The Ephemeral Effect: Temporary Architecture as Urban Catalyst

Table of Contents

Abstract 1

ThesisPrepI(Fall2009) 2-13

ThesisPrepII(Fall2009) 14-25

ThesisStudio(Spring2010) 26-82

FirstDesignIteration 38-44

SecondDesignIteration 45-52

ThirdDesignIteration 53-60

FinalDesign 61-82

Conclusion 83

ExhibitionPoster 84

Bibliography 85

Abstract

Itisacommonforurbansettingstohaveresidualsites.Residualsitesareoverlookedspaceswithinanurbansetting.Theyhappenforavarietyofreasons,butproximitytoinfrastructuresuchaspublictransportation,majorthoroughfares,orpublicworksarecommonreasonsforresidualsites.Thesesitesareoftenoverlookedandtheirfullpotentialisnotrealizedwithintheurbanfabric. Acommonpracticeintheartworldisusinginstallationarttohaveaquick,catalyticeffecttochangeaviewer’sperception.InmyresearchIfoundexamplesofinstallationartbeingusedtoshowcasethebeautyandpotentialoftypicallyoverlookedspaces.Otherartistsusetheirinstallationstochangetheperceptionofhowunusedspacecanbeprogrammed.Inthesecasesartiststakeaspaceandtransformitinawaythatchangestheperceptionoftheviewersoveraspecificperiodoftime.Thatisbecausealargemajorityofinstallationartistemporary.Anartistisgivenashortperiodoftimetopresenttheirideasandtomakeanimpact.Thetemporaryqualityoftheworkisimportantinitscreation,itsexistence,andhowthepublicinteractswithit.Temporaryworksbringalargenumberofpeopletoaspaceinashortperiodoftimebecausethereisnewinterestandalimitedlifespaninwhichtoexperienceit. Thisthesislooksathowtemporaryarchitecturecanbeusedtochangetheperceptionofresidualsites.Temporaryarchitecturehasanopportunitytobringalargenumberofpeopletoasiteinashortperiodoftime.However,thistemporaryqualityhasanopportunitytobefurtherexpanded,whichiswhyIprefertorefertoitas“TheEphemeralEffect.”Ephemeralsuggestsamoreemotionalconnectiontothetemporarynatureofarchitecture.Byusingephemeralmaterials,formsandstructuresarchitecturewillnotonlyattractalargenumberofvisitorsduringitslimitedlifespan,butwillalsocreatearesonanceofthesite,spaceandexperienceinthemindsofthevisitors.Oncethearchitectureisremovedtheephemeralnaturewillcreateasenseofremembrancewiththepublicandwillfurtheraidintheeventualdevelopmentoftheresidualsite.

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Thesis Prep I (Fall 2009)2

Thesis Prep I - Prospectus

THEEPHEMERALEFFECT:TEMPORARYARCHITECTUREASURBANCATALYST

Manycitieshaveresidualspaces,neglectedareasandurbandecay.Thesesitescausebreaksorholesintheurbanfabricandleaveareasoflessthandesirablesitesaswellasactivities.Theycancauseseparationbetweendifferentareasofacityorfissureswithinaneighborhood.Theseresidualspacesneedcatalyticsolutionstocallawarenesstotheirpotential.Thisthesiswillexplorehowtemporaryarchitecturecanprovidethecatalystneededtoreachalargeaudienceandleavearesonanceofthepotentialofthesiteinthemindsofthepublic.Temporalityinitsmaterialsensewillbeexploredthroughemergingareasoftextilesandfiberartsasstructureandskin,mergingtogetherephemeralideasofcraftwithoftenpermanentideasofstructure,whichcaninformthedesignprocessaswellasthefinalintervention.Objectives

1. Analyzeandunderstandthepotentialofanurbanresidualsite,andits importancewithinthelargerurbancontext.2. Utilizetheexperientialqualitiesofthetemporalandcatalyticmomentumin thedesignofaninterventionfortheresidualspace.3. Throughtheinterventioncreatearenewedpresenceofthesitewithinits contextandleavearesonanceofitspotential.

Definitions

Temporality–Temporalityisaqualityofexperienceratherthandurationofuse.Itistheantithesisoftraditionalarchitectureandurbanplanningwhichstrivesforpermanence.Gainingitsstrengthfromitslimitedexistence,itcreatesadesireandurgencythatmaybelackingfromlong-termsolutions. Figure 1.1 Janet Echelman’s, “Her Secret is Patience”

an installation in Phoenix, Arizona. This work provides an ephemeral experience to a downtown park. Source: Christina O’Haver.

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Catalyst–Anarchitecturalcatalystservesasanelementbetweentwosides,whetheritisavieweranditscontext,acultureandacity,orinthecaseofthisthesis,thepeopleandasite.Thepurposeofthecatalystistocreatesomethingwithanactiveforceormomentum.Workingintandemwithamethodoftemporalityaresultshouldbeexpectedinaquick,effectivemanner.

ResidualSpaces–Thesearespaceswithinanurbancontext,whichhavebecomeneglectedandforgotten.Theyareoftentheresultofinfrastructureorcitygrowth,whichbypassedacertainarea.Theresultisaspacewithpotentialtobebroughtbackintothecityfabric.

Resonance–Thisistheeffectsoughtthroughtheprocessofthetemporaryasacatalyst.Muchlikereverberationofnoise,theimpactofatemporaryinterventionshouldresonatethroughoutthepublic,spreadingtheideaormessageofthework.

Permanent Research on Temporal Space

Temporaryarchitectureisanewwayofexploringresidualspacesintheurbanfabricandcreatinganinstantawarenessofthesesites.Themomentaryexistenceofapieceoftemporaryarchitecturecanquicklyreachalargeaudiencethroughitsideasofform,place,materialityandmessage.Thisexperiencecanbecomeacatalystforthesite,leavingbehindaresonanceinthemindsofthepublicafterthebuiltformisgone.Thismemoryshouldopenthedoorfornewlifeandusesofasite. Themainfocusofthisthesisisthattemporalityandarchitecturemergetocreateacatalystforthesite.Thetemporalityshouldbeenhancedthroughtheselectionofmateriality,whichwillembodytheephemeralqualityofthearchitecture,suchastextileorfiberarts.Sincethestructureandprogramwillbetemporaryitisimportantthatthesiteanditspotentialisexemplifiedintheintervention.Theselectionofsitewillbebasedonfindingaresidualspaceinanurbanfabric.Thecatalystcreatedbythetemporaryarchitecturewillcreateanopportunitytoknitthesitebackintothesurroundingcontext. Manydisciplinesexaminetheideaoftemporality,catalyst,andresidualsitesasitrelatestourbanity,architecture,art,historyandphilosophy.Anincreasingnumberofemerging

