Richard Sommer: Dossier

Richard Sommer: dossier

_2-4 Personal Statement

_5-6 cover feature: Turning Full Circle: One Spadina Crescent, University of Toronto Ken Greenberg, Canadian Architect, October 2017

public programming _7-10 New Circadia: adventures in mental spelunking inaugural exhibition, Architecture and Design Gallery, Daniels Faculty 2019-20 Concept, Design and Curation in collaboration with Pillow Culture, NYC

_11 Daniels Faculty, New Identity and Poster Series ` Collaborations, 2011-20 Bruce Mau Design (Identity) Catalogtree, MTWTH (Graphic Design)

_12-14 Symposia and Conferences Organized 1995 – 2018

writing sample _15-16 “Time Incorporated: The Romantic Life of the Modern Monument” Harvard Design Magazine, Number 9, 1999

representative design and exhibition projects 1990 – 2010 _17 The Democratic Monument in America, 1900-2000 traveling exhibition

_18 Olympic Games Cleft Auto Park: Georgia Dome premiated competition entry: Olympics, Atlanta, Georgia

_19 Neopolitan Plan for Hell’s Kitchen / Hudson Yards commissioned study: HKNA & Storefront for Art and Architecture exhibition Manhattan / West Side, New York

_20 Plan for Mission Bay commissioned study and exhibition: San Francisco, California

2 Personal Statement The CV that accompanies this dossier provides an account of the different places, roles, and activities that led to my current role as Professor, and Dean of the Daniels Faculty of Architecture, Landscape, and Design at the University of Toronto. What my CV perhaps does not reveal is the diverse path I have taken in my development as a teacher, scholar, and designer. After completing my studies at the Rhode Island School of Design and Harvard GSD, my first ten years out of school were itinerant, moving between practice and teaching. When I started, I was trying to emulate the teacher- practitioners that had been my models and mentors, pursuing a practice with small projects, writing, competitions, and organizing symposia and exhibitions. During this time, I was focused on teaching as a means to develop ideas, and cultivate a community of students and peers. When I took my first teaching post at Iowa State, I had little or no knowledge of tenure, or understanding of the hierarchies and politics of colleges and universities. The roles I had at Iowa State, Columbia, Washington University, the California College of the Arts (as a scholar-in-residence) and the travelling I did under the Wheelwright Fellowship were critical to my development as a teacher, and to the formation of the program of research I have pursued as a scholar and designer. After my initial, itinerant years, the eleven years that followed at Harvard GSD were a period of focus and maturation. While at Harvard GSD, I also served as the O’Hare Chair in Design and Development and Visiting American Scholar at the University of Ulster (2005-10), where I worked with government agencies, academics, and other groups to develop proposals for the design of Northern Ireland’s cities and towns as they were emerging from “The Troubles.” It was during this period that I reconciled myself to the reality that not only by circumstance, but by choice, I had become more of a professor than a practitioner.

25-foot-long panorama: project and exhibition for Mission Bay, San Francisco, 1996-97 My teaching, research, writing, and creative work take the complex geography, culture, technology, politics, and historiography of the contemporary city as a starting point for pursuing a more synthetic, cosmopolitan architecture and urbanism. This work has evolved along two related lines, both concerned with the intersections between architecture, cities, and the politics of democracy. The first line, more applied and professionally oriented, reconceives urban design by strengthening the architect’s role in city-building in light of contradictory forces – on the one hand, increasing requirements for democratic representation and community participation in planning processes, and on the other, the retreat of public sector actors that has come with the growing dominance of private real-estate markets in the construction of the city. Much of my teaching and curricular reform at Harvard GSD, the applied research I conducted in Northern Ireland, and my current leadership of “SuperStudio” at UoFT (a collaborative studio in which all of our Architecture, Landscape and Urban Design Students share the same brief) revolves around the theme of developing design methods to better manage the competing constituencies at play in almost any significant urban project. The second line of my work is a long term, historically-focused research project, pursued, in-part, with collaborator Glenn Forley, examines the transformation of monument-making in societies aspiring towards democracy, with a particular focus on the American experience. Recently, this has led to a focus on the way architecture models time ('deep,' historical, and mediated, see: New Circadia)

timeline: Democratic Monument in America, 1900-2000, Exhibition, 2000-02 I have had research, teaching and administrative experiences at a small private art college, a land grant university, and leading research universities in the U.S., Europe, and Canada, both public and private. These academic contexts have given me a wide perspective to draw on. From the beginning of my career, I have tackled the most essential tasks associated with operating a successful school of architecture: studio teacher and curriculum coordinator; lecturer and seminar leader, mentor to students, and advisor to student organizations. As I continued to teach, I also led

2 3 The Studio Genre Today Moderator: Toshiko Mori Tom Buresh Core(s) Mark Robbins Moderator: Laura Miller Adèle Naudé Santos Marlon Blackwell Mark Wigley Preston Scott Cohen Respondents Greg Lynn Reinhold Martin Edward Mitchell Roundtable on Reforms Jorge Silvetti and Alternatives Analogous Models Moderator: Richard Sommer Moderator: Jerold Kayden Ellen Dunham-Jones Music: Joshua Fineberg Niall Kirkwood Graphic Design: John Maeda Robert Levit Fine Art: Thomas Lyon Mills Diane Lewis Farshid Moussavi Histories of the Studio Form Moderator: Ingeborg Rocker a. Excursions from the École des Beaux-Arts and the Bauhaus Kathleen James-Chakraborty Antoine Picon

b. The emergence of post-practice models after 1968: formalism, social action and their mirrors Daniel Barber Kazys Varnelis

design and pedagogy april 12+13, 2007 harvard graduate school of design

Studioscope Design and Pedagogy, Symposium 2007

free and open to the public | for more information see the reverse side and updates on the web curriculum reforms, development, and delivery; organized accreditation reports and visits (this past year I managed my 7th APR/ site visit); organized many symposia and exhibitions, coordinated admissions, led school publications and public programing, and participated in ACSA conferences as a presenter, paper referee, panel moderator and conference host.

