re-urbanize: redeveloping an anachronistic urban space

Re-Urbanize: Redeveloping an Anachronistic Urban Space

Evan Robert Stellman

Presented to the Faculty of the Department of Architecture

Wentworth Institute of Technology

in Partial Fulfillment of the Requirements for the Degree of

Master of Architecture

April 2015

Approved by the Committee:

Primary Advisor: ________________________________________ Zachariah Pursley

Interim Director, Graduate Studies: ________________________________________

Elizabeth Ghiseline

- RE-URBANIZEA THESIS STUDY OF THE (RE)DEVELOPMENT OF AN

ANACHRONISTIC URBAN SPACE.

2015 M-ARCH THESISPROFESSOR ZACHARIAH PURSLEYEVAN STELLMAN

- RE-URBANIZEA THESIS STUDY OF THE (RE)DEVELOPMENT OF AN

ANACHRONISTIC URBAN SPACE.

2015 M-ARCH THESISPROFESSOR ZACHARIAH PURSLEY EVAN STELLMAN

THANK YOUI would like to thank my family for supporting me through-out my education, my friends whom accompanied my on the journey, and the professors whom have enlightened me with incomperable knowledge and wisdom.

ABSTRACT This book is a manefestation of the research, analysis and design conducted at Wentworth Institute of Technology from September 2014 to April 2015 as partial fulfilment of the degree requirements for the Master of Architecture program. This thesis examines manner in which adaptive reuse can be utilized to revitalize an urban setting. This is an important study because it examines how a city can be rejuvinated my manipulating the existing formal spatial arrangements rather than demolishing and starting new again.

INTRODUCTION 1 Definitions Introduction Statement

RESEARCH 5 DevelopmentofStyle ManipulationofPlace PassingofTime/AdaptiveReuse TheInternationalStyle

CASE STUDIES 15 FordPoint/CranewayPavilion ArtscapeWychwoodBarns MassMOCA UrbanOutfittersHeadquarters

SITE 25 SiteSelection SitePhotographs PreliminaryProgramAnalysis

CONTENTSPROJECTGOALS 31 Methodology Process Ecology Economy Community Housing

PROPOSAL 39 Site Program CirculationandConnections EcologicalDesign EconomicImprovement Residences CommunitySpaces

CONCLUSION 45 Site

APPENDICES 59 WorksCited Ima`geCredits

01CHAPTER

INTRODUCTION

3Introduction

DEFINITIONSStyle [stahyl] : In reference to architecture: a particular appearance, that draws allusions to specific, times, places and cul-tures.

Soul [sohl] : In reference to an inanimate form, object, or architecture: The spirit that is not present in visual or physical form, but portrayed via metaphysical conditions.

Adaptive Reuse [uh-dap-tiv ree-yooz] : The act of providing essential contemporary elements in order to rejuvenate an anachronistic form, object, or architecture

Appropriation [uh-proh-pree-ey-shuh] : To recontextualize an object or form with the intended outcome being rejuvenation (prominent term in art).

Revitalize [ree-vahyt-l-ahyz] : To provide a form, object, space, or architecture with a new life.

Rejuvenate [ri-joo-vuh-neyt] : To bring a form, object, space, or architecture to a new state; to make new again.

Renovate [ren-uh-veyt] : To make a form, object, space, or architecture new again, usually by updating anachronistic qual-ities.

Remodel [ree-mod-l] : To make a form, object, space, or architecture new again by redefining its formal spatial arrange-ments.

Restore [ri-stawr] : To make a form, object, space, or architecture new again by returning it to its original state.

Metaphysical [met-uh-fiz-i-kuh] : An abstract ideology that implies a deeper connection than visual or physical.

Genius Loci [jeen-yuh s loh-kahy] : The protective spirit of a place; the prominent characteristics that define a place.