Thesis Prep I - Prospectus4


explorationshavebeguntolookatthepossibilitiesoftextilesandfabricasarchitecturalelements.Thisgroupofideasislinkedthroughtheideasoftheephemeral,however;theirideasandconceptsaremorecloselyrelatedtoanexperience,ratherthanafixedamountoftime.Thisisthemostimportantconcepttounderstandinrelationtothisthesis.Thediversityofprojectsanddisciplinesexaminingthisideagiveawidevarietyofdocumentedexampleswhich,whencombined,createasolidbasisofresearch.Togethertheyshowtheexistingandemerginginterestintemporalityasasolution.Temporality

Temporalityinrelationtothisthesisisbestdefinedbyitsqualitativeexperienceratherthanitsquantitativevalue.Thisisbeneficialinnotsettingaspecificlifespanforaproject,butratheraneventwhereexistenceisbasedonthenecessityandonmaximumexposureforthesite.Whenthepurposeoftheprojectisreachedtheephemeralqualityofthedesignhasachieveditsgoal.DavidHoylooksatthequalitativeexperienceoftemporalityinhisbook,The Time of Our Lives, A Critical History of Temporality.Inhisresearch,temporary,fleetingoccurrenceshavethemostimpactandbecomesomeofthebestexperiencesofoneslife.Hoyattemptstogetattheheartofwhatreallymakesthesemomentsthe“timeofourlives.”1ToHoytheseexperiencesarevaluedhigherbecauseweunderstandthatthereisalifespantoanevent.Humanscanrelatethistotheirlifeexperienceandtheuncertaintythatcomeswithnon-permanence.Thispsychologicalresearchgivesvaliditytotheideathatatemporaryarchitecture,eventorprogramcouldleavealastingimpressiononviewers,evenmoresothanapermanentsolution.Thefleetingqualityoftemporaryarchitectureallowsthepublictorelatewithitanditslimitedlifespan.Ideallythiswillfosteradesiretoseethespacewhilethereisstilltime,andcondensethenumberofvisitors,whichmayexperiencethearchitecture,reachingalargeraudiencemorequickly. BarbaraChabrowetakesalookatthehistoryoftemporaryarchitectureinherarticleOn the Significance of Temporary Architecture.Datingbacktothemiddleagesthereareexamplesoftemporaryarchitectureanddesignplayingsignificantrolesinshapingeventsandcelebrations.Astheseoccasionswereanimportantsourceofentertainmentandmemoriesforthepublicthe

1. David Couzens Hoy, The Time of Our Lives: A Critical History of Temporality (Cambridge: MIT Press, 2009), 2.

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architecturebecameimmortalizedaswell.Printedflyerscommemoratingeventsalmostalwaysincludedexamplesofthetentsandgatheringspaces,whichwereconstructedspecificallyfortheevent.SimilartoDavidHoy’sideasontemporality,Chabroweassertsthat“temporarystructuresarevaluablenotdespite,butbecauseoftheirfleeting,popularcharacter.”2Againthisfurtheremphasizestheeffectthatatemporaryspacecouldhavemakingitavaluableresourceforcreatingmemoriesforthepublic. Intheirbook,Temporary Urban Spaces,FlorianHaydnandRobertTemelcompiletheworksoftheEuropeangroup“UrbanCatalyst.”ThisgroupresearchestheamplifiedbenefitsoftemporalityinprojectsthroughoutmajorcitiessuchasBerlin,Vienna,LondonandNewYork.Intheirworks,“temporaryuseswereinterpretedasinterimuses.”3Thisisimportanttonote,asitispossiblefortemporaryusestooccasionallytakeonpermanence,makingtheirexistencelesssuccessful,loosingtheircatalyticeffectandslowingtoastaticstate.Withoutanendtoaspaceorevent,thereisnochanceforreflection.Thebeautyoftemporalityistoservesitspurposeasaphysicalentityandthentoshiftintotherealmofmemory. CombiningarchitectureintheirprojectstheUrbanCatalystGrouphaveseveralsuccessfulprecedents.One,entitledAddOn,isaparticularlyinterestingexampledesignedandassembledbyPeterFattinger,VeronikaOrsoandMichaelRieperinVienna.Here,forsixweeks,thecitywasgivenfrontrowseatstotheprivatelivesofindividualslivinginasquare.Aconglomerationofinterestingmoduleswasinsertedinascaffoldingtogivetheillusionofhome,includinganRV,bedrooms,bathroomsandahottub.Thissocialexperimentattemptedtoblurthelinesbetweenpublicandprivateactivities.Itsmethodofcatalystwasshockvalue,ofseeingsuspendedhottubs,aswellasexperiencinglivinginapublicsquare.Theworkservedtomakethepublicconfronttheirideasofstereotypesandfunctionality.Itcreatedfirsthandviewsofhowordinarypeoplegoabouttheirlives,amazinglynodifferentfromhowaviewermightintheprivacyoftheirownhome.Whilethiswasasuccessfulandinnovativewayofbringingthisideatothepublicitwouldhavelostitssignificanceiflefttobecomepermanent.Realisticallyifthedemonstrationhadbeenextendeditwouldhavefallenintodisrepair,andthepublicwouldhavegottenboredorusedtoitandeventuallypaiditlittleattentionatall.Theoriginalgoalofthedesignerswouldbelost.AddOnserveditspurposethroughitstemporalityandlaterthroughmemory,beingdocumentedinthebookaswellascreatingalastingimpressionforthe

2. Barbara Chabrowe, “On the Significance of Temporary Architecture,” The Burlington Magazine 116, no. 856 (jul. 1974): 385-91.

3. Florian Haydn and Robert Temel, Temporary Urban Spaces: Concepts for the Use of City Spaces (Germany: Birkhauser, 2006), 77.

Figure 1.2 Add On, is an example of a temporal space in an urban context. Vienna, Austria. Source: Peter Fattinger

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participantsandtheviewers. Thisvarietyofexamplesdealingwiththetemporalshowcaseanareaofresearchanddesignbeingusedtopromotethepowerfuleffectgeneratedfromthisformofexperientialwork.Treatingtheephemeralaspectoftheprojectandtheexperienceasoneisthemostefficientwayofreachingalargenumberofpeopleatonetime.Thememoriesandexperiencestheytakeawayfromthearchitecturewillgenerateideasthatresonateaftertheworkisgone.Thepublic’sconnectionwiththepiecewillbecreatedthroughtheirunderstandingofalimitedexistenceandtheirdesiretoexperienceasmuchaspossible.Thiscombinationofdesire,memoryandexperiencewillbetheculminationofthetemporalandiswhatwillmakethisprojectsuccessful.

