyard

12.

8. model shop 9. common space 10. lounges 11. circulation spine 12. computer lab 13. support spaces

Figure 8.3 - First Floor Plan.

Design Development|159

5. 4.

3. 6.

Second Floor Plan 0 5

1. library 2. administration 3. lecture rooms 4. computer labs 5. faculty offices 6. balcony 7. critique space Figure 8.4 - Second Floor Plan.

Design Development|160

Third Floor Plan 0 5

1. exhibition / critique space 2. lecture rooms 3. balcony 4. faculty offices

Figure 8.5 - Third Floor Plan.

Design Development|161

section a-a

Figure 8.6 - Section a-a [library and offices].

section b-b

Figure 8.7 - Section b-b [main atrium and studios].

section c-c

Figure 8.8 - Complete building section.

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Figure 8.9 - West Elevation.

Figure 8.10 - South Elevation.

Figure 8.11 - East Elevation.

Figure 8.12 - North Elevation.

Design Development|163

Figure 8.13 - Building axonometric.

Design Development|164

roof insulation top flashing

60’-0” top of parapet 58’-9” top of steel 3rd floor 58’-9” top of ceiling 3rd floor

laminated glass

staggered glass panels

custom fitting bolt

insulation panel 36’-0” finish 3rd floor 35’-0” top of steel 2nd floor 33’-2” top of ceiling 2nd floor

flashing

gypsum board

4” concrete slab metal deck bar joist

18’-0” finish 2nd floor 17’-0 top of steel 1st floor 15’-0” top of ceiling 1st floor

I-beam precast concrete

laminated glass concrete slab 0’-0” finish floor ground level

Wall Section 1/2’ = 1’ Figure 8.14 - Wall Section.

Design Development|165

Figure 8.15 – Entrance view.

Figure 8.16 – Courtyard view.

Figure 8.17 – Library view.

Design Development|166

Figure 8.18– Balcony view.

Figure 8.19 – Main atrium view.

Figure 8.20 – Frame view.

Design Development|167

Figure 8.21 – Support spaces view.

Figure 8.22 – Second floor view.

Figure 8.23 – Studio space view.

Design Development|168

Review III comments: Program -Earlier program analysis not shown. Site -Graphics are much cleaner. Climate -Do you have more info for the book? -Is the building to be cutting edge? -I will show you massing tools and Revit and we could energy analysis on building if this is to be a using current technologies. Experience -Frame your view and protection from sun and natural light Where is the evidence of these? Section should highlight the studies you talk about. Collage by Adding site photos to renderings. Check out safdies stairs in Salt Lake City public library. Activate interior spaces

Design Development|169

Final Presentation

Final Presentation|170

Figure 9.1 - Final Site plan 1” = 50’.

Final Presentation|171

Figure 9.2 - First floor plan.

1. plaza 2. design build area 3. administration 4. library 5. computer room 6. auditorium 7. courtyard

8. model shop 9. common space 10. lounges 11. circulation spine 12. computer lab 13. support spaces

Final Presentation|172

Figure 9.3 - Second floor plan.

1. library reference area 2. librarian offices 3. group study rooms 4. reading area 5. administration offices 6. conference room 7. hyrid studio space

8. lecture rooms 9. faculty offices 10. balcony

Final Presentation|173

Figure 9.4 - Third floor plan.

1. exhibition|critique space 2. lecture rooms 3. faculty offices 4. balcony

Final Presentation|174

Figure 9.5 - West elevation.

Figure 9.6 - South elevation.

Figure 9.7 - North elevation.

Figure 9.8 - East elevation.

Final Presentation|175

Figure 9.9 - Section A-A.

Figure 9.10 - Section B-B.

Final Presentation|176

Figure 9.11 - Building axonometric.

Final Presentation|177

Figure 9.12 - Wall section.

Final Presentation|178

Figure 9.13 - 3D Wall section.

Final Presentation|179

Figure 9.14 - Entrance|Design build area perspective.