4

INTRODUCTION This thesis is an exploration of how an anachronistic building development can be adapted in order to improve the overall health of the entire community. My initial research in the implementation of this thesis focuses on the relationship between an architecture and its time, place, and culture. Theoretically, when we strip a building from the design tenden-cies influenced by time, place, and culture, we would be left with a common shelter (skeleton): A primitive hut. Style is developed when time, place, and culture introduce new materials, new programs, new construction techniques, and new forms to the primitive hut. This allows the build form to develop an intimate connection with a given time, place and cul-ture. These influences allow an architecture to develop a soul. This soul allow architecture to become a machine for living, working, and playing; rich in spirit and character. The next area of focus analyzes the passing of time and manipulation of place, and their effects on architectural styles. The passing of time has an interesting impact on a built form. In some cases, a home will grow as a family grows, responding to new needs and satisfying new demands. As the building responds to its given time and place, it will develop a stronger soulful relationship; a deeper connection to its site, and its inhabitants. This thesis focus on what happens when a building does not initially adapt to the passing of time. How should the renovation, restoration, or remodel of a building that has outlived its purpose be approached? Although they have lost their cultural connection, these buildings still maintain an intimate connection with their site, and they are expressive a past time and place. After examining a series of urban sites, I chose the Pacific Mills site in Lawrence, Massachusetts. I selected this site because of the potential that is saw in it. The immense buildings, and location along the waterfront is ideal for creating a new urban hub for the city of Lawrence. This would be an important shift in the revitalization of the city because it was a established as a city in the late 1800’s and lacks the urban elements of modern cities. This thesis is a study of how we can use yesterday’s buildings to influence a better urban community for tomorrow.

The adaptation of an anachronistic urban development will provide the necessary framework to improve a community within a city; thus re-urbanizing and rejuvenating, and Revitalizing the city.

02CHAPTER

PRELIMINARYRESEARCH

7Introduction

Development of an Architectural StyleResearch Prompt: How does an architecture capture the essence of a time, place and culture?

“Lack of culture means what it has always meant: ignoble civilization and therefore imminent downfall.” -Frank Lloyd Wright

Architectural styles have been formed as an expression of time, place, and culture. This is evident when looking at today’s suburbia: the facades of homes are expressive of the time during which they were built, the climate that they are suited for, and the general program within. For example, a low stucco home with large overhangs would have been designed for hot, desert-like climates. Going further into this examination, a home that uses local materials develops a deeper connection with it’s site (E.G. a log cabin being constructed from the trees on its site). In his article, Design + Culture: A return to Fundamentalism, David Carlson and Brent Richards analyze the role of culture in modern design. They state: “Design has become the embodiment of a larger process of creative ‘culture-mon-gering’ that has become a means to capture ideation, innovation and enterprise and made to stand for cultural identity.” (Carlson, Design + Culture). In essence, design has become the pinnacle representative of cultural success. Built forms have become physical representations of a culture’s success (or failure).

Conclusion: A building accrues a soul, or a specific character, as a response to the time in which it was developed, its users, and its vernacular.

8

Craftsman Style Home Typical Attributes: The Craftsman style of homes began during the Arts and Crafts movement between the 1950’s and 1920’s. This style highlights the nature and craft of materials. This movement was a response to the industrial revolution of the 1800’s; the style was born when architect Augustis Pugin became frustrated by the disconnection between craft and laborer during the industrial revolution. (Losinger, web). This style allowed people to take more pride in their homes, thus creating a cherished relationship be-tween style and culture.

Colonial Style Home Typical Attributes: Symmetrical facade, typically square ge-ometries & proportions, axial entrances, decorative crown above the front door, pair of chimneys.A colonial style refers to the design tendencies used in the early colonization of The United States of America. The first of these homes (early 1700’s) were similar to those of England. As time progressed, the colonial style evolved from Georgian Colonial to colonial revival, to classical colonial, and to Dutch colonial. These styles of homes allow for metaphysical relationships between architecture and occupant via their allusion to history. (Poppeliers, Style).

Victorian Style Home Typical Attributes: Steep roof with dominant gable, asym-metrical facade, single-story porch-usually along two exterior walls.The Victorian Style was derived from the time that Queen Victoria ruled Great Britain (Victorian Era). This style celebrates materials and surfaces as well as industrial evo-lution and local materials.

(Figure 2.01)

Development of Style

The Primitive Hut.The image to the left represents a home without any design features that have been influenced from any particular time, place or culture. The three images below are based off of this primitive hut, but each represent a different architectural style.