As Dean of the Daniels Faculty of Architecture, Landscape and Design for the past decade, I have brought my experience to bear on all the above-mentioned fronts. Yet, to lead a needed transformation of the Daniels Faculty I had to grow and stretch my capacities much farther than I ever imagined. In the decade before my arrival, the Daniels Faculty had begun to take important steps to rebuild itself, after nearly being closed in the late-nineteen-eighties. Yet, as a school almost exclusively dedicated to professional design education, the Faculty was still considered an outlier in UofT’s science and humanities dominated culture. UofT is a large, public Research University with enrollments above 90K, and the Daniels Faculty was considered too small to survive under the revenue-centered budget model UofT began implementing almost 15 years ago Against this background, almost immediately after arriving, I initiated major reforms. To survive and prosper at UofT, I saw that our school needed to expand beyond its mandate in professional architectural education and engage the larger structures of UofT by becoming a full-fledged University Division. While these reforms were partially motivated by concerns about the school’s size and financial resources, and the changing realities of public education in Canada (as everywhere), I never argued for the changes as a purely pragmatic matter, but rather, as an opportunity for our school to play a broader and more important role at UofT and in society at large. My proposal was that we

Left: Smart Geometry Conference, Daniels Faculty 2018 Right: Richard Sommer addressing the Graduate “SuperStudio,” 2018 , should lead in making creative inquiry, design-thinking and visual literacy a new hallmark at the University of Toronto. Mobilizing talented colleagues, I built an inventive new undergraduate foundation in architectural and art/visual studies, renewed the school’s three graduate professional programs, created a unique, publicly-funded Ph.D. in Architecture, Landscape, and Design, and helped found various research initiatives, including the Global Cities Institute and the Green Roof Testing Laboratory. Adding art, curatorial work, environmental stewardship, and wood-based material science foci to our primary strengths in architecture, landscape and urbanism has broadened our disciplinary capacities and better connected us to both our Canadian context and issues of indigeneity. The Daniels Faculty’s rising reputation has rapidly increased student enrollment and more than doubled our faculty numbers, along the way increasing the number of women and other underrepresented groups among our faculty ranks at a higher rate than any other division at UofT. When I started, we had a graduate-only student population of 375. By adding other allied disciplines, and large, broad-based undergraduate programs with more than 1000 students, we are now among the largest schools in North America with architecture at their core. As part of this growth, we have expanded the Faculty’s public programming, drawing diverse constituencies into vital, interdisciplinary discussions about architecture, art, landscapes, and cities.

2 3 Perhaps my boldest achievement at UofT was imagining a site and building platform to serve the school’s expanded mission. Opened in 2017, the Daniels Building at One Spadina Crescent reinvigorated one of Toronto’s great civic landmarks, and is now catalyzing renewal at the western edge of the University’s main downtown campus. The building features Fabrication Facilities, Exhibition Galleries, a spectacular polychrome Main Hall, and light-filled Design Studios unique in North America today. Celebrated as “one of the best buildings in Canada of the past decade” by the Canada’s paper-of-record, the Globe and Mail, the Daniels Building at One Spadina has been widely published and received seventeen national and international design awards to-date. I count as one of my most important achievements as Dean that I was able to convince the University’s leadership and others in the city and surrounding communities that we had the vision and could garner the financial support to undertake this large and complex 95M dollar project. Working closely with a multi-disciplinary team led by Nader Tehrani and Katie Faulkner of NADAAA, I have fought harder to realize this project than perhaps anything else in my professional life. I have literally put my job and reputation at stake to make sure critical aspects of this project’s architecture and landscape would be achieved in way that would properly represent the school’s newfound prominence and expanded prospects for the future. The design and configuration of the Faculty’s new home embodies many of aspirations I have for the role that schools of architecture can play in the life of students, universities, cities, and the communities in which they sit. The Faculty just began its third year at One Spadina, and the building is helping to both transform the culture of the faculty, and the city that surrounds it.

As I prepare to complete my second term as a dean next year, and plan a return to my life as a professor, I have begun to reflect on the six schools where I have served, the diverse opportunities and circumstances they have presented, and my role within them. In each of these schools, I have sought to foster the kinds of creative environments and learning opportunities that would best serve students, my colleagues, and the broader communities at play. Becoming a dean has helped me to better realize, and develop, the skills and perspectives to orchestrate and promote the work of others. Along the way I have engaged thousands of students, and been a mentor to many individuals who have gone onto have prominent careers in academia, practice, and industry, some now with tenure, leading their own schools. As I have taken on increasing administrative and leadership roles over the course of my career, I have stayed engaged as a designer and scholar, and have never lost sight of the entrepreneurship and tenaciousness required to teach and undertake research in architecture and its allied disciplines. I understand the necessarily fragile nature of architecture within an institutional culture dedicated to research and creative inquiry through the making of things, and am deeply committed to it.

Daniels Faculty @1 Spadina Crescent, looking south towards Lake Ontario

4 5 cover feature: Canadian Architect, 2017

Nader Tehrani & Richard Sommer

4 5 Turning Full Circle, Canadian Architect, 2017

6 7 NEW CIRCADIA: New Circadia (adventures in mental spelunking) creates a metaphorical cave — a soft utopia — to adventures in mental spelunking inaugurate the Architecture & Design Gallery at the Daniels Faculty, University of Toronto. This immersive Architecture & Design Gallery installation was inspired by Dr. Nathaniel Kleitman’s 1938 Mammoth Cave experiment (the first instance of a scientific University of Toronto, 2019-20 research laboratory for studying natural human cycles of sleep and wakefulness). New Circadia engages the concept / design / curation city, our students, and the entire University community in a w/ Pillow Culture, NYC variety of experiences —including happenings, multidisciplinary performances, dialogues, film screenings, and nocturnes — to probe and conjure notions of geological, mythical, mechanical, and biological time.

Circadian rhythm (Latin: circa, approximate and dies, Nathaniel Kleitman’s Mamouth Cave Experiment, 1938 day) describes any natural biological process that recurs on a 24-hour cycle. Thus, in the tradition of utopias, New Circadia, can be roughly translated as “New Day.”

Going Underground To go underground is to suspend a sense of time, to exit the everyday world, and to evade authority. To descend into a cave is to return to a lithic past enhanced by mythical, cultural, and historical associations with underworlds, oracles, magic, ritual, sanctuary, and seclusion. New Circadia offers a paradisiacal retreat in the pursuit of circadian reverie.

Why New Circadia? The biology that undergirds our well-being presumes being at rest during at least one-third of our lives. Nevertheless, the mechanization of life has evolved to an extent that we can be “plugged-in” at all hours. A central feature of this pursuit of an optimized state of productivity is a reciprocity between architecture and technology. The late-19th-century standardization of time that came with railroads and telegraphs; the 20th-century appearance of tall, electrified cities; and the 21st-century primacy of the World-Wide-Web, which has enabled the spread of a globalized gig economy that crosses time zones — all are part of this temporal “architecture” of modernity. Is it Time to Put Architecture to Sleep?