Catalyst

Acatalystisathing,actionorperson,whichprovokesasignificanteffectorreaction.Inrelationtoarchitectureacatalystshouldcreateacauseandeffectrelationshipbetweenanyvarietyofelements,spaceandauser,spaceandsite,orspaceandsurroundingcontext.Usingarchitectureasacatalystisdifferentfromsimplyassigningaprogramorpurposetoadesign.Itshouldfacilitateanactiveaffectratherthansimplyassigningtheactivitythatwillhappenwithinaspace.Inthecaseofthisthesistheeffectbetweentheinterventionandthesitewillbearesonatingawarenessofthepotentialofapreviouslyresidualsite.Whilethepurposeoftheprojectistheendresultofaraisedawareness,thecatalystisthefleetingexistenceofthespace,whichshowcasesthispotential. JanetEchelmanunderstandshowartandformcanbeusedasacatalystforeverythingfromrevitalizingaspacetoinspiringaculture.Echelmanisasculptorandinstallationartist,anduseslargeknottedfabricstocreateetherealforms,whichmoveandreacttotheenvironment.Herlargeknottedformscanbetransportedinadufflebag,butwhendisplayedcanfillthespaceofcourtyards,parks,andunderpasses.Eachprojectisdesignedinsuchawaythatitmovesandswaysinthechangingwind.Whileinterpretationislefttothevieweraconnectioncanbemadetoananthropomorphicrepresentationofajellyfishinitsmovements,andneedforasubstance,suchasair,togiveitform.Whilesomeofherworkshavebeguntomovetowardpermanentinstallationsherchoiceofmaterialandformcreateaveryephemeralexperienceasit

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isconstantlychangingandmoving.Her Secret is Patience 4isthetitleofarecentlyopenedpublicsculptureindowntownPhoenix,Arizona.PartofamasterplantorevitalizedowntownPhoenix,thesiteisapark,similartoatownsquare,withthesculptureactingastheanchoringpoint.HereEchelman’sworkactsasacatalyst,creatingasenseofwonderment,andfantasyinthespace.Oncesimplyatransitionspace,Echelman’sworkhaspromptedpeopletostop,sit,andponder.Thesiteisnowusedforprofessionalstotaketheirlunchandcollegestudentstostudy.Echelman’sworkservedasthecatalystcreatinganewrevitalizedconnectionbetweenthepeopleofPhoenixandthisdowntownsite.Whilethispieceispermanentitiseasytoimaginethecombinationofmaterial,form,siteandenvironmentcreatingthesameeffectinatemporaryconditionaswell. AnotherkindoftemporalartismadebythegraffitiknittinggroupKnitta.Usingcolorfulyarnsandpatterns,akintosomethingoutofaDr.Seussbook,thegroupsmainpurposeistocreateamomentumofindividualsbeautifyingurbanspace.Theiranonymouspresencethroughoutcitiesistheirwayofoperatingasacatalyst,whichgetspeopletotalkandthinkabouttheirworks.Namelesscreation,colorfuldesigns,andthelimitedlengthoftimeeachknitpiecewilllast,generateconversations,makingtheireffortssuccessful.Theirmessagecanbeusedtorevitalizesite,oratleastanobjectorspace,whichisoftenoverlooked.Theeverydaysuchaslightpoles,busbumpers,handrailsandcolumnscanallbebeautiful,accordingtoKnitta.Theirmaterialchoice,softyarn,alsocreatesanattitudeabouttemporality,somethingeasilyremoved,oncethemessagehasbeenpassedon,unliketraditionalspraypaintgraffiti. InvolvingtemporalityatthearchitecturalscaleisZahaHadid’sTemporaryGuggenheimMuseum.Thisprojectisanun-builtexplorationintotemporalityandcreatingacatalystfor“aninstantculturalhotspot.”Itisdesignedtobetemporary,withaten-yearlifespan,onanartificialislandoffofTokyo,Japan.Ratherthanshowcaseasitethrougharchitecture,asiteiscreatedtoshowcasethedesign.However,Hadid’sprojectscanbelookedatwithinthecontextofthisthesisasanexampleofrapiddevelopmentandbroadcastingwhatshecalls“instant-ness.”This“instant-ness”isduetoHadid’sdesignwheretheformwillbetheicon,ratherthanthesurroundings,site,orculture.Thematerialslookedatwerelightweightandlowcost,allowingforconstructiontobefastandforthepublictogainaccessasquickaspossible.Ifbuilt,itsgoalstocreateaninstantculturalhotspotwouldcreatearesonanceoftrendsettinginthenewlycreated

Figure 1.3 Graffiti knitting group, Knitta, uses colorful yarn to areas of often overlooked beauty. Source: Unknown

4. See figure 1.1

Figure 1.4 Zaha Hadid uses iconic form as a catalyst to create an “instant cultural hotspot. Source: Zaha Hadid Architects

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artificiallandscape,aswellasiconography,evenafterithadexpired. CatalystshavebeenutilizedtocreatechangeforeverythingfromtelephonepolestourbanmetropoliseslikeTokyo.Whethertheyaretoinspirebeauty,createaninstance,ortransformaspacetheyareallmeanttoencouragecontemplationandareactionfromthosethatviewit.Utilizingthisforcealongwiththetemporalqualityofaspacewilltakeanordinaryvisitortoaspace,engagetheminanexperiencewithasitetheywouldhavepreviouslyignored,contemplatethefurtherpotential,andbeforeverremindedofthisencounterafterthearchitectureisgone.Combiningtheseideaspresentedbyinstallationartists,graffitiartistsandarchitectsitisclearhowtheseideascouldmergetogethertocreatearesonanceofaresidualsite.

Residual Sites

Residualsitesareforgotten,neglectedordecayingurbanspaces,whichhavepotentialtobeenvelopedandintegratedintotheurbanfabric.Thesespacesneedtobeknitbackintotheurbanfabrictocreatecohesivecitiesandneighborhoods.Thisideaofknittingorenvelopingthesitebackintotheurbanfabriciswelcomeincomparisontourbanrenewalandurbanplanningasbothcarrynegativeconnotationsofunsuccessfulspacesandarchitecture. TadashiKawamataisaninstallationartistthatspecializesinfindingcontroversialorresidualsites.InhisprojectonRooseveltIslandhefoundboth.InthebookKawamataProjectonRooseveltIsland,ClaudiaGoulddocumentstheideabehindtheproject,whichcalledattentiontoasitethathasbeenabandonedforyears.OriginallythehomeoftheSmallPoxHospital,thearchitecturehasbeguntocrumbleintodisrepair.Kawamata’schoiceofthesitebroughtideasofisolationandquarantinetotoday’ssociety.Thischoicewasfairlycontroversialanddelicate,asthesiteisconsideredhistorical,eventhoughithasbeenlefttodecay.Kawamata’sprojecthadtobecarefultoportrayhismessagewithouteverphysicallytouchingthehistoricalstructure. Kawamata’sprocess,whichistoconstructwoodframedspaces,borderingonarchitecturalrepresentation,hasarathershortlifecycle.Itsephemeralqualityfeltinitsconstruction,andthenquicklythereafterinit’sdismantling.Onecritic,Yve-AlainBois,likeneditto“dealingwithapotentialghost.”5InthiswayhoweverKawamatadoesnot“erectamonument”but“isabletomemorialize.”5Thiswayofapproachinganddealingwithsiteisaprecedentworth