Recent history has made apparent a clear separation between architectural education and professional practice. The relationship students experience with technicality, construction methods and materiality is typically ignored as a result of a traditional focus on form-based architecture. In an attempt to foster a more seamless connection between students and these architectural principles. The area between this project proposal and the preexisting engineering building, formerly a parking lot, offers a plaza and an area designated for design-build. This space makes available to students various aspects of the architectural profession that are absent in common place architectural curricula. Final Presentation|180

Figure 9.15 - Library perspective.

The design process of this thesis was influenced by various attributes of concepts rooted in phenomenology. Elements such as natural light and shadows, program purpose and relationship of building to surrounding context were explored. As a result of this investigation, in addition to addressing the programmatic needs of the proposed building, this thesis seeks to understand the effect of a project proposal on the site area, and, in this instance, address how the architectural education experience could be improved.

Final Presentation|181

Figure 9.16 - Courtyard perspective.

Responding to programmatic deficiencies commonly found in the schools of architecture, specifically the inadequate relationship between interior and exterior, the courtyard is a common space where several outdoor activities can take place. Whether it is an outdoor exhibition, a music performance or simply a break from the stressful life that comes as a result of being an architecture student, the courtyard provides students with an array of programmatic opportunities to capitalize on. In addition, the patio area serves as a buffer, distinguishing the public and private areas of the project.

Final Presentation|182

Figure 9.17 - Frame perspective.

The connection between architecture and its context is a fundamental premise in theories of phenomenology. For architecture students, it is crucial to observe how a building can become a fundamental part of its surrounding context. In an effort to achieve this connection, the architectural articulation of this design is one that frames the views of the site and allows students to experience a moment of serenity in between the constant movement of contemporary life.

Final Presentation|183

Figure 9.18 - Balcony perspective.

During the inevitable long nights that come as a result of being an architecture student, there is always a time where a break is needed simply to breathe fresh air and relax. The second and third floor of this project features a balcony facing the south area of the site that allows students to visually connect with natural elements and site context while having that necessary cup of coffee just before another sunrise.

Final Presentation|184

Figure 9.19 - Main atrium perspective.

Areas for the everyday activities of an architecture student, such as a place to eat, take a break or just talk with peers for example, are traditionally considered after the design of the building is complete. The atrium space in this project proposal serves as a central hub located in the buildingâ&#x20AC;&#x2122;s circulation spine where students can make use of a seating area, a cafe, vertical circulation to the upper floors and visual relationships to the outside of the building. Spaces such as this promote a more informal interaction among students, ultimately providing a less competitive environment within the school.

Final Presentation|185

Figure 9.20 - Support spaces perspective.

The proposed curriculum model has identified that the design studio course, traditionally being the core course, is more effective when supplemented by several additional courses. This proposal pursues to apply this premise by creating â&#x20AC;&#x153;programmatic pockets" where students and teachers are given the flexibility to take the design course outside of the classroom, and do things such as analyze how the sun affects your design, witness physical construction details or simply sketch the outdoors for example, all activities that will complement and enhance the learning process.

Final Presentation|186

Figure 9.21 - Studio space perspective.

During my research I asked several architecture students what they thought an architecture school should be, and the predominant response was that it should be a collaborative space. With this in mind, the proposed studio spaces feature an open plan design scheme where partitions can be modified allowing interaction between students from different studios and years of study. The design of these spaces will foster a culture that allows them to witness the beginning of lifetime friendships, structures exam study sessions and memorable long nights in the studio.

Final Presentation|187

Figure 9.22 - Hybrid studio perspective.

The second floor accommodates the hybrid studio which houses lecture rooms, computer labs, fabrication equipment and faculty offices. This provides for a more complete and flexible area for students and faculty. Instead of branching major aspects of architectural education, this proposal brings them together in one space.

Final Presentation|188

Figure 9.23 - Critique floor perspective.

Another programmatic deficiency identified in architecture schools is the lack of official critique space. Students traditionally present their work in makeshift spaces that are not suitable, or ideal, for an architecture jury. This project accounts for this by providing a designated space for critique and work exhibition on the third floor.

Final Presentation|189

Figure 9.24 - Garden of survival perspective.