Architecture today is inextricably bound up in the urbanization of the planet. It needs to pay as much attention to marking time as it has historically devoted to manipulating space. And yet, the very culture of architecture has been built upon a fascination with adopting mindsets and accelerating technologies that facilitate long work hours and sleeplessness. How can architects counter the over-mechanization of everyday life? And how can architects convey the idea that idling — whether by sleeping, dreaming, napping, or meditating — is not lost, unproductive time, but rather an essential state of mind and body? By creating a dreamlike space where individuals and collectives can incubate states of rest, reflection, and reverie, New Circadia will test how architecture and landscapes can play a role in nurturing a greater interior life. Mamouth Cave

Spelunkers, New Circadia Changing Area/ Spelunking Gear

7 Introduction / Entry, New Circadia: Cycles of Daily Life

Introduction / Entry, New Circadia: Cycles of Daily Life New Circadia: Passage

8 New Circadia: Felt “Mouth” New Circadia: Soft Spelunking Gear

New Circadia: Lounge-Scape / Sound Works

9 New Circadia: Entry & Felt “Mouth” Changing Area/ Spelunking Gear

New Circadia: Lounge-Scape / Sound Works

10 New Identity & Posters

folded & wearable public programming materials: w/ Catalogtree, Arnhem / Berlin new Daniels identity, logo and website, w/ Bruce Mau Design, Toronto www.daniels.utoronto.ca

6 11 What is a School (of Architecture, Landscape, Art, and Urbanism), 2018

12 9 Feb 27-28, 2015 230 College Street, Toronto Student Presentations on Sunday March 1 afterempiricalurbanism.com

Friday February 27, 2.00pm Carto Graphics Jill Desimini Harvard Graduate School of Design Jesse LeCavalier New Jersey Institute of Technology Sarah Williams Massachusetts Institute of Technology After Mason White, moderator University fo Toronto

Friday February 27, 4.00pm The Bias of Data Mona El Khafif University of Waterloo Dietmar Offenhuber Northeastern University Empirical Mark Shepard University at Buffalo Ultan Byrne, moderator University of Toronto

Saturday February 28, 10.30am Leveraging the Marketplace Robert Bruegmann Urbanism University of Illinois at Chicago McLain Clutter University of Michigan Tim Love Northeastern University Roger Sherman University of California, Los Angeles Robert Levit, moderator University of Toronto

Saturday February 28, 1.30pm Fictions of the Ordinary Tobias Armborst A new empirical urbanism has emerged over the past two generations, drawing habits Vassar College of mind and methods of observation from the natural and social sciences, and making Marshall Brown Illinois Institute of Technology use of emerging forms of statistical and visual analysis. Such practices take observation, Alex Lehnerer Eidgenössische Technische Hochschule systematic documentation, and artful analysis of the city, as given, as a precondition to any Michael Piper, moderator designed intervention. For our purposes Empirical Urbanism is a framework for revealing University of Toronto

Saturday February 28, 3.30pm the sometimes hidden philosophical assumptions, and design alibis among a diverse group Use and Misuse of History of urban theories and practices that, while often thought to represent opposing ideologies, George Baird share an empirical approach. University of Toronto Eve Blau Harvard Graduate School of Design This symposium will interrogate this trend, asking how urbanism as an art and a set of Margaret Crawford University of California, Berkeley practices may gain from more explicitly deciphering the relationship between the ways we Kazys Varnelis Columbia University characterize the past and present city, and how we go about projecting alternate futures for Richard Sommer, moderator University of Toronto it. Our title notwithstanding, we do not imagine an end to empirical urban research. Rather, the discussion and debates we hope to sponsor have the aim of repositioning observation- Sunday March 1, 10:30 am Sunday Session based practice, and airing new approaches to seeing and designing the city. Keynote Speakers: Alexander Eisenschmidt University of Illinois at Chicago Graeme Stewart ERA Architects, Toronto And Student presentations

Huburbs: Metrolinx Mobility Hub After Empirical Urbanism, 2015 Book & Symposium, 2011