Figure 1.5 Kawamata calls attention to Roosevelt Island using wooden structures to create an ephemeral quality. Source: Elizabeth O’Connell

5. Claudia Gould, Kawamata Project on Roosevelt Island, ed. Minoru Kimura, Mika Koike and Mitsuyoshi Sakano (New York: On the Table, inc., 1993), 212.

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examininginthecontextofthisthesis.ToKawamataaresidualspaceisimportanttoshowcaseforitshistory,orsocialmeaning.Itbringssomethingforgottenandignoredtotheforegroundforexaminationandcontemplation. AnotherprecedentcomingfromTemporaryUrbanSpacesandtheUrbanCatalystGroupisaprojecttitledHirnsegel #7.TheirresidualsitewasinVienna,anareaunderarailwaybridgefilledwithconcretecolumnssupportingthetrainsabove.Thegoalwastocallpublicattentiontothepotentialsoftheunusedspacesoftheircity.Thecolumnswereplasteredineventpostersspanningyearsofconcerts,expos,sales,andmusicreleases.Usingtheideaofthis‘poster-ing’effect,thedesigners,knownasthePoorBoy’sEnterprise,wrappedthecolumnsinathinplastictocreatespacesandroomsinandamongthecolumns.Withoutassigningprogramthesespaceswereleftforwhateverusesavisitorsawfitforthedurationthattheplasticwasthere.Visitorswereencouragedtodiscoverusessuitedtothisresidualspacethattheyoftenpaidnoattentionto.Overitsseven-dayexistencethespacereceivedover700visitors.Whiletheprecedentdoesnotgoontoexplainwhatthesevisitorsusedthespaceforitiseasytoseethatevenforsuchasimpleideaandsetofdesigncriteriathistemporaryspaceanditspotentialwascalledintoquestionfor700moreoccupantsthanitmayreceiveinayear.Thiskindofquick,catalyticspacecreatedanemphasisforthesiteunderthebridgethatcouldpotentiallychangeitforever. Bothofthepreviouslymentionedprojectstaketheideasofthisthesis,atemporal,catalyticinterventiononaresidualspaceandprovethepotentialsuccessofthiscombination.Throughtheseworkspeoplewerereintroducedbackintoresidualspaces.Theydidnotprovideanswersorlongtermfixes.Theysimplyopenedthedoortoprovidemeaningfulconversationanddiscussionaboutthesituationoftheirchosensites.Thisisthefirststeptosolvingtheproblemofrejoiningaplaceofurbandecaybackintoitssurroundingcontext.Itisthroughopeningthisdoorofawareness,understandingandpotentialthatthepublichasthepowertomakethenextmove,andthepurposeofthearchitectureiscomplete.

Fiber Arts/Textile Explorations

Animportantaspectincreatinganephemeralspacewillbetheexperienceoftheinterventionasawhole.Thereforeitisveryimportanttotakealookatmaterials,whichprovide

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afeelingoftemporalityintheirarchitecturalqualities.Fiberandtextileasamaterialandaprocessprovidesomesenseofatemporaryspace.Fromnomadichutsmadeofwovengrasses,fairtents,andemergencyshelters,experiencewitha“fabric”materialisoftenassociatedwiththetemporary.Presentworksandresearcharebeingdonetoprovethatthisprocessinanarchitecturalsensedoesn’thavetobesotemporaryinitslifespan,butstillevokesthatexperientialqualitythisthesisislookingfor. Thereisalargepushinthefiberartscommunitytowardpushingthelimitsofknitting,weaving,andtextiles.DebbieNew,aknittingartisthasexperimentedwithhowthistraditionalcraftcanbeturnedintoobjectsthatarewatertight,suchasteacupsandboats.Throughaprocessofknittingdippedinresinherworksretaintheirshape,andbecomevessels.Herboatisactuallyalaceknitcoracledippedinresin.Acoracleisdefinedasasmallroundboattypicallymadeofawickerconstruction.Sincewickerisapatternverysimilartoweavingitiseasytoseethecorrelationintoaknitlace.Abletofloatwithanadultinsideitblursthelinesbetweensomethingasdelicateandbeautifulaslacewithastructuralmaterial,whilestillachievingbothqualities. Textilesarebeingpushedtotheirarchitecturallimitsaswell.InthebookExtreme Textiles – Designing for High Performance,MatildaMcQuidhasassembledacollectionofworks,whichwereondisplayattheCooper-HewittNationalDesignMuseum.Theexhibitshowcasedthewiderangeofemergingfabricandtextiletechnologies.Withexamplesofeverythingfromembroideredsurgicaldevices,spacesuitsandarchitecturaldesign,Extreme Textilesprovidesexamplesofhowcraft,processandflexibilityarebeingincorporatedintopresentdaydesign. Oneimportantarchitecturaldiscussioniswhetherthesetechnologiescanbeintegratedasskin,structure,orboth.OneprecedentfromExtreme Textiles isPeterTesta’sCarbonFiberTower.Inthisun-builtprojectaweavingmethodofcarbonfiberstrandswouldbeusedtocreateaforty-storyofficetower.Throughtheintegrationofweavingoninthefaçade,thefloorplates,andcentralcores,thebuildingwouldremainintensionandeachfiberinthestructurewouldworkinterdependentlywiththeotherstosupportthestructure.Eachcarbonfiberstrandwouldbeonefootwidebyoneinchthick,andwouldbepultrudedonsiteandwoventogether.Whilethetechnologiesarenotquitetheretotestthefullpotentialofthis,itwillexistinthenearfuture.Theuseofthewoventextilefabricnotonlywouldcreateasituationwheretheskin,structure,

Figure 1.6 Debbie New’s Lace Knit Coracle pushes the limits of knitting. Source: Debbie New

Figure 1.7 Peter Testa uses new textile technologies to design a fourty-story carbon fiber tower. Source: Peter Testa Architects

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systems,andcirculationwouldallbecreatedthroughthestrengthofasinglematerial,butalsoanexperienceoftheephemeral,seeingtheprocessofthewovencarbonfibersandhowtheydelicatelyaredesignedtoworkintension. Theephemeral,experientialqualityoffabricandfiberrelatestotheideasofthisthesisinawaythatprovidesanareaofexplorationofform,materiality,process,andmethodology.Whilethedesignisnotdictatedtoaspecificmaterial,thequalitiesoffabricarchitecturearedesirabletothefinalgoalofatemporalspace.Throughexploringtheprocessaswellaspossiblyfabricasanoptionwillfurtherenhancetheresultcreatedbythecombinationoftemporal,catalyticarchitectureforachosensite.