9Introduction

The Manipulation of PlaceResearch Prompt: How does the manipulation of place affect an architecture? In their article, Orange County, Java: Hybridity, Social Dualism, and an Imagined West, Robert Cowherd and Eric Heikkila analyze the stylistic phenomenon that has occurred in Jakarta, Indonesia. Due to the media, the Jabotabek cul-ture glorified western culture and therefore desired similar homes. The introduction of western style architectures (Orange County style homes) to the Jabotabek culture allowed these people to live a visually similar lifestyle to what they had ob-served from Hollywood. The juxtaposition of the western style and Indonesian culture influenced immense changes in the built form of the homes. The facades remained unchanged, but interior architecture was manipulated to suit the Indonesian culture. For example, a second kitchen would added to the home would be used for the typical Indonesian methods of cooking and eating while the first remained to invite the western culture into the home. Although the imposition of a foreign architecture on a culture had immensely manipulated the built form, it was successful in creating a respectful adaptation of both typologies; developing a metaphysical relationship between a foreign style, and a new time, place, and culture. (Cowherd, Orange County Java) A great example of this type of relationship is Falcon City of Wonders in Dubai. This themed neighborhood allows people to live among the seven wonders of the world. The homes in this development have identical floor plans that cater to the Aarabic lifestyle, but the skin of the homes are manipulated to provide residents with various style options.

Conclusion: When an architecture is transplanted from its intended time, place, or culture, an interesting shift in its design occurs. The juxtaposition of the two times, places, or cultures creates a new architectural style in and of itself.

10

(Figure 2.02) (Figure 2.05) (Figure 2.06)

(Figure 2.03) (Figure 2.04)

Manipulation of Place

11Introduction

The Passing of Time/Adaptive ReuseResearch Prompt: How does the passing of time affect a built form? In her book, Redeveloping Industrial Sites, Carol Berens outlines the rise and fall of industrial buildings in New York City. During the late 19th century, it was common to tear down buildings that were not being used to make room for new developments. This was a time period where many industrial style buildings were left vacant after their occupants moved to the south for cheaper and more accessible labor. Urban renewal brought many high rises to the city but the lack of funds left many parcels vacant. Local artist unknowingly created a new economic approach: adaptive reuse. These artists would take over large, cast-iron industrial buildings and convert them into studios. This created a monumental shift in the economic development of cities. The passing of time would no longer influence a cycle of demolition and new construc-tion; it would influence a more economical approach that celebrated regional architecture and preserved its historical value (Berens, Redeveloping Industrial Sites).

Figure 2.07 shows possible manipulations to a built form with the passing of time. The top images show a home being expanded to fulfill its occupants needs. The bottom images show a factory that has outlived its purpose and is therefore being adapted.

Conclusion: As time passes, new technologies, cultural shifts, and societal norms introduce new design tendencies and interventions to existing styles. While some buildings can easily adapt to the changing times, others require immense efforts to adapt. As a reaction to these shifts, a new program might be introduced to these buildings.

12

(Figure 2.07)

Passing of Time

13Introduction

An International SolutionResearch Prompt: How can the effects of time and place on an architectural style be alleviated? The International Style (1930’s):“There is, first, a new conception of architecture as volume rather than as mass. Secondly, regularity rather than axial sym-metry serves as the chief means of ordering design. These two principles, with a third proscribing arbitrary applied deco-ration, mark the productions of the international style.” -Philip Johnson The International Style was an extremely successful exhibition at the Museum of Modern art in the early 1930’s and the accompanying book became a guideline for modern architecture. The key characteristics of The International Style are: rectilinear forms, light surfaces that have no ornament, open interior spaces, and a visually weightless or light presence in the architectural form. The images to the right are some examples of The International Style.

Walter Gropius Bauhaus Dessau: (Figure 2.08) Mies Van Der Rohe Crown Hall: (Figure 2.09) Le Corbusier Villa Savoye: (Figure 2.10) Walter Gropius Fagus Factory: (Figure 2.11) Mies Van Der Rohe Barcelona Pavilion: (Figure 2.12)

Conclusion: The international style provided the framework for a non-vernacular buildings, and the lack of excess building character created a new architectural typology that could be imposed onto any setting.

14

(Figure 2.08)



The International Style

03CHAPTER

CASE STUDIES

17Case Studies

Ford Point/ Craneway PavilionAddress: 1414 Harbor Way SouthRichmond, California, USA.

Prior program: Assembly Factory (ford Motors) & Wartime Production Facility

New Program: Mixed use- Focus on Residential, and small-scale public/commercial spaces.

