An Analysis of Critical Regionalism and its Application to High-Rise Building Design
A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of
Master of Architecture in the School of Architecture and Interior Design of the College of Design, Architecture, Art, and Planning by
Shaun Baranyi
B.S. in Architecture (S.U.N.Y) at Buffalo April 2016
Committee Chair: Michael McInturf
II Abstract
As the most iconic aspect of a city, high-rise buildings have a responsibility to represent their regions local culture and identity. Mass-communication, mobility, and modern technology have imposed an international culture onto today’s urban architecture. The cultural entropy from globalization has spread itself onto skylines around the world. Additionally, as cities become denser, the construction of high-rise buildings will continue to increase. The skyscraper, which was originally an American phenomenon, has been adopted by cities around the world. Regions such as such the Middle East and Asia have grown in population and density at an unprecedented rate. As a result, we have seen an emergence of mega cities that are centered around high- rise developments. Furthermore, the mass migration of people from diverse backgrounds into dense urban environments has led to a cultural evolution that needs to be recognized and expressed. Urban environments will need to respond to their region’s evolving ethos or allow their architecture to become homogenized within capitalist demands. Through an adapted critically regionalist attitude, designers can create high-rise architecture that focuses on developing ‘places’ opposed to ‘spaces’. High-rise buildings will have to implement a reinvigorated theory of critical regionalism to help personify local identities and cultures and express their diversity and character. The current discourse of critical regionalism focuses on low- rise, short span buildings and fails to address the nature of high-rise developments. This thesis is searching to progress the discourse of critical regionalist theory to consider how it can better suit high-rise typologies within dense urban centers. The theory discussed throughout this thesis will be accompanied by a conceptual plan for a critically regionalist skyscraper. I hope that through creating designs for a culturally attuned high- rise building, this thesis will better articulate the principles of regionalist designs while reinforcing the relevance of ‘place- making’ within man-kind’s largest architectural projects. Lastly, through the research and exposition of work, I hope that this thesis will open a discussion regarding the role of skyscrapers in today’s cities and their responsibilities regarding cultural expression and identity.
III IV Table of Contents
Abstract...... ii Acknowledgments...... iii Table of Contents...... iv List of Figures...... vi Introduction...... viii
01. Problem Background...... 01 1.1- Urbanization and the Rise of the Skyscraper...... 03 1.2- Globalization and Local Identity...... 05 1.3- A Critique of Current Design Trends...... 07
02. Trends in High-Rise Designs...... 09 2.1- A Brief History of Skyscrapers...... 11 2.2- Trends in Building Use...... 15 2.3- Trends in Building Materials...... 17 2.4- Trends in Structural Systems...... 19
03. Typical Cincinnatian Skyscrapers...... 21 3.1- Structural Systems and Project Phasing...... 23 3.2- Foundation Construction Methods...... 25 3.3- Core Construction and Planning...... 27 3.4- Superstructure Construction...... 29
04. Critical Regionalism...... 31 4.1- An Introduction to Regionalism...... 33 4.2- A Brief History of Regionalism...... 35 4.3- Tactile Experience...... 41 4.4- Defamiliarization...... 43 4.5- Participation...... 45 4.6- Arriere-Garde...... 47 4.7- Symbolism...... 49 4.8- Culture vs. Nature...... 51
05. Case Studies...... 53 5.1- Therme Vals...... 55 5.2- Museum of Wood...... 57 5.3- Tjibaou Cultural Center...... 59
V 06. Interpreting the Site...... 61 6.1- A Brief history of Cincinnati...... 63 6.2- Virgin Site...... 67 6.3- Native American Earthworks...... 67 6.4- Colonial Cincinnati...... 69 6.5- Trollopean Bazaar...... 69 6.6- Athenaeum...... 71 6.7- Amphitheater...... 71 6.8- Industrial Revolution...... 73 6.9-Soft Modernism...... 73
07. The Design...... 75 7.1- Site Overview...... 77 7.2- Program Analysis...... 79 7.3- Massing Strategies...... 81 7.4- Elevations...... 83 7.5- Typical Unit Plans...... 85 7.6- Expressive Spaces...... 87
08. Conclusions...... 89
Bibliography...... 91
VI List of Figures
Fig.1- “Rate of Urbanization” CCTV_Headquarters.jpg aily.jpg?w=723 Center for Tall Buildings and Ur- ban Habitats. 11/07/2018. http:// Fig. 7- “Dubai Frame.” Fig. 30- “Museum of Wood www.skyscrapercenter.com/year- 11/22/2018. https://thechive. Exterior.” 09/22/2018. https:// in-review/2017 files.wordpress.com/2018/03/ www.inexhibit.com/wp-con- giant-huge-massive-gigan- tent/uploads/2016/10/Muse- Fig. 2- Total Completions of tic-things-objects-21.jpg?quali- um-of-Wood-Culture-Japan-Tad- “Tall Buildings” Center for Tall ty=85&strip=info&w=600 ao-Ando-12.jpg Buildings and Urban Habitats. 11/07/2018. http://www.skyscrap- Fig. 8-“Sheraton Resort.” Fig. 32- “Museum of Wood ercenter.com/year-in-review/2017 09/23/2018. https://www.por- Section.” 09/22/2018. https:// tal.luxury/Content/media/im- www.inexhibit.com/wp-con- Fig. 1- “Xiamen Skyline.” age/2016/08/14840_orig.jpg. tent/uploads/2016/10/Muse- 12/05/2018. http://guidewithme. um-of-Wood-Culture-Japan-Tad- com/apk/China/content/data/ Fig. 13- “History of Skyscrap- ao-Ando-section.jpg images/gulangyu_xiamen_sky- er Typologies” Center for Tall line_2011_12.jpg Buildings and Urban Habitats. Fig. 33- “Museum of Wood Plan.” 11/07/2018. http://www.skyscrap- 09/22/2018. https://i.pinimg.com/ Fig. 2- “Miami_skyline.” Wiki- ercenter.com/year-in-review/2017 originals/77/84/94/7784940cef pedia. 12/05/2018. https://up- 08fb0a2c3061172dc87314.jpg load.wikimedia.org/wikipedia/ Fig. 14- “History of Skyscrap- commons/b/b5/Miami_sky- er Typologies” Center for Tall Fig. 34- “Jean Marie Cultural line_20080516.png Buildings and Urban Habitats. Center Exterior Photo.” Renzo 11/07/2018. http://www.skyscrap- Piano Workshop. 11/28/2018. Fig. 3- “Warsaw skyline.” ercenter.com/year-in-review/2017 https://i.pinimg.com/originals/60/ 12/05/2018. http://tomstrav- a4/58/60a4580efaab77a0c- elguide.com/wp-content/up- Fig. 15- “History of Skyscrap- 1435de1ccef1c7a.jpg loads/2016/12/9EfPiXi-300x169. er Materials” Center for Tall jpg Buildings and Urban Habitats. Fig. 36- “Jean Marie Cultural 11/07/2018. http://www.skyscrap- Center Section.” Renzo Piano Fig.4- “Melbourne-skyline” ercenter.com/year-in-review/2017 Workshop. 11/28/2018. https:// 12/05/2018. http://www.trav- i2.wp.com/images.adsttc.com/ eltipsor.com/wp-content/up- Fig. 16- “Catalogue of Sky- media/images/540e/0374/ loads/2014/12/Melbourne-skyline. scraper Materials”Center for Tall c07a/808f/0a00/0103/news- jpg Buildings and Urban Habitats. letter/drawing_file_890_fr. 11/07/2018. http://www.skyscrap- jpg?1410204526. Fig. 5- “Manhatten West.” ercenter.com/year-in-review/2017 12/15/2018. https://cathedrals. Fig. 37- “Jean-Marie Cultural info/wp-content/uploads/2018/10/ Fig. 27 - “Saynatsalo Town Hall Center Elevation.” Renzo Piano western-dental-cathedral-city-ca- Exterior.” 09/23/2018. https:// Workshop. 11/28/2018. http://rpf. best-of-skidmore-owings-and- farm2.staticflickr.com/1474/2600 ice.spill.net/files/drawing_file_881_ merrill-tag-of-western-dental-ca- 5765176_52d99af008_b.jpg fr.jpg thedral-city-ca.jpg Fig. 29- “Saynatsalo Town Hall Fig. 40- “Bagesvaerd Church Fig. 6- “CCTV Headquarters.” Plans.” 09/23/2018. https://vi- Exterior.” WikiArquitectu- OMA Architects. 10/20/2018. suallexicon.files.wordpress. ra.10/20/18. https://upload.wiki- http://dl.247-365.ir/pic/tak_ax/ com/2017/10/plans-from-archid- media.org/wikipedia/commons/
VII thumb/0/04/Bagsv%C3%A6rd.3. 0_n.jpg?_nc_ht=scontent-ort2-2. river_2_lg.jpg. jpg/269px-Bagsv%C3%A6rd.3.jpg cdninstagram.com Fig. 57- “Cincinnati 1900.” Fig. 41- “Bagesvaerd Church Fig. 49- “Therme Vals Inte- 02/15/2019. https://mtadam- Plans and Section.’ 11/14/18. rior.” 01/17/2019. https://ar- scincy.org/wp-content/up- https://i.pinimg.com/origi- hitekturaplus.files.wordpress. loads/2017/03/Mt-adams-civ- nals/01/e2/e1/01e2e1ad- com/2012/01/zumthor2.jp- ic-association-history1.png.” d2893c17846a482d58bd316f.jpg g?w=640 Fig. 58- “Cincinnati 1935.” Fig. 42- “Petronas Towers Exteri- Fig. 50- “Water Temple En- 02/15/2019. http://www.ohio- or.” 09/22/2018. https://images. trance.” 01/17/2019. https://cdn. historycentral.org/images/2/22/ thrillophilia.com/image/upload/s- steemitimages.com/ OhioGuide_SA1039AV_ -7zHGuofI--/c_fill,f_auto,fl_strip_ B04F01_007_01.jpg. profile,h_600,q_auto,w_975/v1/ Fig. 51- “Water Temple Interior.” images/photos/000/126/579/ 01/17/2019. https://cdn.steemiti- Fig. 59- “Cincinnati 2000.” original/1526471690_shut- mages.com/ 02/15/2019. https://cdn3.volusion. terstock_549783202.jpg. com/atzum.dfkhy/v/vspfiles/pho- jpg?1526471690 Fig. 52- “Jean Marie Cultural tos/639-2.jpg. Center Exterior.” Renzo Piano Fig. 44- “Petronas Tower Ele- Workshop. 11/28/2018. http:// *All figures not listed were vation and Plans.” 09/22/2018. www.scenevolution.fr/wp-content/ created by author. https://planosmodernos.info/ uploads/2017/04/02-Nou__194. wp-content/uploads/Torres-Petro- jpg nas.jpg Fig. 53- “Jean Marie Cultur- Fig. 45- “Kunsthaus Bre- al Center Interior.” Renzo Pi- genz.” 12/03/2018. https:// ano Workshop. 11/28/2018. www.swissinfo.ch/im- https://images.adsttc.com/ age/40498752/3x2/305/203/ media/images/540e/0394/ 3d00037488ac2de9b0d6 c07a/808f/0a00/0105/slideshow/ b31a053f805d/dV/203493590- eustaquio.jpg?1410204542 jpg.jpg Fig. 54- “Cincinnati 1790.” Fig. 47- “Kunsthaus Bregenz 02/15/2019. https://upload.wiki- Section.” 12/03/2018. https:// media.org/wikipedia/commons/ www.kunsthaus-bregenz.at/ thumb/8/84/Fort_Washington. fileadmin/_processed_/d/7/csm_ jpg/1200px-Fort_Washington.jpg. KUB_Schnitt_A-B_d04c00bd4f. png Fig. 55- “Cincinnati 1802.” 02/15/2019. https://i.pinimg. Fig. 48- “Therme Vals Exteri- com/originals/e1/20/fa/e120fa- or.” 01/17/2019. https://scon- 254d814e878cb8127f6467d9f0. tent-ort2-2.cdninstagram.com/ jpg. vp/f8349cda59d58cb945fab8cf- cbd14c16/5CC8F5C6/t51.2885- Fig. 56- “Cincinnati 1875.” 15/e35/32811935_1704045999 02/15/2019. http://www.codex99. 642463_815404186152730624 com/photography/images/river/
VIII Introduction
This thesis examines the relationship between high-rise structures and regional identities. This purpose of this essay is to research the principles and practices of critical regionalism in order to extend the discourse for high-rise typologies to more aptly include design strategies that promote cultural identities within the (largely globalist) typology of skyscrapers. No longer are skyscrapers an exclusively American typology. Dense urban centers in places such as Dubai and Hong Kong have adopted the typology in their own pursuit for a culture of congestion. In these cultures, we can see an interest to preserve their cultural identities through their architecture. Taipei 101, and Burj Al-Arab are examples of immature attempts cities have made to create their own style of skyscraper. A search for a new urban vernacular that isn’t quite solidified. This essay hopes to help guide the search for the new urban vernacular. I believe an adoption of critical regionalism can inspire meaningful architecture and develop/preserve the cultural identities every city inherently has. The research for this thesis will discuss three broad topics; the design and theories found within the typology of skyscrapers, critical regionalism as a method to embed a sense of place and meaning, and an in- depth analysis of Cincinnati’s history and architecture. From my research I will identify why styles such as the international, modern, and post-modern, failed to create an adequate sense of identity in high-rise design. In addition, I will elaborate on ways in which critical regionalism can produce a more meaningful design through the analysis of case studies and precedents. These precedents will include a look at a mix of typologies and styles ranging from low-rise short span buildings to towers/skyscrapers. The precedents will represent both built and unbuilt works. This will help to understand not only what projects certain cities praise, but which projects certain cities shun. The culmination of my research will result in a methodology for high-rise design (similar to Frampton’s six points towards critical regionalism) along with a conceptual design for a skyscraper in downtown Cincinnati. The methodology will be a set of principals by which regionalist high-rise structures can be critiqued and designed by. The program for the building will be a mixed-use development.