The journey of being a student has come to an end, and the proposal provides an outdoor area to the east area of the site that features a boardwalk close to the near ravine. This area represents the culmination of the, undoubtedly, life changing experience of architectural education. Every line, struggle, tear and joy is rewarded in the garden of survival.

Final Presentation|190

Figure 9.25 - Final defense boards.

Final Presentation|191

Conclusion

Conclusion|192

This thesis aims to redefine the actual architectural education model and enhance the user experience through the concepts of phenomenology and place. The resultant architecture of this analysis, as has been represented, is a concrete architectural solution that reflects a complex understanding of program, site and architectural details. The narrative of this project provides a series of experiences in which the student can enjoy space and architecture, which can become a source of knowledge and act as a learning tool in the most pure and basic way.

Conclusion|193

End Notes|Works Cited

End Notes-Works Cited|194

1. Dutton, Thomas A. "The Hidden Curriculum and the Design Studio: Toward a Critical Pedagogy." Voices in Architectural Education: Cultural Politics and Pedagogy. By Thomas A. Dutton. New York: Bergin & Garvey, 1991. N. pag.165 Print. 2. Ibid, 167. 3. Ibid, pag.171. 4. Dutton, Thomas A., and Lian Hurst. Mann. "The suppression of social in design: Architecture as war." Reconstructing Architecture: Critical Discourses and Social Practices. Minneapolis, MN: University of Minnesota, 1996. N. pag.27. Print. 5. Findley, Lisa. "Power, Space and Architecture." Building Change: Architecture, Politics and Cultural Agency. London: Routledge, 2005. pp.2. Print. 6. Ibid, pag.7. 7. Ibid, pag.12 8. Dutton, Thomas A., and Lian Hurst. Mann. "The suppression of social in design: Architecture as war." Reconstructing Architecture: Critical Discourses and Social Practices. Minneapolis, MN: University of Minnesota, 1996. N. pag30. Print. 9. Ibid, pag.30. 10. Hatch, Richard. "Introduction." The Scope of Social Architecture. By C. Richard. Hatch. New York: Van Nostrand Reinhold, 1984. N. pag.5. Print. 11. Ibid, pag.5. 12. Ibid, pag.5. 13. Ibid, pag.6. 14. Ibid, pag.6. 15. Ibid, pag.6. 16. Ibid, pag.6. 17. Ibid, pag.6. 18. Ibid, pag.7. 19. Dutton, Thomas A., and Lian Hurst. Mann. The suppression of social in design: Architecture as war." Reconstructing Architecture: Critical Discourses and Social Practices. Minneapolis, MN: University of Minnesota, 1996. N. pag.32. Print. End Notes-Works Cited|195

20. Ibid, pag.32. 21. Ibid, pag.32 22. Ibid, pag.33 23. Ibid, pag.33 24. Ibid, pag.43 25. Ibid, pag.45 26. Ibid, pag.45 27. Crawford, Margaret. "Can Architects Be Socially Responsible?" Out of Site: A Social Criticism of Architecture. By Diane Yvonne. Ghirardo. Seattle: Bay, 1991. N. pag.10. Print. 28. Ibid, pag.12 29. "Architecture." Merriam-Webster. Merriam-Webster, n.d. Web. 01 Oct. 2013. http://www.merriam-webster.com/dictionary/architecture 30. Dutton, Thomas A., and Lian Hurst. Mann. "Cultural Studies and Critical Pedagogy: Cultural Pedagogy and Architecture." Reconstructing Architecture: Critical Discourses and Social Practices. Minneapolis, MN: University of Minnesota, 1996. N. pag.159 Print. 31. Ibid,pag.160 32. Ibid,pag.160 33. Ibid, pag.168 34. Ibid, pag.172 35. Alberto Pérez-Gómez. “Architecture as Embodied Knowledge.” Journal of Architectural Education (1984-) , Vol. 40, No. 2, Jubilee Issue (Winter, 1987), pp. 57-58 Published by: Taylor & Francis, Ltd. on behalf of the Association of Collegiate Schools of Architecture, Inc. Article Stable URL: http://www.jstor.org/stable/1424941 36. Ibid, pag.57. 37. Ibid, pag.57. 38. Ibid, pag.57. 39. Ibid, pag.57. 40. Ibid, pag.57. 41. Ibid, pag.58. End Notes-Works Cited|196

42.