Session III: Analogous Models 11:30–1:00 PM Moderator: Jerold S. Kayden, Co-Chair and Director of Planning Program, Department of Urban Planning and Design, April 12, afternoon Frank Backus Williams Professor of Urban Planning and Design, HGSD Music: Joshua Fineberg, John L. Loeb Professor of the Humanities design and pedagogy april 12+13 Welcome and Symposium Introduction Department of Music, Harvard University 1:30 PM Graphic Design: John Maeda, E. Rudge and Nancy Allen Professor of 2007 Alan Altshuler, Dean, Harvard Graduate School of Design Media Arts and Sciences, Associate Professor of Design and Ruth and Frank Stanton Professor in Urban Policy and Planning, HGSD Computation, Massachusetts Institute of Technology Richard Sommer, Symposium Chair Co-Director, SIMPLICITY Fine Art: Thomas Lyon Mills, Professor of Foundation Studies Beyond The Model: Rhode Island School of Design New Modes Of Project And Teaching Session I: The Studio Genre Today 2:00–6:00 PM Studio-based forms of design instruction fi rst emerged at the École des These are among the issues that will be addressed by the symposium Moderator: Toshiko Mori, Chair, Department of Architecture April 13, afternoon Studioscope. This symposium and subsequent publication will bring Beaux-Arts more than a century ago. Since then, the built environment has Robert P. Hubbard Professor in the Practice of Architecture, HGSD Session IV: Core(s) come under the infl uence of ever-expanding professional, administrative, together preeminent design educators and scholars to examine the Principal, Toshiko Mori Architect historical emer-gence, contemporary complexion, and future prospects of 2:00–4:00 PM and market-based regimes. How has the studio system evolved to address Tom Buresh, Chair and Professor of Architecture Moderator: Laura Miller, Associate Professor of Architecture, HGSD these changes? Does studio teaching refl ect, interpret, or challenge the design studio. Focusing on those technical, representational, and A. Alfred Taubman College of Architecture + Urban Planning, Principal, borfax/B.L.U. modes of practice? Do we conceive of the design studio as a venue in procedural aspects of the design studio that make it a distinct University of Michigan which critical aspects of architectural, landscape, planning, and urban pedagogical model, the symposium will illuminate and critically rehearse Principal, Guthrie + Buresh Architects Marlon Blackwell, Associate Professor of Architecture the most fundamental approaches and “schools.” Both the center and University of Arkansas School of Architecture design practices are transmitted, or rather as the site where design is Mark Robbins, Dean and Professor of Architecture borders of the studio genre will be explored, including the structure and Principal, Marlon Blackwell Architect constructively distin-guished from a larger array of technical or even Syracuse University School of Architecture scholarly knowledge? content of “core” studios and innovative models of studio instruction from Preston Scott Cohen, Director, Master of Architecture Programs Adèle Naudé Santos, Dean and Professor of Architecture and Planning analogous fi elds. Gerald M. McCue Professor in Architecture, HGSD School of Architecture + Planning, Massachusetts Institute of Technology In many schools, studio teaching still largely refl ects the sites and Principal, Preston Scott Cohen, Inc. scenarios that are the focus of contemporary practice. Adherence to The ultimate goal of Studioscope is to create a platform for examining the Principal, Santos Prescott and Associates Greg Lynn, Studio Professor, University of California at Los Angeles, established project genres is not just a matter of transmitting professional status of the studio within schools of architecture and related design fi Mark Wigley, Dean and Professor of Architecture School of the Arts and Architecture elds as a means to open and illuminate channels of innovation within the Columbia University Graduate School of Architecture, Planning and values but is characteristic of studio pedagogy itself, where models may Principal, Greg Lynn FORM be drawn from the history of architecture, the broader built environment, genre. Preservation Edward Mitchell, Adjunct Assistant Professor, or other disci-plines. Nevertheless, a shift has recently occurred in how respondents: Yale University School of Architecture studios embody research and design speculation. The very terms through GSD Studioscope Planning Committee Reinhold Martin, Director, Ph.D. Program in Architecture Principal, EMA Architects which established parameters of design are typically rehearsed in the and Master of Science Program in Advanced Architectural Design, studio—site, social program, building function, and scale of intervention— Richard Sommer, Symposium Chair Associate Professor of Architecture have been placed into critical relief. There are, for example, studios today Director, Master of Architecture in Urban Design Programs Columbia University Graduate School of Architecture, Planning and Session V: Conclusion that focus primarily on fabrication techniques made possible by digital Associate Professor of Architecture and Urban Design Preservation Roundtable on Reforms and Alternatives technologies, and studios that assume the hybridization of architecture, Jorge Silvetti Jorge Silvetti, Nelson Robinson Jr. Professor of Architecture, HGSD 4:15–6:00 PM landscape architecture, plan-ning, and engineering now virtually required Nelson Robinson Jr. Professor of Architecture Principal, Machado and Silvetti Associates Moderator: Richard Sommer, Director of Master in Architecture and for large-scale urban projects. Phenomena usually taken as a background Ingeborg Rocker Urban Design Programs, Associate Professor of Architecture, HGSD against which to design now become the subject of design itself. Assistant Professor of Architecture Principal, borfax/B.L.U. April 13, morning Morphological analysis, programmatic speculation, and ecology are Jerold S. Kayden Ellen Dunham-Jones, Director, Architecture Program becom-ing increasingly important to design practice, and there is a Co-Chair and Director of Planning Program, Department of Urban Planning Session II: Histories of the Studio Form Associate Professor of Architecture concomitant focus on these issues in studio teaching. Yet , behind the and Design 9:00–11:00 AM Georgia Institute of Technology College of Architecture seeming pluralism that characterizes contemporary studio teaching Frank Backus Williams Professor of Urban Planning and Design Moderator: Ingeborg Rocker, Assistant Professor of Architecture, HGSD Niall Kirkwood, Chair and Program Director, lingers a debate dating back to the unseating of functionalist approaches Preston Scott Cohen a. Excursions from the École des Beaux-Arts and the Bauhaus Department of Landscape Architecture, more than a generation ago. Revisiting a Beaux-Arts approach, the Director, Master of Architecture Programs Professor of Landscape Architecture and Technology, HGSD previous generation of de- Antoine Picon, Director of Doctoral Programs Gerald M. McCue Professor in Architecture Professor of the History of Architecture and Technology, HGSD Diane Lewis, Professor of Architecture sign pedagogues substituted the more fl exible legal term “precedent” for Irwin S. Chanin School of Architecture, Cooper Union “model.” Their aim in positioning architecture, landscape architecture, Kathleen James-Chakraborty, Head of the School of Art History and Principal, Diane Lewis Architect and urbanism as a complex genealogy of precedents was to undermine Cultural Policy, Professor of Art History, University College, Dublin Location Robert Levit, Director, Master of Urban Design Program the rheto-ric of functionalism and modernism’s blind embrace of the new, Harvard University Graduate School of Design b. The Emergence of Post-Practice Models after 1968: Associate Professor of Architecture and instead to pursue design as a consciously fi gurative, or traditional, Formalism, Social Action, and their Mirrors Gund Hall, Piper Auditorium University of Toronto Faculty of Architecture, Landscape, and Design social art. Still in play in the passage from parti to bubble diagram (and Daniel Barber, Lecturer, Yale University School of Architecture Principal, Robert Levit Studio 48 Quincy Street poster: hecht design back again through the “precedent,” the “conceptual” model, and the Founder, Aleph1 Cambridge, MA 02138 Farshid Moussavi, Professor in Practice of Architecture, HGSD generative map) is the degree to which technical, social, economic, and 617 495.2521 Kazys Varnelis, Director of the Network Architecture Lab Principal, Foreign Offi ce Architects political phenomena of an extra-architectural nature may establish the Adjunct Assistant Professor of Architecture www gsd.harvard.edu/ studioscope www.gsd.harvard.edu/studioscope parameters of an architectural, urban, or landscape design. Columbia University Graduate School of Architecture, Planning and Preservation 13

8 Studioscope: design and pedagogy 2007 New Urban Paradigms: Inquiries into the Master Planning of Mission Bay, 1998

Cities in the Making, 1995 “The City’s Last Greenbelt” San Francisco Examiner Magazine, 1998

10 14 essay (first writing on the subject): Time Incorporated: The Romantic Life of the Modern Monument Harvard Design Magazine 1999