IX It will include residential, commercial, and cultural spaces (these programs were chosen based on their need for a strong connection to cultural identity). The conceptual design for the skyscraper will be presented to various mediums including; renderings, collages, scaled models, architectural drawings, graphic information. Most importantly, the conceptual design will serve as credence for my arguments. Hopefully, it can serve as a model future designs can reference for their own regionalist pursuits.
X
01 Problem Background
1.1- Urbanization and the Rise of the Skyscraper
1.2- Globalization and Local Identity
1.3- A Critique of Current Design Trends Problem Background
Urbanization and the Rise of the Skyscraper
Since the 1960’s the infrastructural demands. percentage of the world living High density within urban in urban environments has centers is an economic risen from 33.6% to 54.4%. and sensible solution that is Among the more modernized being adopted across the countries, the average globe.3 Many Middle Eastern percentage of urbanization is and Eastern Asian countries significantly higher. The United have adopted the skyscraper States urbanization percentage to meet the needs of their is roughly eighty-four percent. growing populations. In 2017 In Europe, the average city Asia accounted for seventy- is about eighty-six percent five percent of all Tall Building urbanized. In extreme cases construction.4 Western such as Singapore, Kuwait, European countries, such as and Qatar, nearly one-hundred France, Spain, and London, percent of the population lives all tried to resist the high-rise in a city.1 2 typology in favor of a more Tall buildings have become human-scaled buildings. Since a desideratum to dense urban the late twentieth century most, environments. The typology if not all, of these countries stands alone in its ability to have reluctantly accepted satisfy the spatial requirements the skyscraper as an urban set by ever growing urban necessity.5 populations. The typology will Since the 1980’s, the become significantly more number of skyscrapers has important as metropolitan grown exponentially every ten regions increase in size and years. The 2017 Tall Building density. Year in Review/Tall Buildings in Urban environments Numbers by the Council on Tall shift from low-rise, short Buildings and Urban Habitats span buildings to high-rise (CTBUH) has shown that more developments to remain buildings over six-hundred sustainable. In the developed and fifty feet were completed world buildings account in 2017 than in any other year for half of the energy we with a total of one-hundred and consume. Urban sprawl forty-four completions (up 95% creates inherent energy issues from 2013). through elongated commutes to and from work and by
1. “68% of the World Population Projected to Live in Urban Areas by 2050, Says UN,” UN DESA | United Nations Department of Economic and Social Affairs, May 16, 2018, https://www.un.org/ development/desa/en/news/population/2018-revision-of-world-urbanization-prospects.html. 2. “Urbanization in 2018, by Continent | Statistic,” Statista, accessed November 16, 2018, https:// www.statista.com/statistics/270860/urbanization-by-continent/. 3. Chris Abel, Sky High: Vertical Architecture, First Edition edition (London: Royal Academy Publi- cations, 2003). 4. Eric Howeler, Skyscraper: Vertical Now (New York, NY: Universe, 2004). 5. Howeler.
3 Problem Background
100%
90%
80%
70%
60%
50%
40%
30%
20%
10%
0%
Fig. 1- Rate of Urbanization
160 140 120 100 80 60 40 20 0 1960 1962 1964 1966 1968 1970 1972 1974 1976 1978 1980 1982 1984 1986 1988 1990 1992 1994 1996 1998 2000 2002 2004 2006 2008 2010 2012 2014 2016
300m+ Built 200m+ Built
Fig. 2- Total Completions of “Tall Buildings”
4 Problem Background
Globalization and Local Identity
Since the adoption of “The phenomenon of modernism in the mid twenty- universalization, while being first century architectural an advancement of mankind, design has largely lacked at the same time constitutes cultural specificity and a sort of subtle destruction, humanism. The architectural not only of traditional cultures, expression has been de- which might not be an prioritized in favor of civil irreparable wrong, but also of engineering and capitalist what I shall call for the time demands. The result is an being the creative nucleus of abundance of skyscrapers great cultures, that nucleus on that have no relation to its the basis of which we interpret site or to its people. Thus, life, what I shall call in advance the tall buildings we design in the ethical and mythical San Antonio have the same nucleus of mankind.” That is to expression as the tall buildings say that globalization threatens we build in Ulaanbaatar. individual uniqueness and This phenomenon is known therefore creativity as a whole.6 to the world as “globalization”. Ricoeur also describes the It is “the process by which dystopia of a globalized world. businesses or organizations “Everywhere throughout the develop international influence. world, one finds the same Globalization has grown due to bad movie, the same slot advances in transportation and machines, the same plastic communication technology. or aluminum atrocities, the Typically, globalization is seen same twisting of language by as a positive, and comes with propaganda, etc. It seems as a growth in ideas and culture, if mankind, by approaching similar to the idea of cultural en masse a basic consumer diffusion or universalization. culture, were also stopped While there are many benefits en masse at a subcultural to globalization, there is a level.” There is no reason human need for identity and why globalization and place within society. cultural identity cannot co- There is an endangerment of exist together. But it seems local identity when globalization like superficial subcultures is left unchecked. The dangers exist in abundance wherever are best described by Paul globalization occurs.7 Ricour in the statement.
6. Paul Ricoeur, Charles A. Kelbley, and David M. Rasmussen, History and Truth (Evanston, Ill: Northwestern University Press, 2007). 7. K. Frampton, “Towards a Critical Regionalism: Six Points for an Architecture of Resistance,” in The Anti-Aesthetic: Essays on Postmodern Culture, ed. Hal Foster (New York: New Press), 17–34.
5 Problem Background
Fig. 3 - Skyline of Xiamen
Fig. 4 - Skyline of Miami
Fig. 5 - Skyline of Warsaw
Fig. 6 - Skyline of Melbourne 6 Problem Background
A Critque of Current Design Trends
There are many different are still a simply referential. ways to categorize the current Whereas postmodernist design trends in high-rise works of the late 1980’s used designs and it would be historic motifs as reference impossible to cover them all. material, today’s post- The most common consensus modernism reference purist is that there are five current geometries and shapes such trends. The modern, the post- as the mobius strip or the modern, the parametric, the tetrahedron.8 These buildings ecological, and the regional. Of lack a critical stance on cultural these five, three are particularly and are shallow in there problematic towards cultural meaning/symbolism. growth. Lastly, the parametric. The largest culprit to cultural Parametricists will argue entropy is Modernism. that architecture should be This movement continues calculable, and formula to dominate the design of driven.9 The same critique skyscraper for the next three of positivism from James decades. Many of the buildings Corner’s “A Discourse on are simple glass boxes with Theory II” can be applied to little to no relationship to its parametricism. This method of context or site. The style is design is problematic because often exploited by developers it fails to recognize the value who try to keep a “clean” or of humanist expression and “minimal” expression in order creativity. The answer for to reduce on building costs. design is not an objective one. It cannot be found through The next is the post-modern. a formula and cannot be A critique of the contemporary calculated. It needs to rely on avant-garde comes from a hermeneutic understanding Jeanne Gang’s “More Specific, of the human experience. A Less Iconic”. Gang argues that computer may help expedite contemporary designs have the design process, but it not evolved past the “knee- cannot be looked towards as jerk” use of symbolism, and an omniscient being that gives that this use of symbolism unquestionable solutions.10 is simply a new form of the postmodern. Many of today’s most avant-garde forms
8. Jeanne Gang, “Wanted: Tall Buildings Less Iconic, More Specific,” in CTBUH 2008, 8th World Congress - Tall and Green: Typology for a Sustainable Urban Future, Congress Proceedings, 2008, 496–502. 9. Patrik Schumacher, “Parametricism 2.0: Rethinking Architecture’s Agenda for the 21st Centu- ry,” Wiley.com, n.d., accessed November 18, 2018. 10. James Corner, “A Discourse on Theory II: Three Tyrannies of Contemporary Theory and the Alternative of Hermeneutics,” Landscape Journal 10, no. 2 (1991): 115–33, https://doi. org/10.3368/lj.10.2.115.
7 Problem Background
Fig. 7 - Manhattan West Fig. 8 - CCTV Headquarters
Fig. 9 - Dubai Frame Fig. 10 - Sheraton Resort
8
02 Trends in High-Rise Design
2.1- A Brief History of Skyscrapers
2.2- Trends in Building Use
2.3- Trends in Building Materials
2.4- Trends in Structural Systems Trends in High-Rise Design
A Brief History of Skyscrapers
Before the conception of the and fascinated the publics twentieth century skyscraper, imaginations. Additional tall architectural forms were theories on skyscraper design explored through monuments were pushed by Hugh Ferriss, and towers. Early American Raymond Hood, and Harvey towers took the form of the Wiley Corbett. Together these Washington Monument and men created some of the most the Beacon of Progress by fascinating urban theories of Desire Despradelle.11 As their time including, “A City of technology in steel advanced towers” “The Venice of New in the late 19th century, tall York”.14 observation towers were constructed. The Latting The 1917 Setback laws gave Observatory stood without buildings in the 1920’s-1940’s program but allowed visitors their characteristic pyramidal views of the world impossible shape. he effect this law had to see from the ground. on design was illustrated by Hugh Ferriss’s charcoal With Elisha Otis’s invention renderings published in the of the elevator, the skyscraper book, The Metropolis of could grow beyond the typical Tomorrow, and can be seen in six story limit.12 The first buildings such as the Empire “skyscraper” is widely credited State Building and Chrysler to William Le Baron Jenny’s Building.15 Home Life Insurance Building Until this point in time, in 1885.13 Shortly after iconic Skyscrapers were still largely buildings such as the Flatiron an American Typology. In Building, Woolworth Building, the early 1930’s European and Metropolitan Life Building. Modernists became interested The architecture of these in the typology can changed buildings started and stopped it forever. Le Corbusier’s with the facade. The aesthetics Cartesian Skyscraper and of the building were usually Mies Van Der Rohe’s glass characterized by Beaux-arts skyscraper foreshadowed styled ornamentation and a movement in architecture Chicago style organization. that would last to this day. The Aggrandized ideas such movement is characterized as the 1909 Theorem and by ration form, a lack of the Globe Tower circulated ornamentation and minimal
11. Alison Sky and Michelle Stone, Unbuilt America: Forgotten Architecture in the United States from Thomas Jefferson to the Space Age- A Site Book (New York: Abbeville Pr, 1983). 12. Rem Koolhaus, Delirious New York (Montecelli Press, n.d.), accessed September 9, 2018. 13. Rosemarie Haag Bletter, “The Invention of the Skyscraper: Notes on Its Diverse Histories,” Assemblage, no. 2 (1987): 110–17, https://doi.org/10.2307/3171092. 14. Rem Koolhaus, Delirious New York. 15. Hugh Ferriss, The Metropolis of Tomorrow (Dover Architecture): Hugh Ferriss: 9780486437279: Amazon.Com: Books (Dover Publications, 1929).