The Ephemeral Effect

Thecombinationofthequalitiesofcatalyticdesignandtemporalexperienceareimportanttothesuccessofthisthesis.Thecatalyticnatureofaspace,andthetemporalexperienceofmessageandmateriality,willbebroughttogetherandwillbethedrivingforcebehindrevitalizingresidualurbanspace.Theresearchhasproventherearemanysuccessfulapplicationsoftemporaryspacesandpossibilitiesstillunexplored.Bringingtogethertheephemeralwithanexplorationofthefiberartswillfurthercreateatemporalexperience.Throughacarefulselectionofaresidualsiteitwillbepossibletoemploytheseideas,thisephemeraleffect,tocreateaneffective,successful,andresonatingspace. TheworkdonebytheUrbanCatalyst’sandZahaHadidproveontheurbanlevelhowtemporarydesigncanrenewawidevarietyofspaces.VariousotherartistssuchasKawamata,Knitta,andEchelmandothesameatareducedscale.Throughthemergingoftheseideasanewurbandesignfocusiscreated.Itprovidestheopportunitytocreateurbanspacewithoutstagnanturbandesign,andunusedspaces.Bycreatingafocusonthetemporalexperienceandcatalyticeffectthataplacecanhave,asiteorpieceofarchitectureonlycontinuestogrowandtransformasitpassesthroughdifferentuseandform.Thisallowstheurbanfabric,neighborhoodsandcitiessurroundingthesitetogrowandchangewithit.Itprovidesanewbreadthofopportunitiesforcitiesandcommunitiesaswellasarchitectsanddesignerstocombatresidualspacesandurbandecay.Throughthisalmostinstantrevitalizationnewpotentialcanbefoundinanyurbanspace.

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Findings

Thesignificanceofthethesiswillbetolookatnewwaysofthinkingaboutcityplanningandurbandesigninanupdated,andlessstaticway.Thismethodoftemporarydesignmaybethoughtofascreatingopportunitiesfordesigningcitiesincontemporaryurbanspace.Thesignificanceisthatmoresuccessfulspaceswillbecreatedforapurpose,butnotlefttoruin,becauseanewuseorpurposecantakeitsplace.Thiscyclicalideawillreducethenumberofareasofurbandecaywithinacity,andcreateareasofinterestthatmove,grow,andareadynamicasthepeopleofacitydesirethemtobe.

Criteria for Evaluation

1. Didthefinalprojectembodythegoalofthecreationofasuccessful catalytictemporalspace?2. Wasthefinalprojectsuccessfulincreatinganawarenessandinstant revitalizationofaresidualurbansite?3. Didthefull-scaletemporaryeventcreateanappropriatepointofmelding togethertheexplorationsofknitting/fiberartswiththerealitiesofarchitecture?4. Wastheexplorationofknitting/fiberartsasaprocessrigorousenoughtobepresent inthefinaldesign?

Ideas for Future Research

Thenextareaofexplorationfortemporalcatalyticarchitectureisresearchingthepotentialofthesamecatalyticresultsatalargerurbancontext.CouldthissolvetheproblemforBoston’sCityHall,orapoliticalissue?Couldtemporaryurbanarchitecturebeusedtobridgethegendergap,orcallattentiontogayrights?Canthisideaofthetemporalcatalystpermeatetheurbancontextandbeaneverydaymethodofarchitecturaldesign?

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Thesis Prep II (Fall 2009) 14

Thesis Prep II - Method (Fall)

Method:

Mymethodisexploringspace,formandmaterialitythroughtheuseofknittingandotherfiberbasedtechniques.Throughtheuseofpatterns,scripting,andrepetition,variousconceptualideaswillbemodelledandexplored.Thegoalistoobtainaclearideaforarchitecturalformgenerationforthedesignproject. SteponeintheprocessistheexplorationofknittingandtechniquesthroughUFO’s(unfinishedknitobjects)Duringthistimedifferentmaterials,stitches,densitiesoffabric,andfinishingmethodswillbeexplored.Animportantfactorismaintainingaveryephemeralqualitytoallobjectsproducedintheseearlyconceptualexplorations. Steptwoofthisprocessandmethodologyexplorationwillbeexperimentationwithmaterialinarchitecturalform.Themaingoalofthisstepistoutilizefabricinadynamicratherthanstaticway. Thethirdstepwillbetakingthelessonsandlearnedaboutstructure,formandmaterialityduringexplorationandcreationanddesigninganinterventionattheurbanscale.Thegoalswillbetomaintainanephemeralqualityintheworkandtorevitalizearesidualsite.Totakelessonslearnedfromtheexperimentationtocreateasuccessfulcatalystwhichisabletoresonatethepotentialofthesitethroughoutthecommunity. Thismethodismeanttoservethegoalofthecreationofarchitecturalforminwhichthefeelingoftemporalityandthepotentialusesofaresidualsiteareshowcasedandrealized.

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A typical knitter will collects many UFO’s throughout the course of their knitting career. A UFO is a piece which is often started but never finished because the purpose was to work through a set of ideas or new skills rather than to create a complete object. These images illustrate a collection of UFO’s I have begun working on in relation to this thesis. Each object dealt with a different idea of stitching pattern and how it related to the density of the fabric or the form it created.

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One exploration during the fall development of this thesis was the use of scripting to create an interesting facade element incorporating knitting. A common practice in knitting is the use of beading and sequins to create interest to areas of a knit piece. Looked at these beads as an architectural element these adornments can become a kind of scale or skin. Using this basic idea I used this project to explore how a knit fabric could be used as a facade element. Using Rhino and Grasshopper I looked at different ways pieces could be made to create “sequins” that could be knit with a fabric to create a type of aesthetically interesting facade, with possible weatherproof benefits.

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Thesis Prep II - Method (Fall)18

Thesis Prep II - Site

0’ 128’64’

Urban Residual SiteGurney and Tremont St.Roxbury Crossing, MA

This site on Tremont St. is perfect due to its relationship within the Roxbury Crossing neighborhood. It is highly visible as it is directly adjacent to the Roxbury Crossing Orange Line stop and bus stop for multiple routes. The space has become a large residual space due to its adjacency to the Orange Line and Commuter Rail tracks to the east.