Date Built: 1930

Date of Adaptation: 2004-2009

(Figure 3.1)

(Figure 3.3)(Figure 3.2)

18

(Re)-Model: The Ford Point / Craneway pavilion appropriat-ed a half-mile long, 500,000 square foot assembly plant to respond to modern demands. This development in-troduced Restaurants, residences, a visitors center, and 40,000 square feet of public space (Craneway pavilion) to the anachronistic architecture.

(Figure 3.4)

Ford Point/Craneway Pavilion

19Case Studies

Artscape Wychwood BarnsAddress: 61 Christie StreetToronto, Ontario, Canada.

Prior program: Streetcar repair and housing facility for Toronto Civic Railway

New Program: Mixed use- Intended to become a new social & cultural hub.

Date Built: 1913

Date of Adaptation: 2008

(Figure 3.5)


20

(Re)-novate: This adaptive reuse project transformed an abandoned streetcar shed into a modern cultural hub with heavy influences from the arts. Upon its completion, this project has become a hub for arts, culture, food, and urban agriculture. The new design took advantage of the immense formal spatial arrangement to de-velop large communal gathering spaces (E.G.: farmers market) as well as smaller, intimate spaces (E.G.: artist’s studios).

(Figure 3.8)

Artscape Wychwood Barns

21Case Studies

Massachusetts Museum of Contemporary Art

Address: 87 Marshall StreetNorth Adams, Massachusetts, USA.

Prior program: Various Industrial Buildings (26 total).

New Program: Museum

Date Built: Late 1700’s-mid 1800’s


(Figure 3.10) (Figure 3.11)(Figure 3.9)

22(Figure 3.12)

(Re)-Model: The Massachusetts museum of fine arts utilized a complex of existing in-dustrial buildings to develop their ideal formal spatial arrangements. Their de-sign stripped the interior elements from the existing buildings to accommodate for large art installations while still respecting the old soul of the prior programs.

Mass MOCA

23Case Studies

Urban Outfitters Corporate Headquarters

Address: 5000 South Broad StreetPhiladelphia, Pennsylvania, USA.

Prior program: The Philadelphia Naval Shipyard

New Program: Corporate Headquarters

Date Built: 1872


(Figure 3.13)


24(Figure 3.16)

(Re)-Store: The soul of this complex has been preserved with its adaptation into Ur-ban Outfitters new corporate headquarters. In order to achieve this preservation, the structures of this site have been restored to an ultimate state. The windows have been removed, reglazed, and put back in, and many of the built forms im-posed onto these structures have been constructed with local materials (wood/stone).

Urban Outfitters Headquarters

04CHAPTER

27Site Analysis

Site Selection & Photographs The site selected for this project is the Pacific Mill Industrial Complex at 300 Canal Street in Lawrence, Massachu-setts. This site was chosen because of its location, its history, and its potential. This complex is sited on a manmade island that was formed in the mid 1800’s. The damming of the Merrimack River in 1847 sparked an immense industrial boom in the city of Lawrence because of the ability to harness and control the river’s power. The Pacific Mills complex operated as a textile mill until new technology allowed production to be moved inland. Although the complex is still active as an industrial space, it is underutilized. This site has the potential to act as a threshold between the Merrimack River and the City of Lawrence. The buildings boast 700,000 square feet of developable space with favorable open spaces surrouding them. This is an ideal site for redevelopment because it has the opportunity to revitalize the entire community of Lawrence.

28

IMAGE 1 IMAGE 2 IMAGE 3 (Taken from City Hall)

IMAGE 4 IMAGE 5

IMAGE 6 IMAGE 7

IMAGE 8 IMAGE 9

IMAGE 10 IMAGE 11 IMAGE 12 IMAGE 13 IMAGE 14

12

4

5

6

7

8

9

11

10

12

13 14

Site Selection & Photographs

29Site Analysis

Preliminary Program AnalysisPublic Green Space: The empty space between buildings can be utilized as public green spaces. A green corridor-swill connect the Campagnone Com-mon and the Merrimack River.

Primary Programmatic Elements: The largest building should house the larg-est program; with more leasable square footage as well as an open market. Be-cause of it’s size and location at the cen-ter of the site, this building will house the alluring programmatic elements.