15 13 Time Incorporated, Harvard Design Magazine, 1999

12 16 THEDEMOCRATICMONUMENTINAMERICA 1900-2000 The Democratic Monument Exhibition explores the proposition Traveling Exhibition that there is a new category of architectural objects that can Curator And Designer: Richard Sommer w/ Fizer/Forley design be construed by situating concepts associated with the modern monument within the evolving political aspirations and practices of democracy in the United States. The exhibit is structured around a chronological survey of ten juxtaposed pairs of monuments representing each decade of the 20th century. Ostensibly dedicated to the themes of liberty, freedom, and equal representation–as opposed to the commemoration of war–each of the examples chosen has played a significant role in challenging the traditional conception of the monument through its symbolism, method of production, or means of reception.The exhibit’s timeline, which contains approximately three hundred annotatTHEDEMOed CRATICMONUMENTINAMERICA 1900-2000 The Democratic Monument Exhibition explores the proposition Traveling Exhibition that there is a new category of architectural objects that can images, maps and diagrams, locates the selected monuments Curator And Designer: Richard Sommer w/ Fizer/Forley design be construed by situating concepts associated with the modern monument within the evolving political aspirations and practices in relation to political, artistic, and technological events ofTHEDEMO the CRATICMONUMENTINAMERICA 1900-2000 Theof demo Democcraracytic inMonumenthe UnittedExhibiStatetions. exTheploreexshibi thet propois strusitctionured Traveling Exhibition thaaroundt thereais chronological a new categorsurveyy of ofar tcenhite juctxturalapos objeed paircts stha oftmonu can - Curator And Designer: Richard Sommer w/ Fizer/Forley design past century. Two kinds of monuments have been chosen to bemencontsstreprerued sbyensitingtua eatingchcdeoncadeeptsofas tsohec 20iatthed c wienthtur they. Ost modernensibly monumendedicatedt witothin thetthehemesevolvofingliber polity,tic falreedomaspira,tandions equaland prac repreticessen- represent each decade;Objects, often vertical in orientation and oftatdemoion–acsraoppocy insedtheto Uni thetedcommemoraStates. Thetionexhibiof war–eat is struchctured of the aroundexamplea cshronological chosen hassurplayedvey ofa ten signi juxtficapoanst edrole pair ins challenging of monu- made of single or highly aggregated parts and Trails, horizontal menthetstradirepretionalsentcingonc eaepchtiondeofcadetheofmonumen the 20th cten throughtury. Ostitsensibl symboly - in orientation and capaable of rendering large swaths of the dediism,catmeedthodto theofthemesproductofionliber, orty, mean freedoms of recep, andt equalion.T reprehe exshibien-t’s View of “Monumental Trails” tattimelineion–as,oppowhichsed contotain thes approximacommemoratelytion threeof hundredwar–each anno of ttatheed eximageamples,smap chossenand ha diagrams playeds,alo scatesignific tanhet sroleelect ined challenging monuments Harvard Gund Installation, Fall 2000 landscape with a singular theme or purpose. theint relaradittionionaltoconpolictepicaltion, aroftisttheic, monumenand technologit throughcal evenits sytsmbol of t-he ism,pastmecenthodturofy.produ Two kindsction, ofor meanmonumens of recepts havetion been.Thecexhohibisent’sto timeline, which contains approximately three hundred annotated repreThesent eaDemocraticch decade;O bjecMonumentts, often verExhibitiontical in orien tatexploresion and the THE DEMOCRATIC images, maps and diagrams, locates the selected monuments madepropositionof single or highlythat there aggrega is taed new parts categoryand Trail s,ofhori architecturalzontal in relation to political, artistic, and technological events of the MONUMENTView of “Monumental IN Trails” in orienobjectstation andthat capaablecan be ofconstruedrendering largeby situatingswaths ofconcepts the Harvard Gund Installation, Fall 2000 palandst censcapetury. wi Tthwo a kindssingularof tmonumenheme or purpots havese. been chosen to AMERICA represenassociatedt each decade with;O thebjec modernts, often monumentvertical in orien withintation the and evolving 1900-2000 made ofpolitical single aspirations or highly aggrega and practicested parts ofand democracyTrails, hori zinon thetal United States. The exhibit is structured around a chronological View of “Monumental Trails” in orientation and capaable of rendering large swaths of the HarvardTraveling Gund Installation, Exhibition Fall 2000 landscsurveyape with of a tensingular juxtaposedtheme or pairs purpo ofse. monuments representing 2000-02 each decade of the 20th century. Ostensibly dedicated to Curator And Designer: the themes of liberty, freedom, and equal representation– Richard Sommer w/ as opposed to the commemoration of war–each of the Fizer/Forley design examples chosen has played a significant role in challenging the traditional conception of the monument through its symbolism, method of production, or means of reception. The exhibit’s timeline, which contains approximately three hundred annotated images, maps and diagrams, locates the selected monuments in relation to political, artistic, and technological events of the past century. Two kinds of monuments haveAronson been Gallery, chosen NYC Installation,to represent Fall 2001 each decade; Objects, often vertical in orientation and made of single or highly aggregated parts and Trails, horizontal in

orientation and capaableAronson of Gallery, rendering NYC Installation, large Fallswaths 2001 of the landscape with a singular theme or purpose.