The Orange Line and Tremont St. act as a divide within this neighborhood, separating residential and small commercial areas from the Roxbury Community College, and other residential communities. Acting as a hinge point this site has the potential to create a solid bridge or connection between these two sides of the train line, and bring further cohesion at this intersection of Tremont St.

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Using a knitting pattern grid overlaid on the site it becomes possible to look at the site in its context and its surroundings at their simplest forms.

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Top: View of site from adjacent sidewalk.

Middle: View from opposite Tremont Street.

Bottom: Panoramic view taken from middle of site.

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Thesis Prep II - Program

Commercial/Institutional

Transportation

Residential

Abandoned

Program:

TheprogramfortheRoxburyCrossingsitewasdevelopedsimultaneouslyduringthemethodologyexplorations.However,itwasimportanttocreateasortofshortlistofpossibleprogramthatcouldbebeneficialtothesiteandcommunity.Totherightisamapoftheimmediatelysurroundingcontext.ThesiteliesinaplacewherecommercialareasmeetacrosstheTremontSt.intersectionaswellasamajortransportationhub.

Possible programmatic options:

Cultural:Art,Music,Dance,PerformanceSpaceTheneighboringRoxburyCommunityCollegehousesaperformancespace,howeveritisinhighdemandandoftenoverbooked.Expandingspaceforperformanceandgatheringofthecommunitycouldbeagreatbenefit.

Commercial:Hotel,Restaurant,ShoppingAreaThesurroundingareaisheavilyresidentialandtheconvenienceoftheOrangeLineacrossTremontSt.couldgivethissitereasontobecomeacommercialhubforthisneighborhood.

Programs to avoid:

Residential:Highrises,Lowincomehousing,HousingComplexesTheareaisalreadyheavilyresidential.Somethingneedstobeputinplacetocreateatleast18houractivitytoallowittobecomeasafedestinationforpeopleinsideandoutsidetheimmediateRoxburyCommunity.

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Thesis Prep II - Precedents

Peter Testa’s Carbon Fiber Tower is an unbuilt exploration in architecture which combines skin, structure and circulation as one system. Using pultruded carbon fiber the 40 story building would be constructed by a woven helical pattern of 24 strands. Where these strands cross pieces would be separated to create a woven floor. (see image top right) The floor plates would connect the tower to itself, and provide stability. Running the 40 stories would be two cores which would provide further lateral stability at the points where they penetrated and connected with the floor slabs. (See image bottom right) Also a shallower helix encloses the tower, acting as a ramp for circulation that weaves in and out of the building. This completes the structure providing even more stability in high winds. (See image bottom left).

Image top left: Peter Testa’s model of Carbon Fiber Tower. Source: Peter Testa ArchitectsOther images: Personal Rhino studies

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Wind Shapes by nArchitects is a temporary pavilion created in Lacoste, France for the Savannah College of Art and Design’s study abroad program. It created a public meeting space in the small town through the use of piping and aluminum collars for structure and threads pulled in tension to create ephemeral facades and barriers. (See image above) Depending on the tension used in each thread the structure moved and rippled in the wind. Again similar to the Carbon Fiber Tower the architects used a pattern of fibers to create and indistinguishable connection between what is structure, form and skin.

Images right: Wind Shapes by nArchitects. Source: nArchitects. Image above: Personal Rhino study

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Rebecca Ward’s installations use electrical tape to create architectural form and space out of lines, beams and angles. Each work is site specific and is designed to the needs of the space. From design to create Ward’s works have an idea and feel of woven space due to their rhythm and color. Her designs are mathematical calculations of the numbers of lines that can fill a space and create form. Working with a flat linear material she is able to create objects which appear to be very volumetric.

Images right: Examples of Rebecca Ward’s installations. Source: Rebecca WardImage above: Personal Rhino study.

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Thesis Studio - Spring 201026

Thesis Studio - Concept

Early concept model showing the site as a missing link between three neighborhood hubs, One Brigham Cirlce, Roxbury Crossing MBTA Station and Roxbury Community College.

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Close up of concept model showing the site as a being a void, lit from behind suggesting and illumination of the sites potential as a link within the Roxbury Crossing community.

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Concept model illustrating the idea of ghosted structure and texture behind a translucent material. The effect is a very beautiful effect of light and pattern that could be beneficial in creating a powerful, ephemeral space. The model is constructed of a bass wood frame, with a vellum screen in front of a piece of knit fabric, using a variety of stitches and needle sizes to vary the density of fabric.

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Capacity : 20000

Capacity : 5000Capacity : 1000

Capacity : 5000

0’ 256’128’

Thesis Studio - Size Comparison

Site capacity comparison showing other performance spaces at the same scale of the Roxbury Crossing site. Comparison sites from top left: The Hatch Shell, Boston, MA. Comcast Center, Mansfield, MA. Bank of America Pavilion, Boston MA. One Brigham Circle, Roxbury Crossing MA.

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Thesis Studio - Programming

Site model illustrating the size, contours and scale of the surrounding Roxbury Crossing context. Also shown is the proximity and depth of the adjacent MBTA train.

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ProgrammingAudience

40,000 sq. ft.

Stage2,800 sq. ft.

Practice Space900 sq. ft.

Dressing Rooms200 sq. ft.

Lighting + Mechanical200 sq. ft.

Office80 sq. ft.

Bathrooms2500 sq. ft.

Total46680 sq. ft.

80,000 sq ft


Early division of programmatic space based on square footage.

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Studies exploring the best arrangement of program across the site, with ideas of entrance points, desirable/undesirable views, and framing of platform area.

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Thesis Studio - Peacock Effect

The peacock became an analogy for the ephemeral. A beautiful bird in itself, the peacock becomes an even more beautiful and exciting sight when its plumage is open. The desire became to utilize this effect across the sight in terms of the excitement and intriguing beauty. Further explorations looked at the feather as a structural element, with a sturdy base extending outward and becoming thinner and more flexible as it extends from the body of the peacock.

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Thesis Studio - Peacock Effect35

Thesis Studio - Peacock Effect36

Thesis Studio - Dynamic vs Static

Fabric explorations could be divided into two categories, dynamic and static uses. The dynamic allowed for movement of the fabric and a changing appearance depending on the day and the wind. Static uses pull the fabric in tension and create a very frozen look to the fabric. While both uses have a temporary feeling, the dynamic uses was desired for this project as it allowed the fabric to have a life and changeability which would add to the excitement of the ephemeral intervention.