An early analysis of program and site revealed a series of parameters to be followed:

30

Buildings to be Reevaluated:The smaller buildings along the edge of the site either be demolished or retrofitted for back of house program-matic elements. Because of its height, smokestack is the primary visual con-nection to the site.

Threshold: The area between the larg-est building and the street will act as a threshold for the commercial spaces. A landscaped deck will extend from Canal St. to the Merrimack River with a parking built into the grade change below the deck.

Mixed Use: The buildings that are situated away from the main roadway and river will be used as retail spaces on the ground floors, offices on the second floors, and condominiums between the third and fifth floors.

Preliminary Program Analysis

05CHAPTER

PROJECTGOALS

33Project Goals

Methodology The parameters for this project have been broken up into 4 categories. Ecology focuses on environmental intac-tion between the site, its users, and the community. Econ-omy focuses on the economic impact of the project and the built form that will support it. Community focuses on the buildings, spaces, and connections that will benefit the en-tire community. Furthermore, the programmatic elements that bring the community together. Finally, housing focuses on the residential aspect of the project and the amenities made available to the residents of Pacific Mills.

34

Process Working towards the final design stage, my process developed these four major design elements while focus-ing on the connections to and among the site. The design process also focused on the physical build form and inter-ventions, spatial arrangements of the public green space, programmatic relationships, user experience. The process started with an analysis of the site to determine the con-ditions, project goals, and parameters of the site. I then developed a preliminary program anlysis. As I worked the program into the buildings, I developed the connections between them and the circulation around them.

Methodology and Process

35Project Goals

Ecology

Amenitize and Connect Public Green Spaces:

Highlight and Preserve the Water’s Edge:

36

Economy

Connect to the Existing Downtown Retail Core:

Utilize a Central Core for Retail and Circulation:

Ecological and Economic Goals

37Project Goals

Housing

Introduce Mixed Use Program:

Provide Complementaty Programmatic Elements:

38

Community

Break the Urban Edge:

Expand Existing Grids Through the Site:

Community and Residential Goals

06CHAPTER

PROPOSAL

41Proposal

1 West Deck2 Riverwalk3 Commercial Building

4 Residence Buildings5 East Deck6 East Park

Site

1

2

3 5

4

4

6

42

West Deck LandscapeParking Mechanical

Vertical Circulation RampsArt Galleries

RetailParking & Loading Dock

ResidencesAtrium

Studio “D”

East Deck Landscape

Flexable Office Space & Open Market

Studio “C”Studio “B”

Studio “A”

Program

Site and Program

43Proposal

Part I: Connections and Circulation The connections to the site and among the primary programmatic elements of the development play a vital role in the overall comfort and walkability of the site. One of the major goals is to break the edge between the Mer-rimack river and the urban fabric. This is accomplished via the series of paths and boardwalks that meander through-out the site. The two major axis on the site extend from the existing street grid line to the Merrimack River. The image to the right shows the boardwalk that extends from Lawrence Street over a new pedestrian bridge. The exist-ing bridge that extends from Appleton Street would be converted into a pedestrian only bridge as well. By doing so, a greater emphasis would be put on the pedestrian and walkability over the automobile. From the two ma-jor axes, a series of paths connect directly to the first and second floor retail and open market spaces, as well as the third through fifth floor residences, studios, and gallery spaces. The portion of the studio building that is closest to the river (shown to the left) accommodates an open air circulation node to connect the artist’s gallery spaces as well as the public green spaces and the riverwalk. The new landscaped open green spaces on the site will be connected by a continuous path to provide users with direct access to a series of immense green spaces.

44 Connections and Circulation

45Proposal

Part I: Connections and Circulation

The existing streets extend through the site to the Merri-mack river

Paths extend from these axes to the retail, office, and open market spaces.

46 Connections and Circulation

A continuous path connects all of the public green spaces on the site.

The artists studios and gallery spaces have individual thresholds on the large building. A portion of this build-ing accomodates an open air vertical circulation node.