Ibid, pag.58.

43.

Ibid, pag.58.

44.

Ibid, pag.58.

45.

Ibid, pag.58.

46.

Ibid, pag.58.

47.

Woodruff, Smith, David. "Phenomenology." Stanford University. Stanford University, 16 Nov.

2003. Web. 10 Nov. 2013. <http://plato.stanford.edu/entries/phenomenology/>. 48.

Norberg-Schulz, Christian. "Preface." Genius Loci: Towards a Phenomenology of Architec-

ture. New York: Rizzoli, 1984. N. pag.5 Print. 49.

Ibid, pag.5.

50.

Ibid, pag.5.

51.

Ibid, pag.6.

52.

Ibid, pag.6.

53.

Ibid, pag.7.

54.

Ibid, pag.7.

55.

Ibid, pag.8.

56.

Ibid, pag.8.

57.

Ibid, pag.9.

58.

Ibid, pag.10.

59.

Ibid, pag.10.

60.

Ibid, pag.11.

61.

Ibid, pag.23.

62.

Ibid, pag.23.

63.

Ibid, pag.23.

64.

Ibid, pag.25.

65.

Ibid, pag.26.

66.

Ibid, pag.27.

End Notes-Works Cited|197

67. Ibid, pag.28. 68. Ibid, pag.28. 69. Ibid, pag.28. 70. Ibid, pag.28. 71. Ibid, pag.28. 72. Ibid, pag.28. 73. Ibid, pag.28. 74. Ibid, pag.50. 75. Ibid, pag.50. 76. Ibid, pag.51. 77. Ibid, pag.52. 78. Ibid, pag.52. 79. Ibid, pag.54. 80. Ibid, pag.54. 81. Ibid, pag.54. 82. Zumthor, Peter, Maureen Oberli-Turner, and Catherine Schelbert. Thinking Architecture. Basel: Birkhäuser, 2006. p.12.Print. 83. Ibid, pag.17. 84. Ibid, pag.27. 85. Ibid, pag.18. 86. Ibid, pag.18. 87. Ibid, pag.15. 88. Ibid, pag.10. 89. Ibid, pag.8. 90. “THERMAL BATHS PETER ZUMTHOR theme 1 – space” Nov 2009. Wordpress. Accessed 19 Oct 2013. http://fredericbrisson.files.wordpress.com/2009/11/01_space.pdf, pag.2

End Notes-Works Cited|198

91. Ibid, pag.3. 92. Holl, Steven, Juhani Pallasmaa, and Alberto Pérez-Gómez. "Introduction." Questions of perception: phenomenology of architecture. [New ed. San Francisco, CA: William Stout, 2006. . Print.. 93. Architecture/planning/urban Design, Comunitas. "Mayaguez Campus Master Plan." (n.d.): n. pag. Plan Maestro. Universidad De Puerto Rico - Mayagüez. Web. 4 Feb. 2014. <http://oiip.uprm.edu/docs/PlanMaestro/plan%20maestro%20texto.pdf>. 94. Ibid, pag. 17 95. Ibid, pag. 18 96. Ibid, pag. 21 97. Ibid, pag. 22 98. Ibid, pag. 25 99. Ibid, pag. 25 100. Ibid, pag. 30 101. Ibid, pag. 26 102. Sanoff, Henry. "Typology of Architecture Schools: An Analysis of Student Responses." Academia.edu. N.p., n.d. Web. 26 May 2014. <http://www.academia.edu/360787/Typology_of_Architecture_Schools_An_Analysis_of_Student_Responses>. 103. "The Cooper Union for the Advancement of Science and Art / Morphosis Architects" 12 Nov 2009. ArchDaily. Accessed 26 May 2014. http://www.archdaily.com/?p=40471. 104. Sveiven, Megan. "College of Architecture and Landscape Architecture, UMINN / Steven Holl Architects" 21 Feb 2011. ArchDaily. Accessed 26 May 2014. http://www.archdaily.com/?p=113813.