11 Trends in High-Rise Design
Fig. 11 - History of the skyscraper 12 Trends in High-Rise Design
expression.16 design of skyscrapers.20 Many The modernist “box” Eastern Asian and Pacific dominated skylines in the cities have immense pride in 1960’s structural revolution, their history and culture and led by Fazlur Khan. The new sought to reflect that in their structural system, now know architecture. Most notable is as “Tubular Design”, allowed Taipei 101 and the Petronas beings to break away from Towers. The Petronas Towers standard rectilinear forms.17 in Kuala Lumpur are twin This structural system was towers that meant to bring used in the design for buildings Kuala Lumpur to the global such as the John Hancock stage. The design employs Center, Sears Tower, and Bank traditional motifs of form and of China Tower.18 19 craft. The floor plan is derived In the early 1980’s Eastern from Islamic geometries. The Asia began to transition from elevation takes formal ques a rural based country to the from Islamic minarets and world’s largest urban center. mosques. Taipei 101 uses a Hong Kong, Taiwan, South series of symbolism to achieve Korea, and Singapore’s rapid a culturally relevant design.21 development was apparent Today, Skyscrapers in their new skylines. The have become a global development was driven phenomenon. BIM by a need to house millions computational tools and of immigrants from the advancements in building countryside. In the 1980’s technologies have allow for the state funded projects tried to “supertall” buildings to exist. address their housing crisis. The tallest building in the world Many of the high-rises built is Burj Khalifa, standing around during this time reflected 2700 feet, over 800’ taller standard modernist high- than the next tallest building. rises with a cruciform plan Already, an even taller building and minimal ornamentation. is undergoing construction to It wasn’t long before the beat Burj Khalifa’s height by skylines of major Eastern 500’. Asian countries rivaled that of Chicago and New York City. This is also when we begin to see regionalism influence the
16. Abel, Sky High. 17. Fazlur R. Khan and Navinchandra R. Amin, “Analysis and Design of Framed Tube Structures for Tall Concrete Buildings,” Special Publication 36 (January 1, 1972): 39–60. 18. JianPing Gu, “Shanghai Tower: Re-Thinking the Vertical City” (CTBUH 2012 9th World Con- gress, CTBUH, 2012), 6. 19. Kheir Al-Kodmany, “An Overview of Structural & Aesthetic Developments in Tall Buildings Us- ing Exterior Bracing & Diagrid Systems,” International Journal of High-Rise Buildings 5, no. 4 20.Abel, Sky High. 21. Eric Firley and Julie Gimbal, The Urban Towers Handbook, 1 edition (Chichester: Wiley)
13 Trends in High-Rise Design
Fig. 12- History of the skyscraper 14 Trends in High-Rise Design
Trends in Building Use
In addition to style and There were just not enough aesthetics, the typology people to want to live in the of skyscrapers has seen city to warrant such a large an evolution in program and density program of strictly throughout its history, shifting residential units.22 from an office-based typology The mixed typology has to a mixed use center for existed since the 1900’s but urban life. has risen greatly in popularity As stated in the previous since the beginning of the section, the skyscraper evolved twentieth century. Mixed from program-less towers. The typologies have proven to be tallest structures were simple economically successful for monuments and landmarks themselves but a mixed use that symbolized something program raises the property in a particular culture. Towers value of all of the surrounding were then used as observation buildings more significantly decks. than if the building was solely The earliest towers were commercial.23 approximately ninety percent The mixed typology we office spaces, and the majority seen today resembles the of the last ten percent were imaginative concept design hotels. Offices developed the proposed in the early 1900’s. typology for many different Globe tower was meant to hold reasons. First, there was a hippodromes, restaurants, high demand for office space recreation spaces, and homes. at the time. Hotels were not The idea of the “vertical city” as common in the nineteenth is not a new concept, but it century because means of has never been proved to be transportation were much realistic in terms of scale or more expensive and slower. economics. Buildings such This meant there were less as the Jeddah and Shanghai tourists and less of a demand Tower have been coming close for hotels than there is today. to fulfilling on the promise Pure residential towers weren’t made by designers over 120 seen until the mid-nineteenth years ago.24 century. The first half of the century was characterized by large masses of people leaving the city to live in suburbia.
22. “2017 Year In Review,” CTBUH Journal 2018, no. 1 (2018). 23. “2017: SKyscraper History’s Tallest, Highest- Volume, and Most Geographically Diverse Year,” CTBUH Journal 2018, no. 1 (2018). 24. Kent JacksonJuly 2015, “Intelligent Densities / Vertical Communities,” SOM, accessed March 7, 2019.
15 Trends in High-Rise Design
History of Skyscraper Typologies
100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% 1930 1940 1950 1960 1970 1980 1990 2000 2010 2017
Mixed Hotel Fig. 13- History of Skyscraper Typologies
History of Skyscraper Typologies
Mixed Fig. 14- History of Skyscraper Typologies
16 Trends in High-Rise Designs
Trends in Building Materials
In terms of structural material For almost one hundred choice (for the structure) there years skyscrapers were are four options for designers. made of nearly of 100% Steel, Concrete, Composite, steel. The rise of concrete and Mixed. Steel and concrete came around 1970, but reference buildings that are even then, the material was made entirely of either steel not very popular. Composite or concrete respectively, and and concrete materials grew do not use any other mater exponentially following 1980. for major structural support. Today, buildings are either Composite materials are entirely made of concrete or materials that use both steel a composite material where and concrete together to steel and concrete are used form a new type of beam or together. column (Concrete filled tubes, The fall of steel came from a Concrete encased columns, shift in economics and code- etc.). Mixed refers to structural based designs. Today steel systems that rely on concrete, is far more expensive than steel, or composite materials concrete is. Especially when separately within the same you consider that steel needs buildings (i.e. concrete core, additional fireproofing where with steel framing).25 concrete does not. It is worth noting that the use Composite materials have of wood, while extremely new also overtaken steel as a and in its early phases of use, material choice. Given steel’s has been used for a handful of high tensile strength and proposed buildings throughout concrete high compressive the world. Notably, Perkins + strength, the two used together Will’s River Beechtower and is a common practice across SOM’s research proposal for the world. Asian and Middle a “Sustainable Design. But, Eastern countries tend to lean as of now the building code towards CFT beams while does not allow for solely wood European and American skyscrapers to be constructed. countries tend to use reinforce The research proposals columns and bundled choose to use CLT and GLT columns.27 beams to support their vertical loads, and LVL to resist for their lateral loads.25
25. “2017 Year In Review.” 26. Ongoing Research Since 2013, “Timber Tower Research Project,” SOM, n.d., accessed March 7, 2019. 27. Mir M. Ali, “Evolution of Concrete Skyscrapers,” n.d., accessed October 20, 2018.
17 Trends in High-Rise Design
History of Skyscraper Materials 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% 1930 1940 1950 1960 1970 1980 1990 2000 2010 2017 Steel Concrete Composite Mixed Unknown Fig. 15- History of Skyscraper Materials
TIMBER CONCRETE STEEL COMPOSITE
LVL CMU HOT-ROLLED CFT
CLT CONTINUOUS COLD-ROLLED ENCASED
NLT REINFORCED TUBE (HHS) BUNDLED
GLT IN-SITU PRE-WELD
PRECAST SITE WELD
Fig. 16- Catalogue of Skyscraper Materials
18 Trends in High-Rise Designs
Trends in Structural Systems
The first skyscraper was not that at heights above sixty defined by height but rather stories the lateral loads on the by its structural system. A building were greater than the “skyscraper” shifts the loads gravity loads. Meaning that onto interior columns and the building was essentially “hangs” the facade off each cantilevering from the ground. floor plate, also known as This revelation allowed him to a curtain wall.28 Structural first invent the Exterior Framed systems become more or Tube System which acted as a less efficient depending on massive truss, as exposed on the total height of the building. the John Hancock center.31 Over time engineers have The tube-in-tube system discovered structural systems achieve similar feats in height than earlier models. as the exterior framed tube Williams Bryon Jennings system. Today the tube-in- Home Life Insurance Buildings tube system is one of the most was the first building to use popular structural systems in “cage-frame construction”. the united states. Typically, with In this method cast iron was a concrete core and a steel embedded into load bearing skeletal frame surrounding masonry in the interior to allow it. The popularity of this buildings to become twice as construction method comes tall as previously. The largest from its cheap construction load-bearing masonry building and detailing costs. is the Monadnock building.29 The last major innovation was To go beyond twenty stories the bundled tube structural the building must switch to system. This system tied a rigid frame construction together several exterior system, completely framed tube systems to form independent of load bearing an extremely strong truss masonry. The Equitable Life system. Fazlur Khan and SOM Building was the first high- used this structural system on rise to use a rigid steel frame the Sears’s tower, allowing the construction system.30 building to become narrower Rigid steel frame construction as the building grows. was the most popular building typology until Fazlur Khan’s bundled tube innovations in the 1960’s. Fazlur Khan proved
28. Bletter, “The Invention of the Skyscraper.” 29. Phillip Johnson, Skyscrapers: A History of the World’s Most Famous and Important Skyscrap ers, 1st ed. (Black Dog & Leventhal, 1996). 30. Phillip Johnson. 31. Khan and Amin, “Analysis and Design of Framed Tube Structures for Tall Concrete Buildings.”