47Proposal

Part II: Ecological Design The previous site conditions did not have any connection between the river, the site, and nature. This design calls for the blending of these three elements while respecting the eclology along the riverbank. This is done via a series of interventions that deconstruct the existing edge along the riverbank and pringing the program to the water. The river-walk is designed to be constructed on wooden piles rather than imposing a large foreign mass onto the river’s edge. The riverwalk extends the entire length of the island providing a connection to a series of green spaces. This inspires a deep-er connection between the user and the landscape which would, in turn, influence more respect for the river and the environment. The runoff from the site will be collected in a cistern in the parking garage and filtered via a water feature that runs along the western edge of the site before entering the waterway. This will help alleviate pullutants in the Mer-rimack river. The unused green space between the riverwalk and the site will be plated with native species. These gar-dens will extend into the studio building’s atrium. Finally, the public green spaces on the site are designed to alleviate the impervioius areas of the site.

48 Designing to Support Ecology

49Proposal

Part III: Economic Improvement

A large portion of the program for this project is devoted to economic improvement of the city. Most of the first and second floors are designed to house large scale retail, small botique shops and restaurants, and offices. The jux-tapostion of these programmatic elements alone; as wel as the easy access to the site help to re-urbanize the city by bringin Pacific Mills up to modern urban standards. The retail corridor ,highlighted in blue in the plans to the right, ex-tend the existing retail corridor from Lawrence Street, down to the Merrimack River. The large scale retail (E.G. Whole Foods), is situated behind these stores with direct access to the parking garage. This is done so shoppers would not have to carry their groceries across the site to their vehicles. The back of house warehouse and loading dock, highlight-ed in purple, prevents the back of house pollution to interfere with the public green spaces and rsidences. On the sec-ond floor, the flexable open marketplace, highlighted in green, gives artists and community venders an immense space for business. The office space in the opposite building mediate the area between the busy retail corridor and the resi-dences above.

50 Designing for a Better Economy

51Proposal

Part IV: Residences The new residences at Pacific Mills are intended to invite a new series of demographics to the city. The target demographics for these condominiums are young single people and young families. The programmatic relation-ship between the residences, the green space and the studios is designed to be inviting to artists and their fam-ilies. This is done to highlight the metaphysical presence of the previous program on the site. In the past, these buildings were used as textile mills; the adaptation into artist’s studios allows these building to remain buildings “for the making.” The mixed use buildings of the site will also attract new residents. The introduction of a variety of programs influences a more urban feel for the community rather than having a series of neighborhoods with shop-ping, green space, entertainment, and offices seperated. The imposed built form on the envelope of the residential buildings provides residents with a sense of pride and individuality, despite living in a shared building. These intervention “bump-outs” extend the program out-ward 4.5 feet. The bump-outs that are two window bays wide are extended from the semi-public spaces of a 3-4 bedroom conominium. The single window bay bump-out is extended from a studio apartment or bedroom. The composite metal paneling introduces new color and new material to the site while respecting the industrial past of the site.

52 Designing for Residents

53Proposal

Part V: Community Spaces

The interaction of public and semi public programs among the site provide a series of immense community orient-ed spaces. The artist’s studios help to build a community because they give artist a space to interact with other artist as they create, and interact with the public while they sell their work in the open market, or display their work in the gallery spaces. The spatial arrangment of the studio spaces is reflective of this interactive community. Each floor of the studio opens to the one below it; this relationship allows the maximum amount of light to enter the space while providing the artist community with a beneficial interactive studio space. The semi-public courtyard space of the residential building is oriented to give residents the opportunity to interact with other residents without the heavy crowd from the retail and office spaces below. The public green spaces and the pathways that connect them provide a series of green spaces for the entire city to utilize

54 Designing for a New Community

07CHAPTER

CONCLUSION

57Conclusion

58

The final design was successful in providing the city of Lawrence with a benefical urban adaptation that would be in-strumental in re-urbanizing the city. The connections to the site and among the site would break the sharp urban edge that seperates the urban fabric and the river. These connections would also provide users with immense spaces that are worth caring about. The mixed use program would help revitalize the city’s economy by providing a place for new residents to live, and a series of places for the community to work, shop, and relax.

Proposal Critique

08CHAPTER

APPENDICES

61Appendices

WORKS CITED2.1. Poppeliers, John C., and S. Allen Chambers Jr. What Style is It: A Guide to American Architecture. John Wiley & Sons, 2003.

2.2. Morrison, Hugh. Early American architecture: from the first colonial settlements to the national period. Courier Do-ver Publications, 1952.