Aronson Gallery, NYC Installation, Fall 2001

Aronson Gallery Installation, fall 2001

Aronson Gallery Installation, Fall 2001

16 17

Aronson Gallery Installation, fall 2001 THE CLEFT AUTo PARK The Sacred character of ancient Olympia, site of the first THE CLEFT AUTo PARK The Sacred character of ancient Olympia, site of the first Georgia Dome Olympic Site, Olympics, arose from its location in a geographical cleft. Georgia Dome Olympic Site, Olympics, arose from its location in a geographical cleft. Atlanta, GA Over time, a continuous series of individual cults were Atlanta, GA Over time, a continuous series of individual cults were w/ John Bass, borfax/B.L.U. superimposed on the site, one upon the other, and the actual location of the cleft was lost. This loss of origin coincided superimposed on the site, one upon the other, and the actual w/ John Bass, borfax/B.L.U. with Zeus’ assertion of absolute mastery over the sanctuary location of the cleft wasTHE lost. ThisCLEFT loss ofAUTo origin coincided PARK The Sacred character of ancient Olympia,at Olympia. site Zeus of the became first master by eliminating his male with Zeus’ assertion of absoluteG masteryeorgia Dome overOly thempi sanctuaryc Site, Olympics, arose from its location inrivals, a geographical all of whom were cleft. representations of earlier cultures at Olympia. What had originally been footrace-fertility games at Olympia. Zeus became master by eliminatingAtlan hista, male GA Over time, a continuous series of individual cults were rivals, all of whom were representations of earlier cultures at – marriages of God and Earth, symbolizing the dominance superimposed on the site, one upon theof other, earth gods and and the their actual representation of agriculture – were Olympia. What had originally been footrace-fertilityw/ John Bass, borfax/B.L.U. games location of the cleft was lost. This lossgradually of origin transformed coincided into games representing the militant – marriages of God and Earth, symbolizing the dominance Georgia Dome and immortal Zeus. Thus, the introduction of “Heavy” athletic with Zeus’ assertionTHE CLEFT of absolute AUTO mastery Cleft over Auto the sanctuary Park transforms an old railroad yard into of earth gods and their representation of agriculture – were eventsa such Tailgating as boxing Lot and wrestling (above) combined and a with Hip-Hop pushing, Grotto gradually transformed into games representing the militant at Olympia.PARK Zeus became master bystrangling, eliminating(below). and Inspired twisting, his male all by of which FreakNick were derived (from: from "to earlier fraternize rituals involving blood sacrifice. and immortal Zeus. Thus, the introduction of “Heavy” athletic rivals, all of whom were representations ofand earlier have cultures a picnic"), at an annual car-centric event Georgia Dome Georgia Dome Olympic events such as boxing and wrestling combined with pushing, Olympia. What had originally been footrace-fertilitysponsored by games historically black colleges in the Site, Atlanta, GA, 1996 Interestingly, artistic activities, especially music, dance and strangling, and twisting, all of which were derived from earlier theater,Atlanta, preceded GA the area, ‘combat’ the of naked scheme bodies was at other originally – marriages of God and Earth, symbolizingconceived the dominance as an ancillary event-site for the 1996 rituals involving blood sacrifice. competition sites, but not at Olympia. cont.- of earth gods and their representation ofOlympics agriculture in Atlanta. – were gradually transformed into games representing the militant Interestingly, artistic activities, especially music, dance and and immortal Zeus. Thus, the introductionThe of “Heavy” project athletic is a play on myths and rituals theater, preceded the ‘combat’ of naked bodies at other associated with the original Olympics, as follows: competition sites, but not at Olympia. cont.- events such as boxing and wrestling combined with pushing, strangling, and twisting, all of which were derivedThe sacred from character earlier of ancient Olympia, site of rituals involving blood sacrifice. the first Olympics, arose from its location in a geographic cleft. Over time, a continuous series of individual cults were superimposed on the site, one Interestingly, artistic activities,Georgia Dome especiallyupon music, the dance other, and the actual location of the cleft theater, preceded the ‘combat’ of nakedwas bodies lost. This at other loss of origin coincided with Zeus’s competition sites, but not at Olympia. conassertiont.- of absolute mastery over the sanctuary at HornOlympia. Studies What had been a footrace, and fertility games ¬– marriages between God and Earth, symbolizing the dominance of earth gods and their representation of agriculture, – were gradually transformed into games representing the militant and immortal Zeus. Thus, the introduction of “heavy” athletic events such as boxing and wrestling combined with pushing, strangling, and twisting, all of which were derived from earlier rituals involving blood sacrifice. Interestingly, artistic activities, especially music, dance and theater, often preceded the ‘combat’ of naked bodies at other competition sites, but not at Olympia. cont. below/

Horn Studies

View towards Downtown Atalnta

above: Tailgate Plain below: “Hip-Hop” Grotto

Axonometraic of Tailgate Plain with the Georgia Dome

View towards Downtown Atalnta

above: Tailgate Plain below: “Hip-Hop” Grotto

Axonometraic of Tailgate Plain with the Georgia Dome at right

above: Tailgate Plain below: “Hip-Hop” Grotto

Axonometraic of Tailgate Plain with the Georgia Dome at right View towards the Cleft from the Stadium

3000 years later at another olympic site: As with the lost cleft of ancient Olympia, our cities are characterized by activities which leave marks and then fade from view. Such is the nature of this site in Atlanta, Georgia: parked cars occupying a geographic scar left by a railroad yard. With this background in mind we conceived of a car park to accommodate a series of modern rituals that supplement spectator sports. These rituals are redolent of themes transfigured from ancient reveries associated with Olympia and the Olympics, here embedded in the cult of automobiles and tailgating. Thus the project synthesizes two aspects of the tail-gating tradition, jazzmen playing horns out the back of a car, here replaced by a “grotto” of electronic mix-masters piping sound up from below, and above, the imbibing of distilled spirits, the grilling of meats and hero worship, i.e. Beer, Hot Dogs and fanatic behavior.

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View towards the Cleft from the Stadium 3000 years later at another olympic site: As with the lost cleft of ancient Olympia, our cities are characterized by activities which leave marks and then fade from view. Such is the nature of this site in Atlanta, Georgia: parked cars occupying a geographic scar left by a railroad yard.

With this background in mind we conceived of a car park to accommodate a series of modern rituals that supplement spectator sports. These rituals are redolent of themes transfigured from ancient reveries associated with Olympia and the Olympics, here embedded in the cult of automobiles and tailgating. Thus the project synthesizes two aspects of the tailgating tradition, jazzmen playing horns out the back of a car, here replaced by a “grotto” of electronic mix-masters piping sound up from below, and above, the imbibing of distilled spirits, the grilling of meats and hero worship, i.e. Beer, Hot Dogs and fanatic behavior.

PLAN FOR MISSION BAY This project addressed the development of a 230+ acre tract of Proposal and Exhibition land on San Francisco’s south-eastern edge. The project area–the San Francisco, CA last large, undevelloped parcel near San Francisco’s downtown–is w/ John Bass, borfax/B.L.U. comprised by two major areas that resulted from the “filling” of Mission Bay.

1) a large privately owned parcel assembled by the Catellus Corporation from a group of abandoned industrial rail yards and rail rights-of-way, &