19 Trends in High-Rise Design
Load Bearing Masonry Exterior Framed Tube System 0-13 Stories 0-50 Stories
Plan Plan
Cage-Frame Construction Tube-in-Tube Structure 0-20 Stories 0-100 Stories
Plan Plan
Rigid Steel Frame Bundled Tubed System 0-30 Stories 0-100 Stories
Plan Plan
Fig. 17 - Evolution of skyscraper structures
20
03 Typical Cincinnatian Skyscraper
3.1- Structural Systems and Project Phasing
3.2- Foundation Construction Methods
3.3- Core Construction and Planning
3.4- Superstructure Construction Typical Cincinnatian Skyscrapers
Structural Systems and Project Phasing
After Global Trends were to understand the phasing established there was an in which mixed tube-in-tube investigation into Cincinnati’s high rises are constructed in. most typical high-rise Each phase was then further construction strategies. These analyzed to better understand strategies represent a series its construction process. of decisions based largely In the subsequent sections on their economic efficiency this thesis will look at how within their region. The result Cincinnatian skyscrapers is a “base” design upon which approach the design regional identity can be added and construction of their to. foundations, core, and The second purpose of superstructure. this investigation is to find construction methods and techniques that can be exaggerated, expressed, or innovated on in the final design. Perhaps the most notably common construction practice among Cincinnati high-rises is their structural system. Cincinnati favors a mixed tube-in-tube system, that has a concrete core and steel framework. This practice is common for two reasons. One, our designers and laborers are familiar with this system thus making its construction more economic. Two, the use of concrete and steel make for an efficient use of materials, minimizing costs again. After Establishing a construction system to focus on, the study sought
23 Typical Cincinnatian Skyscrapers
ettes re etention e and Column Barr e Construction PerimeterCor R Piling and Plunge ColumnsCor ServicesFacadeFinishesCommissioning SUB-STRUCTUREBasementBasement ExcavationSUPE StructuPT R-SlabSTRUCTURE Construction 12 34 5 1 2 3 4 5 6 7 year 1 8 9 10 11 12 1 2 3 4 5 6 7 year 2 8 9 10 11 12 1 2 3 4 5 6 7 year 3 8 9 10 11 12 1 2 3 4 5 6 7 year 4 8 9 10 11 12 1 2 3 4 5 6 7 year 5 8 9 10 11 12
Fig. 18 - Cincinnati Skyscraper Fig. 19 - Typical Construction Schedule
24 Typical Cincinnatian Skyscrapers
Foundation Construction Methods
Construction phasing for contractors begin the process large buildings such as high- of buildings the basement rises are typically separated construction. between the foundation Top-down methodology (substructure) and the is newer, more dangerous, superstructure. The foundation but can achieve much faster is typically the longest phase construction times. After and therefore the most the placement of retention expensive. columns, plunge columns Within sub-structure/ are placed as the structure foundation phasing are to the basement. Then each four sub phases. The first is basement floor is excavated perimeter Retention, then individually, one at a time. By Barrette placement, followed building from the top down, the by Piling and Plunge Columns. phasing of the superstructure Basement excavation and can overlap with the Basement structure the final substructure and considerably steps in the process.32 decrease total construction The method of foundation time.33 construction is typically done in There are drawbacks to both one of two ways. It is either the methods. Cincinnati favors Bottom-up methodology or the the bottom up methodology Top-Down methodology. The because of its simplicity. Local Top-Down method is faster, contractors are familiar with safer, and more economic this method and understand than the bottom up, but is also its logistics well. Additionally, more complicated and difficult it is much safer than top- to organize. down because the site is Bottom Up construction is the fully secured before floor typical method of foundation construction. The drawback construction. In this method is that wall anchors cannot Retention Columns are placed always be used if there are into the ground and then adjacent sites, and diagonal the entire site is excavated. bracing can get in the way of Once the site is excavated the floor construction. retaining columns (or walls) are braced with either diagonal braces or large anchors. Once the site is all settled,
32. Atsuo Konishi and Masaru Emura, “Structural Design and Construction of the Foundation of Tokyo Sky Tree,” International Journal of High-Rise Buildings 4, no. 4 (2015): 12. 33. John Davies et al., “The Foundation Design for Two Super High-Rise Buildings in Hong Kong” (CTBUH 2004 Seoul Conference, Seoul, Korea: CTBUH, 2004).
25 Typical Cincinnatian Skyscrapers
BOTTOM UP CONSTRUCTION 1. RC COLUMNS2 . SITE EXCAVATION
3. DIAGONAL BRACING 4. FLOOR COMPLETION
TOP DOWN CONSTRUCTION 1. RC COMPLETION2 . PLUNGE COLUMNS
3. SINGLE FLOOR EXCAVATION 4. FLOOR COMPLETION
Fig. 20 - Foundation Construction Methods
26 Typical Cincinnatian Skyscrapers
Core Construction and Planning
After the basement is are; stairwells, elevators, men’s constructed work can begin and women’s restrooms, on the concrete core. For electrical rooms, elevators the purposes of this thesis, rooms, service lobbies, and concrete cores were studying HVAC plena. at length since they are the The overall size of the core most common in Cincinnatian should be minimized to allow construction. for maximum net rent able There are many ways to area (NRA). For super tall construct concrete cores. buildings, and even mid-level The most common and most buildings maximizing NRA successful method is with may be achieved with “sky “climbing form-work”. Climbing lobbies”. An elevator will bring form-work is a reused wooden you up to your sky lobby zone form attached to a steel cage (in the shanghai tower there suspended by a crane. The are nine zones) and then you wooden formed are used to ride another elevator to your pour the concrete into. Once specific floor. This reduces total the concrete is dried, the form elevator size by making only a is released, the steel cage is few key elevators travel up and lifted, new rebar is placed, and down the entire length of the the cycle repeats itself.34 building.36 In addition to core construction, this thesis researched core planning and requirements. This research was done by case study examples. Depending on the size of the building the design of the core varies greatly. Concrete cores are typically located in the very center of the buildings floor plan. This is to maximize its structural efficiency and to maximize natural daylight in livable spaces.35 The most common program found within high-rise cores
34. Hui Wang et al., “Significant Progress in Construction Equipment of Super High-Rise Build- ing,” CTBUH Journal, 2004. 35. Howeler, Skyscraper. 36. Jun Xia, Dennis Poon, and Douglas Mass, “Case Study: Shanghai Tower,” CTBUH Journal 1, no. 2 (2010).
27 Typical Cincinnatian Skyscrapers
1. Integrated System Rests on Core2 . Integrated System Rises
3. Rebar Frames Next Level 4. New Concrete is Poured
Fig. 21 - Core Construction Methods
28 Typical Cincinnatian Skyscrapers
Superstructure and Planning
As soon as the first- lastly interior finishes. floor level of the core is The services, such as completed, the remainder HVAC, telecommunications, of the superstructure can be and internet cables, are fed assembled, following the pace up through the core and of the core until the top of the distributed throughout the building. building through either the floor Each steel column is placed plates or the ceiling. Either a into the ground by crane. The raised floor system or a drop- steel is attached to the ground ceiling is required to distribute many ways, by typically there the mechanical systems is a hole in the floor that the throughout the building. steel fits into. After first of the Cincinnati has historically steel columns are placed there favored the drop ceiling, are four groups assembling but recent buildings have the beams and girders. There implemented the raised floor is the raising group, who lower system for easy access.39 the steel into place, the bolt- The facade is hung off of the up ground, who bolts all of floor plates and can be made the steel into place, the plumb of nearly any material. Nearly group, ensuring the beams are each building in Cincinnati has plumb, and lastly the welders a facade of both glass and who weld each column into stone. Cincinnati’s historically place.37 conservative architecture never In other regions this process created a building of all glass, is simplified using per- which was common during fabricated units. Each column the peak of modernism in has a short ninety-degree the 1950’s. Even Cincinnati’s beam welded on. This ensures most recent building, the Great a strong moment connection. American Tower is composed Then on site no welding is of both stone and glass required, and each beam can paneling. be bolted into place.38 As the steel frame follows the construction of the of concrete the final parts of the building can be constructed. Following the steel superstructure is first services, then facades, and
37. Lixian Dai and Biao Liao, “Innovative High Efficient Construction Technologies in Super High Rise Steel Structure Buildings,” Internation Journal of High-Rise Buildings 3, no. 3 (September 2014). 38. Shelley Finnigan, Barry Charnish, and Robert Chmielowski, “Steel and the Skyscraper City: A Study on the Influence of Steel on the Design of Tall Buildings” (The Future of Tall: A Selection of Written Works on Current Skyscraper Innovations, 2015). 39. Shelley Finnigan, Barry Charnish, and Robert Chmielowski.
29 Typical Cincinnatian Skyscrapers
1. Columns are placed by crane 22. AAs columns are place, beams are bolted in
3. Columns and Beams are welded into place 4. Floors are placed in
5. Crane is moved onto the new floor 6. Repeat
Fig. 22 - Superstructure Construction Methods
30
04 Critical Regionalism
4.1- An Introduction to Regionalism
4.2- A Brief History of Regionalism
4.3- Tactile Experience
4.4- Defamiliarization
4.5- Participation
4.6- Arriere-Garde
4.7- Symbolism
4.8- Culture vs. Nature Critical Regionalism
An Introduction to Regionalism
After establishing a base- their classical sense. Many line economic design for a regionalists practice historic tower in Cincinnati, this thesis preservation not in recreation asks, “how can we make this rather than restoration. A design more regional?” To regional work may borrow do this, the base design was ideas from the past and compared against theories of showcase them in design, Regionalism, with a focus on preserving history. Critical Regionalism to inspire It is important to note that specific design interventions. regionalism is concerned Regionalism should be with place-making and understood through its expression of character. For related discourses and the this regionalism borrows from differences between them. phenomenological writers To start, Regionalism can such as Juhani Pallasma and be understood as a modern Michael Benedickt.42 vernacular design. Where the Lastly, resistance theory and vernacular can be thought critical theory are relatively new of architecture without no ideas within regionalism that architect, architectural started with Lewis Mumford in regionalism is an individual’s the early nineteenth century. deliberate attempt to recreate They are both political thoughts a part of a regions past.40 concerned with challenging Regionalism also borrows constituted authority. This from Bio-regionalism. argument becomes crucial There seems to be a strong when discussing Regionalism consensus from many of as a response to the the regionalist theorist that international style and hard architecture should responded modernism. This is also where environmentally to its local. For the term Critical Regionalism many people that should go is derived from, and it is without saying, but it is often the focus of this thesis as a overlooked by many modern solution to the problem of the works of architecture.41 modern skyscraper. The next Due to Regionalisms close section will discuss the history relation to the vernacular, ideas of critical regionalism as an of historic preservation and introduction to its complicated Referentialism is common theory. in the discourse, but not in
40. Vincent Canizaro, “Architectural Regionalism; Collected Writings on Place, Identity, Modernity, and Tradition,” Reference & Research Book News 22, no. 3 (August 1, 2007). 41. Vincent Canizaro. 42. Frampton, “Towards a Critical Regionalism: Six Points for an Architecture of Resistance.”
33 Critical Regionalism
“ALLIES” OF REGIONALIST THEORY
NATIONAL ROMANTICISM A form of nationalism in which the state derives its political legitimacy as an organic consequence of unity of those it CRITICAL governs. PHENOMEN THEORY -OLOGY A school of thought that stresses the A philosophical study of the reflective assessment and critique of society and culture by applying structures of experience and kowledge from the social sciences and consciousness.It is opposed to the humanities. the cartesian method of analysis
PROVINCIAL- REFERENCIAL ISM -ISM A concern for one’s own rarea or region REGIONALISM A theory that claims the meaning of a at the epense of national or word or symbol lies within what it points supranational unity; the way of life or out to the world. It is not symbols mode of throught characteritic of the denotation, but its connotation that regions outside the captital city. defines it meaning.
VERNACULAR RESISTANCE THEORY The architecture concerned with domestic and functional rather than the An aspect of politcal thought, discussing monumental; the language or dialect the basis on which constituted authority spoken by the ordinary people in a may be resisted by individuals, groups, particular country or region. and art.