Image above: Curtain Wall House, Shigeru Ban. Source: Shigeru Ban ArchitectsImage right: Fabric canopies. Source: Fabric Architecture, Samuel J. Armijos

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Thesis Studio - First Design Iteration 38

Thesis Studio - First Design Iteration

Sketch Models

These beginning sketch models showed a variety of ideas about how to beginning creating a space for gathering on the site. The top model explored an idea of a continuous piece of fabric wrapping to create entrance, covered space, and interesting form. The middle model looked at an idea of adaptability and creating a space which allowed for a variety of sized events. Larger events could open more panels to create more space for audience members to stand among the screens. This would also allow passersby to see the space “opened up” and would visually understand the size of event occurring within. The bottom model continued the idea of the peacock impacting a canopy enclosure idea. It also looked at framing a stage/platform, and a translucent material for the covering. All of these models were informative, but lacked the dynamic quality of fabric that I was striving for.

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This sketch model took the idea of a fabric canopy and looked at how it could be both structural and dynamic. By scrunching the fabric of the canopy down a main spine-like structure, the fabric is allowed more movement and form, rather than acting as a flat plane.

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This design iteration took the dynamic use of fabric developed in the small white foam core model and looked at creating a structure which could support a large span of fabric. The goal was to create as few contact points with the ground to minimize impact on the site as it would only be a temporary intervention. The platform was raised to appear to be floating and supported by the same

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This iteration expanded on the previous model by creating a dissolving factor of the canopy, creating more volume and excitement at the entrance to the space. By creating the dissolving canopy it also changed the quality of light and shadow at the beginning of the site, versus when underneath the canopy. The stripes of fabric are attached both above and below the structure to create a ghosting in areas and full visibility in others.

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Preliminary Design0’ 64’32’

Early design drawing trying to determine the coverage of the canopy and the proportion of it to the stage. Both are large and out of scale in this drawing.

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Thesis Studio - First Design Iteration Summary

Summary

Thisfirstroundofdesignexploredtheideaofcreatingagatheringspaceandutilizingfabricinadynamicway.Theseriesofstudymodelsallowedforanevolutionofthecanopydesignandcreationofmorevolume,andinterestinginteractionswiththestructure.Itwasimportantinthisphasetodesigninmodeltounderstandthequalityandabilityofthefabric.Attheendofthisiterationitbecameapparentthatthescaleofthecanopywastoolargeandwouldneedtobescaleddowntoworkforthesite,andtocreateastructurethatwasfeasible.Whilesomeoftheearliermodelslookedatthestage/platformasbeingapavilion,itbecameevidentthroughbuildingmodelsthatthecanopyandtheplatformshouldbethepavilioninitself,withoutanyfurtherenclosureunderneath.Therewasalsosodiscussionatthisreviewabouthowtoaddresstheexistingsitecontext.Somesuggestionsweremadetolookatsurroundingmaterialsandtextures.

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Thesis Studio - Second Design Iteration45

Thesis Studio - Second Design Iteration

This design iteration began looking for a way to scale down the size of the canopy and divide the site into different zones which would allow for different sizes of events. This plan shows the golden section being used as a division tool, creating a main space under the canopy and then the over flow space on the remaining site. Another consideration was the surrounding context. Rather than attempt to incorporate surrounding context materials, it became more about incorporating the people of the neighborhood into the site. A bridge was added to connect to the existing Southwest Corridor, a string of parks which run through a variety of Roxbury residential communities. Through this move it was able to complete the gesture of the spiral off the site and into the surrounding context, while providing a more intimate entrance to the site for the neighborhood. The area in the upper left hand corner of the site was designated for a temporary structure that would conceal temporary bathroom facilities. The goal was that this structure would also be temporary and made of similar fabric and structural elements as the canopy. The small objects on the back of the pavilion were envisioned as being moveable dressing rooms and storage spaces, built on wheels and designed to be moved around the site depending on the event being held. The structure of the canopy became and assemblage of steel elements supporting the radiating “fingers” which support the canopy. The canopy utilizes tension cables to allow for a long span of these fingers, and ties back to the ground plane behind the main tower of the structure.

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2’ 8’ 16’’

4’ 16’ 32’

Section A

Site Section

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Thesis Studio - Second Design Iteration48


The perspective views of this design were created to incorporate an understanding of the variety of activities that could happen on the site. It is easy to envision the pavilion as a space for concerts or theatrical performances. But it is important that it be used as a space for 18-hour activity and events. Morning yoga, children’s theatre camp, community barbecues, local restaurant tastings could all happen seamlessly within this space.

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This drawing illustrates the elements that would be left behind once the pavilion was removed from the site at the end of the summer. It would remain in this state for the duration of time before a permanent developer would begin construction. The remnants would help serve as a reminder for the city of the potential of the site and its need for development as suggested by the ephemeral pavilion. The bridge would be left as a reminder to the next developer to consider the link to the rest of the Roxbury community when designing on this site.

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This image looks at the power of the spiral to draw the eye into the canopy structure and then out into the covered space.

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Thesis Studio - Second Design Iteration Summary

Summary

Whilethestructureofthecanopyachieveditsgoaloflightlytouchingthegrounditremainedtopiecemealanddisjointedtoworkasanobject.Thespiralworkedtocreateanicedivisionandproportionwithinthesite,andsetfeasibleboundariesforthecanopytoexistwithin.ItalsosuccessfullygroundedthesitetoanexistingspacewithintheRoxburyCrossingcommunity.Thereremainalotofelementstodesign,includingthedressing/storagerooms,aswellasthebridgeandentrancetothesite.Thelandscapeideaofgrasswithstoneinlayreflectingthestructureofthecanopytotheouteredgeofthesiteistooharshofarepresentationandcreatestoomany“zones”withinthesite.Furtherworktodevelopthecorrectwaytodealwithlandscapinginaminimalistwayisneeded.

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Thesis Studio - Third Design Iteration53

Thesis Studio - Third Design Iteration

THE EPHEMERAL EFFECTPerformance Space

N8’8’ 32’ 64’

This third design iteration began looking at ways editing and evolving the gestures across the sight to their most simplistic and effective components. The radial components of the landscaping were removed and the idea was that within the spiral walkway would be grass and the overflow space would be hardscape. The main entrance from the street is designed as a smaller canopy marking the corner of the site. The bridge is designed with an idea of being a very simple structure, similar to a feather being laid across the opening for the train tracks. The spiral is tweaked as to position its ending point directly at the base of the structure of the canopy.

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The structure of the canopy was redesigned to be a streamlined form that grew outward from the ground. The space frame was looked at as a metaphor for fabric in the structural sense. A piece of knitting or fabric under a microscope would have a very similar repetition of cells that make up its flexibility and texture. By using a space frame it allowed the design of the structural element to be fluid in its form and a lightweight structural element with visual interest.