End Notes-Works Cited|199

Works Cited Alberto Pérez-Gómez. “Architecture as Embodied Knowledge.” Journal of Architectural Education (1984-) , Vol. 40, No. 2, Jubilee Issue (Winter, 1987), pp. 57-58 Published by: Taylor & Francis, Ltd. on behalf of the Association of Collegiate Schools of Architecture, Inc. Article Stable URL: http://www.jstor.org/stable/1424941

"Architecture." Merriam-Webster. Merriam-Webster, n.d. Web. 01 Oct. 2013. http://www.merriam-webster.com/dictionary/architecture

Architecture/planning/urban Design, Comunitas. "Mayaguez Campus Master Plan." (n.d.): n. pag. Plan Maestro. Universidad De Puerto Rico - Mayagüez. Web. 4 Feb. 2014. <http://oiip.uprm.edu/docs/PlanMaestro/plan%20maestro%20texto.pdf>.

Crawford, Margaret. "Can Architects Be Socially Responsible?" Out of Site: A Social Criticism of Architecture. By Diane Yvonne. Ghirardo. Seattle: Bay, 1991. N. pag.10. Print.

Dutton, Thomas A. "The Hidden Curriculum and the Design Studio: Toward a Critical Pedagogy." Voices in Architectural Education: Cultural Politics and Pedagogy. By Thomas A. Dutton. New York: Bergin & Garvey, 1991. N. pag.165 Print.

Dutton, Thomas A., and Lian Hurst. Mann. "Cultural Studies and Critical Pedagogy: Cultural Pedagogy and Architecture." Reconstructing Architecture: Critical Discourses and Social Practices. Minneapolis, MN: University of Minnesota, 1996. N. pag.159 Print.

Dutton, Thomas A., and Lian Hurst. Mann. "The suppression of social in design: Architecture as war." Reconstructing Architecture: Critical Discourses and Social Practices. Minneapolis, MN: University of Minnesota, 1996. N. pag.27. Print.

End Notes-Works Cited|200

Works Cited Findley, Lisa. "Power, Space and Architecture." Building Change: Architecture, Politics and Cultural Agency. London: Routledge, 2005. pp.2. Print.

Hatch, Richard. "Introduction." The Scope of Social Architecture. By C. Richard. Hatch. New York: Van Nostrand Reinhold, 1984. N. pag.5. Print.

Holl, Steven, Juhani Pallasmaa, and Alberto Pérez-Gómez. "Introduction." Questions of perception: phenomenology of architecture. [New ed. San Francisco, CA: William Stout, 2006. Print.

Norberg-Schulz, Christian. "Preface." Genius Loci: Towards a Phenomenology of Architecture. New York: Rizzoli, 1984. N. pag.5 Print.

Sanoff, Henry. "Typology of Architecture Schools: An Analysis of Student Responses." Academia.edu. N.p., n.d. Web. 26 May 2014.

Sveiven, Megan. "College of Architecture and Landscape Architecture, UMINN / Steven Holl Architects" 21 Feb 2011. ArchDaily. Accessed 26 May 2014. http://www.archdaily.com/?p=113813.

“THERMAL BATHS PETER ZUMTHOR theme 1 – space” Nov 2009. Wordpress. Accessed 19 Oct 2013. http://fredericbrisson.files.wordpress.com/2009/11/01_space.pdf, pag.2

"The Cooper Union for the Advancement of Science and Art / Morphosis Architects" 12 Nov 2009. ArchDaily. Accessed 26 May 2014. http://www.archdaily.com/?p=40471.

Woodruff, Smith, David. "Phenomenology." Stanford University. Stanford University, 16 Nov. 2003. Web. 10 Nov. 2013. <http://plato.stanford.edu/entries/phenomenology/>. End Notes-Works Cited|201

Works Cited Zumthor, Peter, Maureen Oberli-Turner, and Catherine Schelbert. Thinking Architecture. Basel: Birkh채user, 2006. p.12.Print.

End Notes-Works Cited|202

The Journey has ended.

203