HISTORIC BIO- PRESERVATION REGIONALISM An endevour that seeks to preserve, A belief that a bioregion’s environmental conserve, and protect buildings, objects, components directly influence ways for landscapes or other artifacts of historical human communities to act and interact significance. with each other
Fig. 23 - Allies of Regionalism
34 Critical Regionalism
A Brief History of Critical Regionalism
The term “Critical ethos. Lastly, in eclecticism, Regionalism” was coined by architecture was an erratic Liane Lefaivre and Alexander collection of historic references, Tzonis in their 1981 article, blending architectural styles “The Grid and Pathway” with throughout history into one the help of their graduate highly ornate and mannerist student, Anthony Alofsin. design.47 The term is a hybridization The term “Regionalism” was of two popular strands of first introduced around the thought, Critical Theory and 1920’s and 1930’s through Regionalism. Although Critical writers such as Lewis Mumford Regionalism is a new idea, and Frank Lloyd Wright. Its rise Regionalism itself is as old as in popularity as a topic follows the first books in architecture with the rise of the modern theory.43 movement. Regionalism chose Vitruvius discusses the to focus on Humanism which “proper siting of buildings was distinctly anti-modern at and the natural relationship the time. This very similar to between the qualities of a the state of regionalism today. place and the health of its From the 1940’s to the residents. Throughout antiquity 1960’s America’s attitude regionalism was in reference to towards regionalism could be the siting of the architecture.44 viewed as either one of two Post-Vitruvian regionalism styles; the style of European evolved during the Modernism or the International Picturesque, then through Style, also known as, “soft” Romanticism, and inevitably in and “hard” modernists. Eclecticism. The picturesque European Modernism, the was concerned with non- “soft” modernism, used rationalized aesthetics and regional cues to design their the “soft subtle curves and work. Often, they incorporated composition worthy of a regional materials and picture”.45 In romanticism, expressive new forms to evoke regionalism was in reference a natural character of the site to nationalism, liberalism, and while maintaining the functional individualism.46 It emphasized idealism of modernism.48 emotion and individualism As stated previously, the through the glorification of term critical regionalism finally a nation’s/group’s historical arrives well after the peak
43. Vincent Canizaro, “Architectural Regionalism; Collected Writings on Place, Identity, Modernity, and Tradition.” 44. Marcus Vitruvius Pollio, The Ten Books on Architecture, accessed November 18, 2018. 45. Edmund Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beau- tiful (University of Michigan Library, 2007). 46. John Morrow, “Romanticism and Political Thought in the Early Nineteenth Century,” The Cam- bridge History of Nineteenth-Century Political Thought, July 2011. 47. Walter C. Kidney, The Architecture of Choice: Eclecticism in America, 1880-1930, First Edition edition (New York: George Braziller, 1974). 48. Vincent Canizaro 35 Critical Regionalism
Marcus Vitruvius Pollio Leon Battista Alberti
Their works/treatises emphasized the
1st CE importance of the siting of the building Vitruvian and its location.
William Gilpin Edmund Burke
Their works/treatises looked towards nature to better explain beauty. The works
18th CE created during this period celebrated the wildness and beauty
Picturesque found in untouched nature.
Jozef Kraszewski Ralph Waldo Emerson Victor Hugo
Their works/treatises focused on nationally identity through the depiction and celebration of
Late 18th CE social, political, and geographic nuances of
Romanticism place.
Fig. 24 - Early Regionalism Discourse
36 Chapter Title
of modernism in 1981. In a ideas regarding the “loss of similar fashion as the European nearness” and our ocular- Modernists, Alexander Tzonis centric environment. Some of and Liane Lefaivre adopted Frampton’s most important a form of regionalism that did points include; the use of not call for an absolute return the arriere-garde, the tactile to the past. They understood versus the visual, and the that a nostalgic wish to return resistance of the place-form. to historic forms could never Today Critical Regionalism is a realistically be a long-term popular theory of architecture approach to architecture and that produced architecture that eventually architecture beyond mere style or would have to concede and aesthetics, but it is not with adapt to new technologies and criticism.50 zeitgeists. They also chose Some critics argue that to adopt the philosophies critical regionalism can do from Habermas, Foucault more harm than good within a and Baudrillard to construct developing nation. “It (critical their theories on Critical regionalism) has helped bring Regionalism.49 much-deserved attention Kenneth Frampton, a to the otherwise neglected British architect, critic, and architectural activity, and it historian is often accredited has provided a sophisticated with developing the theory interpretative apparatus to its most modern form. His through which to approach this first writing regarding the activity. It also has operated as subject “Towards a Critical a lens that can flatten, distort, Regionalism: Six Points for an or marginalize the cultural Architecture of Resistance” practices it surveys.”51 illustrated core principals by In regard to this thesis, it’s which to judge and design important to note that Critical critically regionalist works of Regionalism was largely only architecture. Frampton’s most applied to low-span low-rise important contributions to the buildings. Since its popularity theory were his implementation in the late nineteenth century of the discourse regarding some designs have attempted phenomenology within his to apply regionalism to high- arguments. These points rise structures. Some of these include Juhani Pallasmaa’s attempts have been more
49. Liane Lefaivre and Alexander Tzonis, Architecture of Regionalism in the Age of Globalization: Peaks and Valleys in the Flat World (Routledge, 2012). 50. Frampton, “Towards a Critical Regionalism: Six Points for an Architecture of Resistance.” 51. Keith L. Eggener, “Placing Resistance: A Critique of Critical Regionalism,” Journal of Architec- tural Education (1984-) 55, no. 4 (2002): 228–37.
37 Chapter Title
Benton Mackaye Lewis Mumford Rexford Newcomb
Regionalism grew as a reaction to the inhumanity of the modern movement. It sought to keep
Early 20th CE traditional architecture
Regionalist alive in the new modern era.
Max Horkheimer Theodore Ardono Michel Foucault
The Frankfurt school established a political, economic, and social based “critical”
Franfurt theory relating to the Mid 20th CE resistance of global oppressive forces.
Richard Neutra Frank Lloyd Wright Le Corbusier
The modern movement split between “hard” and “soft” modernism. Regionalism was either
Mid 20th CE completely neglected or seamlessly Soft Modern interwoven.
Fig. 25 - Mid Regionalism Discourse
38 Chapter Title
successful than other, but environmental specificity, many fail at creating genuine structural iterations, high-rise expression of character at such connected community, visible large scales and with so many construction ethics, local labor/ economic constraints. craft, and cultural/market In 2012 two professors from conditions.53 the University of Illinois wrote Lastly, the most recent “Skyscraper and Placemaking: significant essay within Supporting Local Culture and the discourse is “Rethink Identity”. The authors state of Critical Regionalism in the due to the physical scale High-Rise Buildings” from and dimensions, skyscrapers three professors within the impact on place-making architecture department at need to be analysis more the Islamic Azad University in closely and with a critical eye. Iran. This essay, probably the After the texts makes use of most relevant essay in regard case-studies from the Middle to this thesis, argues the short- East and Asia to argue their comings of critical regionalist points, the authors outline thinking and offers some several design challenges alternatives to contemporary that architects need to skyscraper design. The overcome before a regional authors focus of redefining skyscraper can be designed. critical regionalist theory, These challenges include the the pathology of high-rise Skyscraper’s superficial nature, designs, and the architectonic scale violations, extravagance, articulation to place-making and lack of inspirational within skyscrapers. The precedents.52 authors offer a solution inspired Jeanne Gang from Studio by Futurist architecture that Gang has written an essay creates a hyper-connected titled “Wanted: Tall Buildings, and multileveled city through Less Iconic, More Specific” sky-bridges and sky planes, where she both critiques thereby supporting connections modern trends in high-rise between high-rise structures, design and suggest possible expanding the topography of a solutions for the future. city vertically, and re-imagining She suggests five potential the classical meaning of strategies for a ‘specific’ high- ‘place’ into a more dynamic rise. These points include and constantly evolving one.54
52. Kheir Al-Kodmany and Mir M. Ali, “Skyscrapers and Placemaking: Supporting Local Cul- ture and Identity,” International Journal of Architectural Research: ArchNet-IJAR 6, no. 2 (2012): 43–64. 53. Gang, “Wanted: Tall Buildings Less Iconic, More Specific.” 54. Nima Zahiri, Omid Dezhdar, and Manouchehr Foroutan, “Rethinking of Critical Regionalism in High-Rise Buildings,” Buildings 7, no. 1 (2016 2017): 4, https://doi.org/10.3390/buildings7010004.
39 Chapter Title
Liane Lefaivre Alexander Tzonis Kenneth Frampton
Critical Regionalism was coined in 1981. The philosophy blended critical theory and regionalism in
Late 20th CE an attempt to revive place-making and Critical Reg. identity.
Keith Eggener John Harrison
Following the popularity of critical regionalism came critiques over its tendency to force Critics a single regional Late 20th CE paradigm while silencing other perspectives.
Kheir Al-Kodomany Mir Ali Antony Wood
As the skyscraper typology becomes increasingly popular around the world, critics began to call
Early 21st CE for a more regionally High-Rise sensitive design for high-rise buildings.
Fig. 26 - Recent Regionalism Discourse
40 Critical Regionalism
Tactile Experience
The tactile experience its location, whereas place is concerned with the act is described by its qualitative of place-making through sum. The importance of senses beyond the visual. By place-making is in its ability leveraging the totality of our to convey a human quality senses, architects can be through simple architectural more apt in synthesizing a manipulation of walls, floors, mood or atmosphere within and ceilings.56 a place. This in turn can lead The concept of place-making to place-making with more has been also leveraged by character and meaning. architects seeking to express Juhani Pallasmaa argues a sense of local identity. in “The Eyes of the Skin: Peter Zumthor describes his Architecture and the relationship with mood in his Senses” that western culture text, “Thinking Architecture”. has historically promoted Zumthor begins by describing an ocularcentric culture, a scene and the many aspects especially within architecture. of the scene that contribute to Ocularcentric refers to the his mood. The sun on his skin, prioritization of the visual above the distant chatter of people, the other four senses.55 birds in jagged flights, the Place-making is an important coarse stone wall his back is tenant of the tactile experience. against, the distant spires of The poetics of place-making a church standing above the is best described in Christian city, and so on. He stats, “there Norberg-Schulz’s “Genius Loci: is an intimate relationship Towards a Phenomenology between our emotions and the of architecture”. Norberg- things around me.”57 Schulz’s description of place is, To summarize, the tactile “A totality made up of concrete experience allows for space things moving material to become a place, through substance, shape, texture, and the choreography of sensual color. Together these things experiences throughout the determine an “environmental building. character”, which is the essence of place.” Place is contrasted by space, which is the lack of identity or character. A space is only defined by
55. Juhani Pallasmaa, The Eyes of the Skin: Architecture and the Senses, 2012, https://www. wiley.com/en-us/The+Eyes+of+the+Skin%3A+Architecture+and+the+Senses%2C+3rd+Edi- tion-p-9781119941286. 56. Christian Norberg-Schulz, Genius Loci: Towards a Phenomenology of Architecture (New York: Rizzoli, 1979). 57. Peter Zumthor, Thinking Architecture, 3rd Edition, 3rd edition (Boston: Birkhäuser Architec- ture, 2010).
41 Critical Regionalism
Fig. 27 - Saynsalo Town Hall Exterior
Fig. 28 - Tactile Experience Diagram Fig. 29 - Saynsalo Town Hall Plan 42 Critical Regionalism
Defamiliarization
Defamiliarization is key to- “Everywhere throughout the wards fulfilling critical regional- world, one finds the same bad ism promise as an architecture movie, the same slot machine, of resistance. By defamiliariz- the same plastic or aluminum ing the architecture, we ensure atrocities, the same twisting a way of avoiding global hege- of language by propaganda, mony. Defamiliarization is also etc. It seems as if mankind, crucial in avoiding the tenden- by approaching en masse a cy of post modern architecture basic consumer culture, were to rely on simply the symbolic also stepped en masse at a to communicate a message. subcultural level.”59 The process of Without diversity in defamiliarization within critical experience, sameness will regionalism is important to proceed to both homogenize understand as an aspect of the world and prevent the critical regionalism’s anti- world from progression. referential attitude and its Defamiliarization brings resistance to global hegemony. an opportunity for new to Critical regionalism is strongly exist, while still implying a anti-referential at the level of relationship to what had come visual commodity. The point before.52 The act defamiliarizing is best illustrated through the our architecture we create a critique of the post-modern. unique space within the world Michael Benedikt’s “For that will generate significance an Architecture of Reality” through its specificity. accurately critiques that the failure of the postmodernism is its scenographic attitude toward buildings and its inability to create a sense of “realism.”58 In addition to Defamiliarization ability to resist global hegemony, Paul Ricour’s quote from “History and Truth” speaks to the nature of “sameness” and its detrimental effect on society’s culture.