2.3. Brooks, H. Allen. Frank Lloyd Wright and the Prairie School. New York, NY: George Braziller, 1984. Print.

2.4. Carlson, David and Brent Richards. “Design + Culture: A Return to Fundamentalism?” David Report. Issue 13, March 2011. Web. <http://www.davidreport.com>

2.5. Lonsinger, Ken. “Craftsman perspective: History.” April 6, 2010. Web. <http://www.craftsmanperspective.com>

2.6. Cowherd, Robert, and Eric Heikkila. “Orange Coun-ty, Java: Hybridity, Social Dualism, and an Imagined West.” Southern California and the World. Westport, CT: Green-wood Publishing, 2002. 195-216.

2.7. Cantell, Sophie Francesca. “The adaptive reuse of his-toric industrial buildings: regulation barriers, best practices and case studies.” PhD diss., Virginia Polytechnic Institute and State University, 2005.

2.8. Berens, Carol. Redeveloping Industrial Sites. A Guide for Architects, Planners, and Developers. Hoboken, NJ. John Wiley & Sons, Inc. 2011.

2.9. Rabun, J. Stanley and Richard Kelso. Building Evaluation for Adaptive Reuse and Preservation. Hoboken, NJ. John Wi-ley & Sons, Inc. 2009.

2.10. Burchell, Robert W., and David Listokin. The adaptive reuse handbook: Procedures to inventory, control, manage, and reemploy surplus municipal properties. New Brunswick, NJ: Rutgers University, Center for Urban Policy Research, 1981.

2.11. Le, Corbusier, and Frederick Etchells. Towards a New Architecture. London: Architectural Press, 1946. Print.

2.12. Hitchcock, Henry-Russell, and Philip Johnson. The Inter-national Style. New York: Norton, 1966. Print.

3.1. King, John. “The Ford Assembly Building.” Architectural Record. Febuary 22, 2010. Web. Accessed December 9, 2014. http://archrecord.construction.com/projects/bts/ar-chives/adaptivereuse/10_The_Ford_Assembly_Building

3.2. Kane, Peter. “Ford Point.” Adaptive Reuse. Web. Ac-cessed December 9, 2014. http://adaptivereuse.info/portfo-lio/ford-point/

3.3. DTAH Architects. “Artscape Wychwood Barns.” DTAH Projects. 2010. Accessed December 10, 2014. http://dtah.com/project/artscapewychwoodbarns.

3.4. Kohn, Liz and The Toronto Artscape Office. “Artscape.” Artscape. January 1, 2010. Accessed December 10, 2014. http://www.torontoartscape.org/.

62

3.5. Bruner & Cott Architects. “Mass MOCA.” Brunercott Featured Projects. 2000. Accessed December 10, 2014. http://brunercott.com/featured_projects/fp_mass_moca.

3.6. Kane, Peter. “Mass MOCA.” Adaptive Reuse. Web. Ac-cessed December 9, 2014. Kane, Peter. “Ford Point.” Adap-tive Reuse. Web. Accessed December 9, 2014. http://adapti-vereuse.info/portfolio/ford-point/

3.7. Yoo, Alice. My Modern Met (blog). Urban Outfitters Cre-ative Headquarters. December 9, 2010. Web. Accessed De-cember 10, 2014.http://www.mymodernmet.com/profiles/blogs/urban-outfitters-creative

3.8. Kane, Peter. “Urban Outfitters Corporate Campus.” Adaptive Reuse. Web. Accessed December 9, 2014. http://adaptivereuse.info/portfolio/urban-outfitters-corporate-cam-pus.

Works Cited

63Appendices

Figure 2.1. Stellman, Evan. Development of Style. AutoCAD drawing edited with Photoshop.

Figure 2.2. Stellman, Evan. Development of Style. AutoCAD drawing edited with Photoshop.

Figure 2.3. Unknown. FalconCity of Wonders. 2006. Wi-kimapia, Falconcity of Wonders.http://wikimapia.org/740823/Falcon-City-of-Wonders. 3 November, 2014.




Figure 2.7. Stellman, Evan. Passing of Time. AutoCAD draw-ing edited with Photoshop.

Figure 2.8. Unknown. Bauhaus Dessau. Wikipedia, Bauhaus. http://en.wikipedia.org/wiki/Bauhaus#/media/File:Bauhaus.JPG. September, 2014.