2) an ostensibly publicly-owned set of parcels controlled by the Port Authority located along the waterfront and those controlled PLAN FOR MISSION BAY This project addressed the development of a 230+ acre tract of PLAN FOR Proposal MISSION and Exhibition BAY This project addressed the development of a 230+ acre tract ofby Caltrain above, below and adjacent to operating passenger Proposal and Exhibition land on San Francisco’s south-eastern edge. The project area–the ProposalSan andFrancisco, Exhibition CA land on San Francisco’s south-eastern edge. The project area–the San Francisco, CA last large, undevelloped parcel near San Francisco’s downtown–is San Francisco, CA last large, undevelloped parcel near San Francisco’s downtown–israil yards and the highway. w/ John Bass, borfax/B.L.U. comprised by two major areas that resulted from the “filling” of w/ John Bass, borfax/B.L.U. comprised by two major areas that resulted from the “filling” of w/ John Bass, borfax/B.L.U. MicomprisedssionAerial Bay. by Viewtwo major of Mission areas tha Bayt res ullookingted from West the “filling” of Mission Bay. TheThe project’s project’s overarching overarching aim was aimto show was how to theshow various how forms the various 1)PLAN a large privatel y FORowned parcel MISSION assembled by the Ca tellus Corpora1) a largetion privatel from a ygroup owned of abandoned parcel assembled industrial by rail the yard Castellu anofds commercial growth that have been considered for this site could Corporation from a group of abandoned industrial rail yards and forms of commercial growth that have been considered rail rights-of-way, & be accommodated in a way that allows public interests to be better railBAY rights-of-way, & for this site could be accommodated in a way that allows 2) an ostensibly publicly-owned set of parcels controlled by theserved by private development. This was achieved in two ways; 2)Port an Authori ostenstyibllocay publicly-ownedted along theset wat eroff ronparcelt ands c tonhosetrolled con bytrolle thed public interests to be better served by private development. Port Authority located along the waterfront and those controlleoned having to do with the form of the project, the other with its rep- byfunded Caltrain above study, below and and adjac enexhibitionst to operating passenger railby Cal yardtrains and above the, highwa belowy. and adjacent to operating passenger This was achieved in two ways; one having to do with rail yards and the highway. resentation. Aerial View of Mission Bay looking West San Francisco, CA 1997 AerialAerial View View of Mission of Mission Bay looking Bay West Aerial View of Mission Bay looking West The project’s overarching aim was to show how the various forms the form of the project, the other with its representation. Looking West ofThe commercialw/ project’s John overarching growth Bass, that aimhave was beenborfax/ to consideredshow how B.L.U. thefor thisvarious site formscould of commercial growth that have been considered for this site couldThe project situates proposed froms of development, including a be accommodated in a way that allows public interests to be better The project situates proposed forms of Development, beserved accommodated by private development.in a way that allows This waspublic achieved interests in to two be betterways;mixed-use research campus, housing & commercial development served by private development. This was achieved in two ways; including a mixed-use research campus, housing & one having to do with the form of the project, the other with its rep-in such a way as to link profit with both a functioning and sym- resentation.one having to do with the form of the project, the other with its representation. commercial development in such a way as to link profit with “Green” Land BanK Study bolic remediation of a large swath of the site’s toxic ground (see The project situates proposed froms of development, including a Themixed-use project research situates campus,proposed housing froms of& development,commercial development including thea both “Garden a functioning Girdle”). The and project symbolic also proposes remediation a much of broader a large swath mixed-use research campus, housing & commercial development in such a way as to link profit with both a functioning and sym-rangeof the of building site’s andtoxic landscape ground conditions (see the than “Gardenare typically Girdle”). con- The bolicin such remediation a way as ofto a link large profit swath with of both the site’sa functioning toxic ground and sym-(see “Green” Land BanK Study bolic remediation of a large swath of the site’s toxic ground (see “Green” Land BanK Study the “Garden Girdle”). The project also proposes a much broadersidered in San Francisco–each linked to the highly differentiated “Green” Land Bank Study the “Garden Girdle”). The project also proposes a much broader project also proposes a much broader range of building and range of building and landscape conditions than are typically con-programmatic needs and physical characteristics found at the cen- sideredrange of in building San Francisco–each and landscape linkedconditions to the than highly are typicallydifferentiated con- landscape conditions than were typically considered in San sidered in San Francisco–each linked to the highly differentiated programmatic needs and physical characteristics found at the cen-ter, edges and infrastructural extensions of the site. For example, ter,programmatic edges and needs infrastructural and physical extensions characteristics of the site. found For at example, the cen- Francisco at the time– each linked to the highly differentiated ter, edges and infrastructural extensions of the site. For example,the plan accommodates a range of densities, so that the pastoral the plan accommodates a range of densities, so that the pastoral predilectionsthe plan accommodates of today’s urbana range dweller of densities, (influenced so that by the pastoralspirit of programmatic needs and physical characteristics found predilections of today’s urban dweller (influenced by the spirit ofpredilections of today’s urban dweller (influenced by the spirit of American suburbia) and the need for some ecological restitution at the center, edges and infrastructural extensions of the areAmerican addressed suburbia) by building and the both need a “Times for some Square” ecological and a restitutionspace forAmerican suburbia) and the need for some ecological restitution are addressed by building both a “Times Square” and a space for “Fresh Air”. aresite. addressed For example,by building boththe a plan“Times accommodatesSquare” and a space a for range of Existing Toxic Landfill “Fresh Air”. Existing ToxicExisting Landfill Toxic Landfill “Freshdensities, Air”. so that the pastoral predilections of the urban Existing Toxic Landfill dweller (influenced by the spirit of American suburbia) and the need for some ecological restitution are addressed by building both a “Times Square” and a space for “Fresh Air”.

Phase I: Satelite City & Air-Right Proscenium Phase II: Third Street Super Strip Phase III: Highway and Canal Wrap Phase IV. Transfer of Remediated Land Phase I: Satelite City & Air-Right Proscenium Phase III: Highway and Canal Wrap Phase IV. Transfer of Remediated Land Phase I: Satelite City & Air-Right Proscenium Phase II: Third Street Super Strip Phase III: Highway and Canal Wrap Phase IV. Transfer of Remediated Land