58. Michael Benedikt, For an Architecture of Reality, Reprint edition (New York: Lumen Books, 1992). 59. Ricoeur, Kelbley, and Rasmussen, History and Truth.
43 Chapter Title
Fig. 30 - Museum of Wood Exteiror
? ?
? Fig. 32 - Museum of Wood Section
Fig. 31 - Defamiliarzation Diagram Fig. 33 - Museum of Wood Plan 44 Critical Regionalism
Participation
There is an idea in local culture, but it also robs regionalism regarding tourists the opportunity to learn participation in design. The and understand a culture goal is to achieve an authentic outside of their comfort zone. experience with a culture. The architecture is acting as Authentic experience can be a barrier to mutual cultural thought of as the difference understanding. between the tourist and the Many public spaces local. A touristic experience within critically regionalist is superficial and sometimes works dedicate space and even inaccurate.60 program to the education or The architecture that goes participation in local culture. along with the touristic Through the experience of real experience is reduced to culture, the architecture of the commodity and entertainment. space broadens the user’s Companies such as the understanding of a region. Club Sandals Emerald Bay Resort in the Bahamas Islands advertises eternal relaxation beneath a woven roof overlooking a crystal- clear turquoise ocean. The computer rendered images show the words “real Bahamian architecture” over a backdrop of late 19th century Neo-imperial architecture with sprawling gardens reminiscent to something closer to the Beaux-Arts style than anything “Bahamian”. Although someone could argue the space is still beautiful in many respects, there is a clear destruction of local culture occurring. The misinformation of what “Bahamian” architecture both marginalizes the value of the
60. Vincent Canizaro, “Architectural Regionalism; Collected Writings on Place, Identity, Modernity, and Tradition.”
45 Chapter Title
Fig. 34 - Tjibaou Cultural Center Exterior
Fig. 36 - Tjibaou Cultural Center Section
Center for The city Community The city Engagement Fig. 35 -Participation Diagram Fig. 37 - Tjibaou Cultural Center Elevation 46 Critical Regionalism
Arriere-Garde
The Arriere-Garde is an idea forms of the preindustrial past.” that comes from Kenneth The example Frampton uses Frampton. This idea stats that to illustrate this point is through we should be equally sepa- Jorn Utzon’s Bagesvaerd rated between our nostalgic church. Through its’ section it traditions and the whimsical clearly depicts both universal invention of the contemporary rationality and eccentric forms. avant-garde. There is a bal- The Exterior cladding consists ance between innovation and of prefabricated orthogonal tradition that must be main- modules that houses the tained in order to make con- sculptural concrete interior stant stride toward advance- cladding. The experience ments.61 of the space is unique while The concept for the Arriere- is construction is modern. Garde plays against the idea Furthermore, Jorn Utzon’s of the avant-garde. The avant- interior space plays with light garde is a trend in acceptance in a manner conceptually of new and experimental consistent with tradition ideas. The avant-garde has Danish architecture (soft light, morphed into a cacophony of evenly dispersed) but Utzon aspiring architects wishing to does not resort to vernacular stand-out among the crowed architecture to achieve it.63 by advertising photoshoped images of their new “modern” designs. Often these designs seek to “re-invent” a typology or design rather than build off of or contribute towards our pre-existing culture.62 The Arriere-Garde stands to blend the spirit of the avant-garde with pre-existing architecture. As stated by Frampton it is, “one which distances itself equally from the Enlightenment myth of progress and from a reactionary, unrealistic impulse to return to the architectectonic
61. Peter Burger, “Theory of the Avant-Garde,” Theory and History of Literature 4 (1984): 182. 62. Kenneth Frampton, “Prospects for a Critical Regionalism,” Yale School of Architecture, Per- specta, 20 (1983): 147–62. 63. Frampton, “Towards a Critical Regionalism: Six Points for an Architecture of Resistance.”
47 Chapter Title
Fig. 38 - Bagesvaerd Church Exterior
Fig. 40 - Bagesvaerd Church Section
Fig. 39 -Arriere-Garde Diagram Fig. 41 - Bagesvaerd Church Plans 48 Critical Regionalism
Symbolism
The skyscraper, unlike other can be understood. Therefore, typologies, can be seen and symbolism in the form (or appreciated from far away. iconography) can be leveraged From such distances, details to communicate a message.64 such as materiality and spa- 65 tial arrangements cannot be The “huts” at the Jean-Marie perceived and only symbolism Cultural Center stand tall and can be understood. Inversely, proud of the tree line. There from the interior, the symbolism geometry alone, regardless of the form is hidden from view of materiality or construction, and does not distract from the are symbolic of the traditional building. huts of the Kanak leaders. The usage of symbolism Beyond the formal symbolism, is not typically a part of the project seeks to be regionalism (certainly not symbolism the new political critical regionalism’s) set of relationship the government of tools. Symbolism is often New Caledonia and the Native associated with the American people.66 post-modern movement that was so harshly criticized earlier in this essay. Although it is true, post-modern symbolism is shallow and superficial, symbolism can be used as an effective tool so long as it is not the sole focus of the design. In towers such as the Eiffel tower and Burj Khalifa, it’s formal appearance is greatly linked to the city’s pride of the building. It should not be dismissed that the skyscraper, unlike other typologies, can be seen and appreciated from far away. The experience of the skyscraper begins from far away, as a landmark for the center of the city. Only the bounding form of the building
64. Al-Kodmany and Ali, “Skyscrapers and Placemaking.” 65. Antony Wood, “Sustainability: A New High-Rise Vernacular?,” The Structural Design of Tall and Special Buildings 16 (December 2007): 401–10, https://doi.org/10.1002/tal.425. 66. Renzo Piano, Nouméa: Jean-Marie Tjibaou Cultural Center, Bilingual edition (Genoa, Italy: Bookport, 2014).
49 Critical Regionalism
Fig. 42 -Petronas Towers Exterior
Fig. 43 -Symbolism Diagram Fig. 44 - Petronas Tower Plan 50 Critical Regionalism
Culture vs. Nature
A buildings relationship with pass its membrane. At such nature is the least abstract great heights, wind can be method by which regionalism too strong and cold to enter can be applied in architecture. the building. Sunlight will be Allowing things such as natural blocked by the infinite number sunlight, air, local fauna, and of floors above it. Although original typography into the these problems are difficult to site creates a strong dialogue overcome, many people have between the building and its found creative solutions. place. In the early 70’s the world This idea was first introduced became more aware of their by Vitruvius in the first century impact on the environment and when he described the proper our architecture adjusted for method for siting a building. it. Ken Yeang was a pioneer in Beyond siting the idea was the field of passively responsive largely over looked until the buildings and is credited at modern movement.67 the “inventor of the bioclimatic Both the “hard” modernists skyscraper”. Projects such and the “softs” modernists as the Mesiniaga Tower show had an idea regarding the how architecture, even high- building’s relationship and the rise structures, can be more site. Hard Modernists looked responsive to their region and at technical ways architecture site.69 could interact with nature. Most famously are the brise-soleils, that innovated on shading methods for the building. Soft modernists sought ways to blend the building into nature through materiality. Architects such as Frank Lloyd Wright used local materials and interesting siting methods to achieve a compositional balance between nature and site.68 Skyscrapers must be more innovative in how it allows natural sunlight and wind to
67. Marcus Vitruvius Pollio, The Ten Books on Architecture. 68. Vincent Canizaro, “Architectural Regionalism; Collected Writings on Place, Identity, Modernity, and Tradition.” 69. Ken Yeang, Eco Skyscrapers: Volume 2, 1st ed., vol. 2 (The Images Publishing Group Pty Ltd, 2011).
51 Critical Regionalism
Fig. 45 -Kunthaus Bregenz Exterior
Fig. 46 -Culture vs Nature Diagram Fig. 47 - Kunthaus Bregenz Section 52
05 Case-Studies
5.1- Therme Vals
5.2- Museum of Wood
5.3- Tjibaou Cultural Center Case Studies
Therme Vals, Peter Zumthor
When Zumthor was asked leading you to a hidden side about how he arrived at his door. the space then leaves final proposal for the Therme the users in purgatory with Vals he responded that it smooth concrete finished walls has, “somehow always... and a warm even lighting in been there”. The building was order to disengage people completed in the Swiss town with their “previous concerns”. of Vals at the end of the year After receiving your robes 1996. and sandals in well lit white “The beginning was easy. room, a narrow dim corridor Going back in time, bathing leads the inhabitant into the as one might have a thousand spa. The walls of the corridor years ago, creating a building, of finished in long and short a structure set into the slope horizontal strips in dark gray with an architectural attitude and steel blue, reminiscent and aura older than anything of cave or quarry. He builds already built around it, anxiety and suspense with inventing a building that could deep shadows and weathered somehow always have been walls. This is intentionally there, a built that relates to the done so that the sensation of topography and geology of cleanliness and relief from the the location, that responds to spas later on is exaggerated. the stone masses of the Vals Zumthor continues to use valley, presses, faulted, folded light and materiality in order and sometimes broken into to choreography an emotional thousands of plates - these experience throughout the were the objectives of our spa. 71 design.”70 The Therme Vals balances Zumthor achieves many of nature and man, the past the design goals stated above and modern, and it does through creating a tactile it through manipulation of experience. Beyond the use materiality and light into a of materiality, his design crafts singular environment that a sequence of spaces that upholds a respect for site and are meant to evoke emotional educates its visitors to their responses. The entry causes surroundings.72 curiosity and tension by first concealing the building below a low green roof and then
70. Sigrid Hauser and Hélène Binet, Peter Zumthor Therme Vals, ed. Peter Zumthor (Zürich: Scheidegger and Spiess, 2007). 71. Hauser and Binet. 72. “Therme Vals Spa Has Been Destroyed Says Peter Zumthor,” accessed February 6, 2019, https://www.dezeen.com/2017/05/11/peter-zumthor-vals-therme-spa-switzerland-destroyed- news/.
55 Case Studies
Fig. 48 -Therme Vals Exterior
Fig. 49 -Therme Vals Interior 56 Case Studies
Water Temple, Tadao Ando
In this project Tadao Ando In addition to his use of forefront similar principles as a tactile experience, Ando Zumthor, such as a tactile embed symbolism along the experience, building and way. The bamboo garden, nature, and authenticity, lotus pond, and vermilion but does a better job at interior are all significant in exemplifying defamiliarization the Buddhist religion. The and symbolism. The essence craftsmanship in the temple of Ando’s design philosophy is beneath the pond is both outlined below: symbolic and practical. Ando “The body articulates the uses vernacular Japanese world. At the same time, the joinery as an homage to the body is articulated by the history of Japanese Buddhist world: When “I” perceive the temples, and as a counterpoint concrete to be something cold to the rough concrete exterior.74 and hard, “I” recognize the Ando radically different and body as something warm and unique design for the Water soft. In this sense that builds Temple is a good example or understands architecture. of using defamiliarization in a The Shintai is a sentient being positive way. By breaking the that responds to the world” standard template for temple This quote from Tadao Ando design, he was able to achieve illustrates his attitude towards a much more enriching architecture as a sensual art architectural experience. A form. He believes, and his second benefit it has is in work shows, that foregrounding regard to place-making. The a tectonic experience will individuality of the design gives produce a higher degree of the site enhanced meaning architecture.”73 and identity compared to Ando, much like Zumthor, temples across Japan and the crafts a tactile experience world. throughout the progression of Ando makes a clear space, constantly informing statement in his work. No you how you should feel Typology should not be throughout the way. This assumed for every site, rather direct communication with designers should look at every the architecture educates you project uniquely and always about your experience and the strive to find new ways at community that created it. improving the typology.