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This model further evolved this structure to have each structural element be a continuous piece from ground to canopy, with an intermediary connection and tension cables holding the continuous elements in tension. As they would be arranged in a circular manner each would be in held in equilibrium against the other. This is further illustrated in the sections on the following pages.

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4’ 16’ 32’

Bridge Section

4’ 16’ 32’

Site Section

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2’ 8’ 16’’

Section A

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Thesis Studio - Third Design Iteration59

Thesis Studio - Third Design Iteration Summary

Summary

Thisdesignphasereallyfocusedheavilyontheevolutionofthecanopystructure.Fromthedisjointeddesignoftheseconddesignreviewtothemorestreamline,spaceframeinspiredversionofthethisthirdreviewthestructureevolvedtobemuchmorevisuallyexcitingandsculptural.Howeverthiswasalsoaproblemasalloftheinterestinthestructuretookawayfromtheinterestinthecanopyitself.Thecanopiedentrancetothesitebecametoomuchofamimicryofthelargecanopyandtookawayfromtheexcitementofthemaingesture.Thesimplificationofthesiteelementsimprovedtheplan,butitwasevidentinsectionthatthereneededtobemorechangeinleveltodenotehierarchyofspace.

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Thesis Studio - Final Design61

Thesis Studio - Final Design

Again it was back to the drawing board for the structure of the canopy. This time the goal was to simplify the elements to their most necessary pieces. The diagonal pieces were removed and simplified to create a more delicate connection between the continuous elements of the “fingers” and the tension cables holding them in place. The continuous elements would be made of a new material, a fiber resin polymer that would be pultruded into the individual shape and length of each finger element. It is very lightweight, and flexible as it is used in foldable space structures (as pictured above). It is also very strong as it is used to make the blades on wind turbines. It will provide the stability as well as the span needed to support the canopy fabric. It could easily be transported to the site and assembled and disassembled quickly without need for a very large foundation, or a lot of manpower. While the design was an improvement it still had a harsh structural quality to it, rather than an smooth streamline feel like the fabric.

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The structure became further refined by reducing the distance between the tension cables and the “finger” elements. This move refined the structure to its most simple, streamlined form. This design also allows for the simplest assembly to create a temporal feeling of elements in simple tension and compression.

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The connections for the fabric were designed to be very simple as well, but to allow for the most dynamic movement for the fabric. The connection points in the fabric would be eyelets which would be fixed to a conical shaped rod. It would allow for a range of movement in the wind, along this connector rod. The rod itself is connected back to the finger elements with a pin connection to give a range of rotation and further allow movement of the fabric.

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Ephemeral Effect0’ 32’


This is the final plan showing the design of the entire pavilion and site. The spiral has been expanded to include a main entrance from the street that merges with the entrance from the bridge. It also denotes the areas of ground level changes as the space around the platform is sunken four feet and there is a graded, grass amphitheater space leading down. The majority of the site is grass, with the main pathways being grass pavers to allow for a softer transition from grass to path. The lights around the edge of the site act as an ephemeral site wall and provide a feeling of edge without taking away from the view or excitement of the main structure.

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Bridge Section0’ 16’

Canopy Section0’ 16’

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Post Ephemeral0’ 64’

This is an updated plan of what would be on the site, post-ephemeral intervention.

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These panoramic images of the site show how the transformation from residual site to ephemeral gathering space would happen. These images further emphasize the importance of a light touch and simplification in the creation of a beautiful, ephemeral intervention.

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Examples of 18-hour activity that could occur within the ephemeral space created.

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The site model shows the fabric as the ephemeral pull of the intervention into the site following along the Southwest Corridor, across the bridge, into the spiral and expanding as into the canopy to cover the site.

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Final Model: Acrylic, Aluminum and Silk

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Conclusion

Conclusion

Summarizing the success of the project based on the objectives laid out in the Fall semester:

1. Did the final project embody the goal of the creation of a successful catalytic temporal space?

Yes, the thesis ended up being a successful exploration of the ideas of temporal architecture as a creation of an urban catalyst for the Roxbury Crossing site. The main criticism of the project during the final review was that it created such a successful catalyst for not only the site, but the surrounding neighborhood that it seemed cruel to take it away. I stand by this not being the case because the program and design is created in a way to be powerful over a short period of time. If the pavilion is left for a longer time it runs the risk of not being effective as it will loose its momentum. One suggestion during the final review was that it may be an element which comes back seasonally. While I believe that this is an option, again it would leave the site relatively undeveloped three seasons out of the year, when it could take the momentum of the one event and be developed in a way that would be useful to the community year-round.

2. Was the final project successful in creating an awareness and instant revitalization of a residual urban site?

Again I think that this was a success in terms of creating an icon that would bring interest and attention to the Roxbury Crossing site. I think that proof of this is in the critiques desire for it to be kept for a longer time period. There was little question of the design, but the discussion mostly centered around if it would be reasonable to remove it if it was designed to be such a benefit to the community. This relates back to the last goal, but I believe that it was a successful in also creating a conversation and discussion about temporary architecture and its power, a topic which turned out to be fairly controversial for a majority of critics.

3. Was the exploration of knitting/fiber arts as a process rigorous enough to be present in the final design?

The exploration of fabric in temporary architecture was explored through the various designs of canopy, and further extended as a metaphor for structure. The multiple design iterations of the canopy and the goal of creating a dynamic use for the fabric was achieved across the semester and visible in the final design of the pavilion.

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Exhibition Poster84

Bibliography

Chabrowe,Barbara.“OntheSignificanceofTemporaryArchitecture.”TheBurlingtonMagazine116,no.856(jul.1974):385-91.

Eakin,JulieSinclair.“KnitWit.”Cite:TheArchitectureandDesignReviewofHouston,Fall2007.

Echelman,Janet.“FluidMovement.”BostonSocietyofArchitects.BostonPublicLibrary10,October2009.

Gould,Claudia.KawamataProjectOnRooseveltIsland.EditedbyMinoruKimura,MikaKoikeandMitsuyoshiSakano.NewYork:onthetable,inc,1993.

Hadid,Zaha.“TemporaryGuggenheimMuseum,Tokyo.”NewArchitecture,2007.

Haydn,Florian,andRobertTemel.TemporaryUrbanSpaces:ConceptsfortheUseofCitySpaces.Germany:Birkhauser,2006.

Hoy,DavidCouzens.TheTimeofOurLives:ACriticalHistoryofTemporality.Cambridge:MITPress,2009.

McQuaid,Matilda.ExtremeTextiles:DesigningforHighPerformance.NewYork:PrincetonArchitecturalPress,2005.

Bibliography85

The Ephemeral Effect: Temporary Architecture as Urban Catalyst

Documents

Transcript of The Ephemeral Effect: Temporary Architecture as Urban Catalyst