REPRESENTATIONFootball AS AN ACT OF PUBLICBaseball FAITH: Programmatic Study of REPRESENTATIONFootball AS AN ACT OF PUBLICBaseball FAITH: Programmatic Study of Football Baseball Remediated “Garden Girdle” Remediated “Garden Girdle” A democratically conceived urbanism begins with the assumption that the varied interests and aspirations of the communities that any project will serveProgrammatic should Study be of given REPRESENTATION AS AN ACT OF PUBLIC FAITH: communities that any project will serveProgrammatic should Study be of given REPRESENTATION AS AN ACT OF PUBLIC FAITH: RemediatedProgrammatic “Garden Study of Girdle” concrete expression in the form of a project.Remediated Maps, “Garden models, Girdle” Phase I: Satelite REPRESENCity & Air-RightTATION Proscenium AS AN ACT OFA democratically PUBLIC FAITH: conceivedconcrete urbanism expression begins with the in the form ofPhase a project. III: HighwayRemediatedMaps, and Canal “Garden models, Wrap Girdle”Programmatic Study of Phase IV. Transfer of Remediated Land REPRESENTATION AS AN ACT OFA democratically PUBLIC FAITH:Phase conceived II: Third Street urbanism Super beginsStrip with the Programmatic Study of REPRESENTATION AS ANassumption ACT OF PUBLIC that FAITH: the varied intereststexts and andaspirations images of the constitute much of the political groundRemediatedProgrammatic “Garden Study of Girdle” assumption that the varied intereststexts and andaspirations images of the constitute much of the political groundRemediated “Garden Girdle” communities that anyA project democratically will serve conceived should be urbanism given begins with the Remediated “Garden Girdle” communities that anyA project democratically willupon serve conceivedwhich should be the urbanism given future begins of any with the complex urban site is con- concrete expressionassumption in the form of thatupon a project. the varied which Maps, interests models, the and future aspirations of any of the complex urban site is con- concrete expressionassumption in the form of that a project. the varied Maps, interests models, and aspirations of the Section Panorama, orig. 18’ texts and images constitutecommunitiesceived much that of the and any political project negotiated. ground will serve should For design be given to play a positive, medi- Section Panorama, orig. 18’ texts and images constitutecommunitiesceived much that of the and any political project negotiated. ground will serve should For design be given to play a positive, medi- upon which theconcrete future of anyexpression complex in urban the form site of is a con- project. Maps, models, Programmatic Study of REPRESENTATIONFootballupon AS which AN theconcrete ACTfuture of anyexpression OFating complex PUBLICBaseball role in urban the in form site the of isFAITH: a con-building project. Maps, of models,a city it is critical that the vari- ceived and negotiated.texts For and designating images to playrole constitute a positive, in the much medi- building of the political of a ground city it is critical that the vari- ceived and negotiated.texts For and designous images to constituencies play constitute a positive, much medi- of effected the political by ground a urban plan be situated as ating role in the buildingupon of which a cityous itthe is constituencies future critical of that any the complex vari- effected urban site by is con- a urban plan be situated as Remediated “Garden Girdle” ating role in the buildingupon of which a cityous itthe is constituencies future critical of that any the complex vari- effected urban site by is con- a urban plan be situated as ous constituenciesceived effected and by negotiated. amuch urban plan as For be possible design situated to as playwithin a positive, these medi- forms of urban projection. ous constituenciesceived effected and by negotiated. amuch urban plan as For be possible design situated to as playwithin a positive, these medi-A forms democratically of urban projection. conceived urbanism begins with the much as possible withinating role these inmuchforms the building of asurban ofpossible aprojection. city it is criticalwithin that these the vari- forms of urban projection. much as possible withinating role these informs theOriginally building of urban of aprojection. located city it is critical on a that site theadjacent vari- to Mission Bay, the Originally locatedous on constituencies a site adjacentOriginally effectedto Mission by located Bay, a urban the plan on be a situatedsite adjacent as to Mission Bay, the Originally locatedous on constituencies a site adjacent effectedto Mission by Bay, a urban the plan be situated as exhibit designed tomuch house as this possible projectexhibit within was designed itself these intended forms to of house urbanassumption projection. this project was that itself the intended varied interests and aspirations of the exhibit designed tomuch house as this possible projectexhibit within was designed itself these intended forms to of house urban projection. this project was itself intended to fulfill such a function:Originally those who located viewed on the a site floor adjacent model, to Mission Bay, the to fulfill such a function:Originally thoseto who fulfilllocated viewed suchon the a site floor a adjacent function: model, to Mission those Bay, who the viewed the floor model, panorama andexhibit the various designedto fulfill images to housesuch and models this a function: project that was itself thosecommunities intended who viewed the floor that model, any project will serve should be given REPRESENTATION AS AN ACT OF PUBLICpanorama FAITH: andexhibit the various designed images to house and models this project that was itself intended Programmatic Study of were keyed to itto could fulfill locate suchpanorama a themselves function:and those relative who to viewed the the floor various model, images and models that were keyed to itto could fulfill locate suchpanorama a themselves function:and those relative who to viewed the the floor various model, images and models that multiple programspanorama and spaces and of thewere project, the keyed thereby various to figur- images it couldconcrete and models locate that themselves expression relative to in the the form of a project.Remediated Maps, “Garden models, Girdle” multiple programspanorama and spaces and of thewere project, the keyed thereby various to figur- images it could and models locate that themselves relative to the REPRESENTATION AS AN ACTing Mission OFAwere democratically PUBLIC Bay keyed asto partwere it FAITH: could of the keyed locate city conceived at tothemselves large. it could relative urbanism locate to the themselves begins with relative the to the Programmatic Study of ing Missionwere Bay keyedmultiple asto part it could of programs the locate city at themselves large. and spaces relative to of the the project, thereby figur- assumptionmultiple programsmultiple that and theprograms spaces varied of theandproject, interests spaces therebytexts and figur- of the andaspirations project, images thereby of the constitute figur- much of the political ground multiple programsing and Mission spaces Bay of asing the part project, Mission of the thereby city Bay at large.figur- as part of the city at large. Remediated “Garden Girdle” communitiesing Missionthat any Bay asAing project part democratically Mission of the will cityupon Bay at serve large. as conceivedwhich partshould of the be the city urbanism given at future large. begins of any with the complex urban site is con- concrete expressionassumption in the form of that a project. the varied Maps, interests models, and aspirations of the Section Panorama, orig. 18’ texts and images constitutecommunitiesceived much that of the and any political project negotiated. ground will serve should For design be given to play a positive, medi- upon which theconcrete future of anyexpressionating complex role in urban the in form site the of is a con-building project. Maps, of models,a city it is critical that the vari- ceived and negotiated.texts For and design images to play constitute a positive, much medi- of the political ground ating role in the buildingupon of which a cityous itthe is constituencies future critical of that any the complex vari- effected urban site by is con- a urban plan be situated as ous constituenciesceived effected and by negotiated. amuch urban plan as For be possible design situated to as play within a positive, these medi- forms of urban projection. much as possible withinating role these informs the building of urban of aprojection. city it is critical that the vari- Views of Public Exhbition Originally located on a site adjacent to Mission Bay, the Views of Public Exhbition Originally locatedous on constituencies a site adjacent effectedto Mission by Bay, a urban the plan be situated as Views of Public Exhbition Views of Public Exhbition exhibit designed tomuch house as this possible projectexhibit within was designed itself these intended forms to of house urban projection. this project was itself intended to fulfill such a function:Originally thoseto who fulfilllocated viewed suchon the a site floor a adjacent function: model, to Mission those Bay, who the viewed the floor model, panorama andexhibit the various designed images to house and models this project that was itself intended were keyed to itto could fulfill locate suchpanorama a themselves function:and those relative who to viewed the the floor various model, images and models that Views of Public Exhbition Views of Public Exhbitionmultiple programspanorama and spaces and of thewere project, the keyed thereby various to figur- images it could and models locate that themselves relative to the ing Missionwere Bay keyed asto part it could of the locate city at themselves large. relative to the multiple programsmultiple and programs spaces of the andproject, spaces thereby figur- of the project, thereby figur- Plans cut from 0 to 100+ ft. ing MissionPlans cut from 0 Bay to 100+ ft. as ing part Mission of the city Bay at large. as part of the city at large. Plans cut from 0 to 100+ ft. Plans cut from 0 to 100+ ft.

Plans cut from 0 to 100+ ft. Plans cut from 0 to 100+ ft.

Views of Public Exhbition

Plans cut from 0 to 100+ ft.

20 PB