73. Kenneth Frampton, “Thoughts on Tadao Ando,” The Hyatt Foundation, 1995. 74. Philip Jodidio and Tadao Ando, Ando: Complete Works 1975-Today XXL, Multilingual edition (Köln: TASCHEN, 2018).
57 Case Studies
Fig. 50 - Water Temple Entry
Fig. 51 -Water Temple Interior 58 Case Studies
Tjibaou Cultural Center, Renzo Piano
Renzo Piano’s Tjibaou construction methods while Cultural Center is located in the blending modern detailing. capital city of the Pacific island The materiality of the design cluster of New Caledonia, maintains dialogue with its Noumea in 1991. Renzo Piano surrounding context. The won and invite only competition slender wooden slats and to design the new cultural raw tree-trunk rafters balance center for the New Caledonian a relationship between the government. The project was natural and man-made. The sought to symbolize the end of aesthetics and textures of a long and aggressive conflict Piano implements compliment between the native Kanak the surrounding trees and people and European rulers.75 landscape. In addition to visual The design methodology connection, the shells function consciously aimed to effectively at a technical level. defamiliarize the Kanak The vertical elements act as vernacular architecture. passive cooling chimneys. The formal centerpiece of As the air is heated, it rises the design began with a between the double layer skin traditional Kanak chief home, of the shells and exhausted which was then altered and out of the top. This is a similar manipulated into a series of passive strategy found in many curved monumental wooden vernacular buildings in this shells. The resulting forms of climate zone.77 the shells retain enough of Piano’s design is an excellent their prototypical predecessor example of the Framptonian to remain recognizable as concept of the Arriere-Garde. a native design but altered The design seeks to blend, enough to signify a conscious or at least intersect, modern transition to the modern era. technology with vernacular The shells are arranged along construction. Tectonically, the shorelines to communicate the design forefronts and re- the new architecture of New imagines local construction Caledonia to the world.76 ethics. It is undeniable that the Piano’s design has an focus of the design showcases extremely strong connection an aspirational evolution of to the geographic site. native architecture into a The construction ethic contemporary piece complete emphasizes traditional with modern technology.
75. Piano, Nouméa. 76. Piano. 77. Piano.
59 Case Studies
Fig. 52 - Tjibaou Cultural Center Exterior
Fig. 53 - Tjibaou Cultural Center Interior 60
06 Interpreting the Site
6.1- A Brief history of Cincinnati
6.2- Virgin Site
6.3- Native American Earthworks
6.4- Colonial Cincinnati
6.5- Trollopean Bazaar
6.6- Athenaeum
6.7- Amphitheater
6.8- Industrial Revolution
6.9-Soft Modernism Interpreting the Site
A Brief History of Cincinnati
Cincinnati is a distinctive city space was dedicated to located in off the shore of the churches. The architecture Ohio River in Midwest America. of the churches varies from Its architecture is rich and Greek Revival, Gothic Revival, varied. and Eclectic styles. Trollope’s Before the city was founded, Bazaar introduced a unique the land belonged to the architecture to the city. Soon Native Americans, who had there were ballrooms, a music their own architectural history hall, and many breweries. that can still be seen today. Within the growth in people Most famously were the Native came many skilled craftsmen American Earthworks that from woodworker for homes to were constructed for unknown machinists for steamboats.80 religious purposes. The Native By 1850 Cincinnati developed Americans were pushed out of a intellectual programs. the land by the early colonial Schools such as St. Xavier’s, settlers.78 Woodward College, and Before 1800 the city Cincinnati College were was center around Fort founded and erected grand Washington. The surrounding buildings to house their homes and building were students. Cincinnati was the modest and built in the early 3rd largest manufacturing city colonial style. Many homes by this time. There downtown were simple log cabins started to become polluted and surrounded by wilderness. The grimy from the pig pens and people worked the land and textile factories. Cincinnati was made their own goods. There known for their pork, soap, and homes were built from the steamboats.81 rafts they floated in on. The city In the late 19th century had around 500 people and Cincinnati developed in the life centered around 3rd street sixth largest city in the United downtown.79 States. Cincinnati grew infamy By 1825 the city was for their pork production and growing fast. It was already manufacturing sector. The up to 20,000 people. The well established economy of city was highly conservative the city made their residents but began to develop an wealthy. The city invested interest in the arts and social heavily in public works at spaces. Most of their public the time. They had some of
78. Sue Ann Painter, Architecture in Cincinnati (Ohio University Press, 2006). 79. The Writer’s Program of the Work Projects Administration, A Guide to the Queen City and Its Neighbors (The Wiesen-Hart Press, 1943). 80. The Writer’s Program of the Work Projects Administration. 81. The Writer’s Program of the Work Projects Administration.
63 Interpreting the Site
Fig. 54 -Cincinnati circa. 1790
Fig. 55- Cincinnati circa. 1820
Fig. 56- Cincinnati circa. 1875
64 Interpreting the Site
the cleanest water and best was an extreme modernist public transportation in the who develop some of the country. Their private residents most progressive modernist began investing in the buildings in the world. artistic endeavors. Cincinnati Cincinnati also developed built Fountain Square, the many modernist high rises Art Museum, Music Hall, including the Kroger Center.84 85 Spring Grove cemetery and Following Cincinnati’s Observatory during this time.82 modernist revolution, the Growth slowed near 1900. cities development slowed Cincinnati had settled into significantly. Like many a well-established City. The Midwest cities, Cincinnati city began a progressive suffered from a declining movement and pioneered population and lack of the early American planning corporate investment. This movement. The city was able period of declines lasted a to invest in large projects few decades, where little new that today are the jewels significant architecture was of Cincinnati. The Ingal’s constructed. Buildings, Carew Tower, PNC The city has begun to make Tower, and Union Terminal a comeback. Most recently were all constructed in the the University of Cincinnati has early 20th century.83 produced remarkable building As with the rest of the world, designs by some of the world’s Cincinnati was subjected most famous architects, to the modern movement including Frank Gehry, Thom that defined the mid-20th Mayne, and Peter Eisenman.86 century. There were many From this initial study of the notably famous Cincinnatian history of Cincinnati, this thesis modernist architects and sought to interpret different architecture. Perhaps the most architectural spaces inspired famous was the work of the by the architectural history Dombar Brothers and Woodie of the Cincinnati and its local Garber. The Dombar brothers culture. The result was eight appealed to the conservative spaces each reflect different base of the city. They built characters of the city. beautiful regional homes that play well with the surrounding nature. Woodie Garber
82. Sue Ann Painter, Architecture in Cincinnati. 83. Campen, Richard, Ohio: An Architectural Portrait (Chagrin Falls: West Summit Press, 1973). 84. Patrick Sisson, “These Sibling Modernists Helped Shape Cincinnati,” Curbed, August 2, 2017, https://www.curbed.com/2017/8/2/16075370/abrom-ben-dombar-midcentury-archi- tect-cincinnati. 85. Elizabeth W. Garber, Implosion: A Memoir of an Architect’s Daughter (She Writes Press, 2018). 86. Sue Ann Painter, Architecture in Cincinnati.
65 Interpreting the Site
Fig. 57- Cincinnati circa. 1900
Fig. 58- Cincinnati circa. 1955
Fig. 59- Cincinnati circa. 2000
66 Interpreting the Site
The Virgin Site
The first collage was an The statue in the center is a interpretation of the original statue made by a local Cincin- site that Cincinnati stands on. It natian sculpture. The subject was imagined as a time before of the sculpture is a woman settles or humans of any kind. with a Corinthian leg, and wa- The space is private garden, ter falling from her hands. The with the statue at Ludlow woman symbolizes the es- standing in the center and sence of the forest. She is in surrounded by local fauna and complete balance with nature, trees. both giving back to it with her The program of the space is water, and receiving its benefits nothing more than a leisurely of enclosure and peacefulness. garden. It is envisioned as a The space allows the user to space to be with nature. The reflect on what nature used to quiet chattering of the brook be in Cincinnati, and how our creates a serene backdrop architects effects the site. for a person to appreciate the nature surrounding them.
Native American Earthworks
The Native Americans sites while others are not. We inhabited the land long also know that used to be before European settlers covered in calcium deposits.87 came. Although we do not The proposal here cuts know everything about their through the center of a culture we know a lot about large berm, forcing the user their architecture. This scene to confront the massive is inspired by the Native architecture Native Americans American Earthworks. created. The floor is lines is The indigenous people calcium as a homage to the bermed up large plots of original works. Each wall is land. The mounds sometimes space for signage educating formed shapes such as snakes users of the history and culture and while other times formed of the native people that use to large mounds that align with live on this land. celestial bodies. From x-ray technology we know that some of these mounds are burial
87. Sue Ann Painter.
67 Interpreting the Site
Fig. 60 -Virgin Site
Fig. 61 -Native American Earthworks
68 Interpreting the Site
Colonial Cincinnati
Colonial Cincinnati was a is rational and orthogonal. The solemn and modest society. light bleeds through the cracks The first settlers built practical in the wall as a reminder of the spaces with what they had, harsh climate that the space is and seldom used more than built within. they needed. Even their The focus of the room is a churches, the most important Christian cross, as a symbol for spaces to the settlers, were the conservative atmosphere humble and minimal at best. that early Cincinnati was born The space depicted in the into. The cross also depicted image to the right was inspired the few focuses within the early by some of the earliest and settler’s life. Their days were well-known construction of filled with work, farming, and the time. The space is made god, with little room left over for entirely out of oak wood, the hobbies. most common type of wood within the region. The geometry of the space
Trollopean Bazaar
In the early 20th century amateur attempt of high the city was growing quickly culture. The final product was and rising to be an important eclectic and eccentric but it American city but it still lacked achieved the goals of Frances the public amenities that the Trollope, who wanted to “bring countries largest cities had. uniqueness and culture to a Furthermore, the city was still dull, dirty, pig-ridden place”88 very dirty, at least in the eyes of The space proposed aimed Francis Trollope. to blend the conservative Frances Trollope was a climate of Cincinnati with the wealthy British woman who unique forms of Cincinnati’s was living in Cincinnati at the earliest cultural centers. The time. She wanted to bring space is an open-aired Bazaar culture to the young and constructed with typical barn conservative city of Cincinnati. framing and cladding in She designed and financed the weather wood panels. This construction for the Trollopean bazaar celebrate Cincinnati’s Bazaar. The design was an history instead trying to hide it.
88. Sue Ann Painter.
69 Interpreting the Site
Fig. 62 -Colonial Cincinnati
Fig. 63 -Trollopean Bazaar
70 Interpreting the Site
Athenaeum
By the mid-20th century they both chose a dome Cincinnati begin to in its as the focal point for the education system and the architecture. The is symbolic sciences. One famous of the celestial bodies and the Cincinnatian, Daniel Drake, wisdom that comes with it. The was symbolic of Cincinnati’s dome shown in the design is new obsession with the constructed in a similar fashion sciences. He was a famous as a modern-day highway statistician and helped create pavilion. The design attempts many famous institutions to speak with a common, such as the Ohio Medical non-architectural language, College and the first Cincinnati insinuating the accessibility of College.89 education to the people. Doric, The space shown to the right Corinthian, and Ionic Capitals draws much of its influence stand in the center to juxtapose from the first Cincinnati college, the historical architecture of and the Cincinnati observatory. higher education. There is no coincidence that
Amphitheater
The late 20th century was an and was one of the country’s artistic revival for Cincinnati. greatest gathering spaces of its The city saw some its best time.90 artisans and craftsman during The design offers a space this time period. Specifically, for the Cincinnatian’s with Cincinnati had a strong a passion for music. The community to wood carving Amphitheater has a hand- and carpentry. carved wood ceiling and uses This time period also a construction technique of saw an influx in its German steam bent wood that was population, which would live used in the original Saenger in Cincinnati’s Over-the-Rhino Hall. The plan of the space also neighborhood, blessing the mimics Saenger halls linear city with a strong German organization. The gardens on culture to this day. Their choral the side is a nod to the original festival, Saengerfest, was so greenhouse spaces located on passionately attended that the wings of Cincinnati’s music Saenger Hall was erected hall.