Figure 2.9. Unknown. Crown Hall. Tectonics and Skeleton Skin (Blog), Mies Van Der Rohe Crown Hall. https://tshkbarc1a.wordpress.com/ludwig-mies-van-der-rohe. September 2014

Figure 2.10. Unknown. Villa Savoye. Wikipedia, Le Corbus-ier Villa Savoye. http://upload.wikimedia.org/wikipedia/en/3/3c/VillaSavoye.jpg. September, 2014.

Figure 2.11. Unknown. Fagus Factory. Wikipedia, Walter Gropius Fagus Factory. http://en.wikipedia.org/wiki/File:Fa-gus_Gropius_Hauptgebaeude_200705_wiki_front.jpg. Sep-tember, 2014.

Figure 2.12. Unknown. Barcelona Pavilion. Wikipedia, Mies Van Der Rohe Barcelona Pavilion. http://en.wikipedia.org/wiki/Barcelona_Pavilion#/media/File:The_Barcelona_Pavil-ion,_Barcelona,_2010.jpg. September, 2014.

Figure 3.1. Hustace, Billy. The Ford Assembly Building. 2010. Architectural Record, The Ford Assembly Building. http://archrecord.construction.com/projects/bts/archives/adaptivereuse/10_The_Ford_Assembly_Building. 9 Decem-ber, 2014.

Figure 3.2. Hustace, Billy. The Ford Assembly Building. 2010. Architectural Record, The Ford Assembly Building. http://archrecord.construction.com/projects/bts/archives/adaptivereuse/10_The_Ford_Assembly_Building. 9 Decem-ber, 2014.

Figure 3.3. Vertikoff, Alex. The Ford Assembly Building. 2010. Architectural Record, The Ford Assembly Building. http://archrecord.construction.com/projects/bts/archives/adaptivereuse/10_The_Ford_Assembly_Building. 9 Decem-ber, 2014.

IMAGE CREDITS

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Figure 3.4. Vertikoff, Alex. The Ford Assembly Building. 2010. Architectural Record, The Ford Assembly Building. http://archrecord.construction.com/projects/bts/archives/adapti-vereuse/10_The_Ford_Assembly_Building. Photograph. 9 December, 2014.

Figure 3.5. DTAH Architects. Wychwood Barns. 2010. DTAH Projects, Artscape Wychwood Barns. http://dtah.com/proj-ect/artscapewychwoodbarns. Photograph. 10 December, 2014

Figure 3.6. DTAH Architects. Wychwood Barns. 2010. DTAH Projects, Artscape Wychwood Barns. http://dtah.com/proj-ect/artscapewychwoodbarns. Photograph. 10 December, 2014 Figure 3.7. DTAH Architects. Wychwood Barns. 2010. DTAH Projects, Artscape Wychwood Barns. http://dtah.com/project/artscapewychwoodbarns. Photograph. 10 Decem-ber, 2014

Figure 3.8. DTAH Architects. Wychwood Barns. 2010. DTAH Projects, Artscape Wychwood Barns. http://dtah.com/proj-ect/artscapewychwoodbarns. Photograph. 10 December, 2014

Figure 3.9. Bruner & Cott Architects. Mass MOCA. 2000. Brunercott Featured Projects. http://brunercott.com/fea-tured_projects/fp_mass_moca. Photograph. 10 December 2014




Figure 3.14. Yoo, Alice. Urban Outfitters Interior. 2010. My Modern Met, Urban Outfitters Creative Headquarters. http://www.mymodernmet.com/profiles/blogs/urban-outfitters-cre-ative. Photograph. 9 December, 2014.

Figure 3. 15. Yoo, Alice. Urban Outfitters Exterior. 2010. My Modern Met, Urban Outfitters Creative Headquarters. http://www.mymodernmet.com/profiles/blogs/urban-outfitters-cre-ative. Photograph. 9 December, 2014.

Figure 3. 16.) Yoo, Alice. Urban Outfitters Exterior. 2010. My Modern Met, Urban Outfitters Creative Headquarters. http://www.mymodernmet.com/profiles/blogs/urban-outfitters-cre-ative. Photograph. 9 December, 2014.

Image Credits

re-urbanize: redeveloping an anachronistic urban space

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