89. The Writer’s Program of the Work Projects Administration, A Guide to the Queen City and Its Neighbors. 90. Campen, Richard, Ohio: An Architectural Portrait.
71 Interpreting the Site
Fig. 64 -Anethaeum
Fig. 65 -Trollopean Bazaar
72 Interpreting the Site
Industrialization
City has been rich in limestone archways. Even the limestone since its founding. old post office was made of The limestone found in the bed large limestone blocks.92 of the Ohio and Licking river This space celebrates the was harvested whenever the history of the limestone in tide was low. The Clay found Cincinnati. The stone is cut in the river was made to make into small bricks, surprising the most of the city’s bricks.91 viewer. The rhythm of columns Stone and Brick construction is reminiscent of Cincinnati’s was popular in the city for manufacturing industry and many years in buildings of all are contrasts with archways typologies. In manufacturing, the are evocative of the many Ivory dale (the name of Proctor classical colonnades found and Gambles Headquarters) throughout the city. was a pristine white limestone with patina copper accents. In the Park stood the Ault Park Pavilion with grand stairs and
Soft Modernism
The last of spaces take second floor then reveal views inspiration from many of of the city from all angles. Cincinnati’s famous mid- The structure of the design 20th century modern works. is the main spatial driver in the Woodie Garber creating many project. The funnel shaped inspirational and creative works column encloses the space of architecture that innovated and frames the exterior views. on form while completely This idea for a scenic breaking from the past.93 overlook was taken from The program of the Cincinnati’s Terrace plaza design is a museum and hotel’s luxury suite, while the scenic overlook. The first interior half dome was inspired floor obstructs all views of by the Art Deco Union Terminal the exterior, allowing for in Cincinnati. introspection of the works on display. The user is taken by surprise by the exterior stair in the center of the building. The
91. The Writer’s Program of the Work Projects Administration, A Guide to the Queen City and Its Neighbors. 92. Sue Ann Painter, Architecture in Cincinnati. 93. Elizabeth W. Garber, Implosion: A Memoir of an Architect’s Daughter.
73 Interpreting the Site
Fig. 66 -Industrialization
Fig. 67 -Soft Modernism
74
07 The Design
7.1- Site Overview
7.2- Program Analysis
7.3- Massing Strategies
7.4- Elevations
7.5- Typical Unit Plans
7.6- Expressive Spaces The Design
Site Overview
Cincinnati is a complex and Cincinnati, Over-the-Rhine, is diverse city. It is located in largely commercial stores and the mid-west United States housing. As the city moves along the Ohio River on the closer to the Ohio River, the border of Ohio and Kentucky. business district begins. The city has a population of Within the business district around 300,000 people down the city is largely composed from its peak of 500,000 in of office spaces and retail 1950. The complicated fabric locations. The number of of the city can be understood housing units decrease as by organizing buildings by the number of office spaces their importance, type, and increase. Throughout all of relationship to roads, bus downtown Cincinnati the routes, and topography. The distribution of entertainment city’s architecture responds the and public spaces are evenly demands it people. dispersed with the exception of Its urban core is filled with a Cincinnati’s riverfront district. variety of building typologies. The building’s site is located The image to the left marks in the southeast corner of many of Cincinnati’s seminal Cincinnati’s business district, works of architecture. The between Race and Elm Street. color delineates the usage of The building sits on the block each building. This diagram diagonal from Carew Tower, breaks down the city into five one of Cincinnati’s most respective functions; housing, iconic skyscraper built in the offices, stores, entertainment, early 20th century. Across and municipalities. These five the site from the site is a row groups house the majority of of historical significant retail activities within the city. buildings known as the “4th This diagram also indicates Street Row”. the location of many bus The site is 160’ wide and routes, neighborhood 420’ long. Previously on the boundaries, and the site stood a four story parking topography change found garage. The site is zoned for within the city. Through this mixed-use by the city. The diagram, the many nuanced next section will discuss the relationships within the city can program of the design and its be easily understood. rational. The northern district of
77 The Design
Fig. 68 -Site Mapping 78 The Design
Program Analysis
The program for the building building accommodates four was derived from the previous different office types. The first section’s analysis of the city are corporations, making up and the various activities fifty percent of the total office housed within it, which will space. The second type are be referred to as its “usage.” workshares. These spaces Four major program types can accommodate various were identified as crucial start ups. The third office our to be included into the final for medium sized firms (15- design. Those programs 30 people), the Flat. Lastly, on were; public spaces, retail the group level, the design has spaces, residential spaces, “storefronts” for firms of one and commercial spaces. From to five people. All office space the four major programs a (except the storefronts) are subsequent study was done located in the “mass” of the to identify important typologies building above the ground level within each program. public space. The residential spaces are The retail program is divided located on the upper floors up between department of the building, above the stores, storefronts, retail and office spaces. marketshares, and temporary/ Within housing, four spacial pop-up retail spaces. The retail functions were identified; space is located on the ground studio/micro apartments, lofts/ floor next to the public space to maisonette, dormitories, and encourage foot traffic sales. townhouses. Each typology Public spaces are located caters to a different Cincinnati on the ground level, and demographic. For example, dispersed through the upper micro housing appeals to levels. The ground level hold students, young professionals, gathering and entertainment and retired singles. Micro spaces. The parks/leisure housing does not, however, spaces are scattered cater to large families or new throughout the atrium of families. A similar logic was the building, as a retreat for applied to each typology family the offices and residential in order to best determine the occupants. variety of functions its sub- typologies needed to fulfill. For commercial spaces, the
79 The Design
LOT SIZE: 62,300 SQFT
People of Cincinnati
Retired Single Student Young Established New Family Large Family Empty Nesters Elderly Couple Professional Professional
Housing Studio/Micro Apartment Semi-Detached House Loft/Masonette Terraced House PARKS/LEISURE GATHERING PERFORMANCE
PUBLIC ENTERTAINMENT DEPARTMENT STORE STOREFRONT MARKETPLACE
RETAIL TEMPORARY
Offices Home Office Corporate Floors Workshare Storefront STUDIO/MICRO LOFT/MAISONETTE DORMITORY
Retail
RESIDENTIAL TOWNHOUSE Temporary Marketplace Storefront Department CORPORATE Public Park/Leisure Performance Plaza/Gathering Sporting WORKSHARE FLAT STOREFRONT HOME OFFICE COMMERCIAL SERVICES VERTICAL CORE
MISC HALLWAYS/WALLS
Fig. 69 -Program Diagramming 80 The Design
Massing Strategies
The massing strategy for the issue, the center third of the skyscraper was derived from retail space was removed and first extruding the site vertically replaced with a large open until the correct square space that could function as a footage was met according city square that was shelved the program outlined in the between two retail hubs. previous section. The building From this massing scheme was then organized by placing and program, the design retail space on the ground was able to move forward to floor, office spaces above the spacial planning and design retail spaces, and residential development. The next stage spaces on top them both. of the design also included Public Spaces were assumed material/construction studies to be scattered through out the with a goal of strong regional building. expression as a priority. Following the extrusions of the site was a series of interventions based on the needs of the program. First, an atrium was placed in the center of the office and residential spaces. This atrium allows in light and interior views to the long-term tenants of the space. Additionally, the atrium was seen as an opportunity to integrate micro public spaces throughout the building. The floor of the atrium also provided the opportunity to place one large public on, above the retail space. At that stage, the massing scheme did not accommodate for the public spaces outlined in the program, specifically the public spaces dedicated to group gathering and performance. To solve this
81 The Design
Fig. 70 -Massing Diagram 82 The Design
Space Planning
The space planning began floor to floor. Some entire first with core design and floors are occupied from vertical/horizontal circulation one tenant, thus need no planning. This study used hallways but require higher the research gathered from security measures at the exit the skyscraper construction of the core. Some floors are research to maximize the sub divided between many efficiency of the cores and tenants, and require a shared circulation routes. access path from the core to The vertical circulation was their floor space. The solution divided into four cores, two was to connect a hallway for each atrium. Each core between the two cores on hold four elevators, one fire each half of the atrium. This stair, and service room, and allowed for to have both one a plenum for HVAC and data single entrance or multiple lines. The cores are spaced entrances wherever needed. at a distance that is compliant In addition, since the hallway with code. was shared by everyone in The elevators incorporate the building, it was treated a “sky zoning” design. One as a public space and given acting as a service elevator preferential design treatment. which runs to each floor level, The hallway overlook the the other three as typical atrium for pleasant views, and transportation elevators that was expanded on to allow for service either the office spaces leisurely benches and gardens or residential spaces. Two to be incorporated. of the non-service elevators, Lastly, the two atrium were run directly to either the office joined once every three stories. spaces or residential spaces. This increased the ease of From the first floor of the office horizontal circulation, and and residential spaces, the provided the opportunity to occupant switches to a “local” place additional public spaces. elevator, which brings him/her to her final destination. This achieves higher security for the building and higher overall elevator efficiency. The needs of the horizontal circulation paths change from
83 The Design
Fig. 72 -Typical Floor Plan
84 The Design
Elevations
The elevations of the wood working. skyscraper were seen as a The second idea the critical design focus to achieve facade communicates is a high degree of architectural the massing logic of the expression. The height of the building. Specifically, the design allows the building to facade highlights the public be seen from many locations spaces and atrium spaces surrounding the site. The located inside the buildings. building’s facade was studied This communicated the idea from three crucial vantage Cincinnati prioritizes social points to help understand interaction. the quality of the building’s While viewing the building architectural expression while from afar it is impossible to at a large distance away. understand nuances of the The first location is across spaces within, and culture the Ohio River on the I-71N. the spaces encourage. The It is a high traffic highway facade’s goal is to merely hint approaching the city from at or summarize the character northern Kentucky. The second of the spaces within. As a location is from the top of person approaches and enters Mt. Adams. Mt. Adams is a the building, they can begin to popular district northeast of understand the complexity of downtown Cincinnati atop a tall the spaces and nuances that hill. The last location is from the make them truly Cincinnitian. I-75S. It is a popular highway that approaches the city from the northwest. The expression of the facade is twofold. First, the worn wooden slats sought to communicate the rich relationship Cincinnati historically has had with woods such as Walnut, Ash, and Oak. The facade appears to be woven together and crafted meticulously, emphasizing Cincinnati’s conservative and craftsman-like relationship to
85 The Design
Fig. 71 -Elevations
86 The Design
Interior Spaces
The interior spaces accommodate many different spaces. Although the spaces are all unique, they should all support the over-arching narrative set by the facade. As a constraint of time, this thesis prioritized the detailing of the four most expressive spaces. Those spaces are; the main entrance/gathering space, the marketplace adjacent to the gathering space, the sky gardens within the atrium, and the typical residential one bedroom apartment. Together, these four spaces make up only thirty percent of the spaces within the building but, the best express the building’s regional character.
87 The Design
Fig. 73 -Expressive Spaces 88 Bibliography
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