Virginia Commonwealth University VCU Scholars Compass

Theses and Dissertations Graduate School

2009

Nourish

Sara Streeter Virginia Commonwealth University

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Sara Streeter B.A. University of Delaware 2005 NOURISH A thesis submitted } in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University. abstract

This thesis explores the design of a food service space in an historic building in Richmond, Virginia near the campus of Virginia Commonwealth

University. It is a result of retrofi tting an awkward 1850s building by transforming it through the modern concept of a fast casual style restaurant, based in whole ingredients. The thesis is about the process of designing to rebalance the relationship between food and consumer in a modern era.

No part of this book or creative work may be reproduced, copied or utilized by any means including electronic, mechanical,

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Sara J. Streeter © 2009 All Rights Reserved

Camden

Christiana

all ID faculty and staff

my incredible mom + dad

Mike

Chris THANKI could not haveYOU done this without your incredible support. Jennifer

Jonathan

Cilvia

Darrell

Valentina

Kelly

For GP

6 contradictions

“I am for messy vitality over obvious unity.” Robert Venturi

Architects Frank Gehry and Vladimir Milunic designed the Dancing House

(previously known as “Fred and Ginger”) in 1995 in a central Prague location,

close to the Vltava River. After a stray American bomb demolished an apartment

I believe in things that can’t be neatly categorized. I believe in the way they make in 1945, the site remained vacant until construction of the Dancing House began. us reconsider what we thought we knew as truths. Contradictions serve as powerful Controversy over the project stems from the building’s imposition on the historic examples disharmonious relationships. When the coexistence of two things is context. The contradictions lie in this controversy – how can the coolly modern irrational, a contradiction occurs. I believe in embracing the contradictions I fi nd Dancing House connect to the richness of the history and site? The discussion the in the world and in my work. I believe contradictory relationships inspire us to be design initiates is more important than the building itself. The disharmony of the dynamic, to be critical thinkers, to engage in something new. site with the history and context allows people to decide for themselves if and what

it signifi es.

I believe in the way contradictions evoke multiple, even endless, meanings at once.

By avoiding categorization, we escape a preconceived notion of how we should I believe design needs to constantly change for it to be alive and to do this, design react, feel, or think. I believe contradictions create beautiful ambiguities and a should not only be open to contradictions but should seek them out. Only then are richness without which the world would be a much duller place. Contradictions we able to de-categorize the world and see from a fresh perspective. The interesting give us the freedom to think differently. parts of life are the ones we don’t completely understand. personal photographs, 2008 NOURISH is a food service building dedicated to the social and diet needs

of the VCU student population. The students, due to cost constraints and “how we eat determines, convenience, largely consume a diet of overprocessed, unhealthy items.The unfortunate fact stands that many students are at a complete disconnect from

to a considerable extent, the food they consume, which many believe comes at a great cost.

how the world is The process of rebalancing the social and biological relationship of food with its consumer can start with design: How design help rebalance the essential wendell berry used” relationship between humans and their food? The opportunity to introduce unique ideas about eating to a population of college students was both exciting

and challenging. In order to cater to this demographic, I found convenience

and effi ciency needed to be carefully considered.

Michael Pollan, journalist and author of several books on the larger role

of food in society, adeptly describes meals as being “about pleasure, about

community, about family and spirituality, about our relationship with the

natural world, and about expressing our identity”1. By using design to give

these important elements a chance to thrive, individuals and communities are

on their way to being socially and biologically healthier.

1 Michael Pollan, In Defense of Food, p. 8 abstract 1 introduction acknowledgements 4

design manifesto 6

project introduction 7

research site introduction 9

site case studies california academy of sciences 15 nyu dept of philosophy 18

columbus circle 21

program case studies the linkery 24

chipotle 27

shafer court dining center 29

process + presentation studies renzo piano 31 embody chair (herman miller) 32 grangegorman project (mry) 35

project concept 37

program 39

design 45

sources 57 map based on VCU image VCU on based map

VCU

Franklin St Gym / World School of Studies

VCU Laurel St. Laurel Grace St.

VCU VCU Ritter Hickok

Franklin St.

VCU

Founders Hall Records & Reg VCU Schafer Court Dining Center

VCU major pedestrian walkway Ritter-Hickok

1 30 Rt. 1 /

I-195

4

6 - St. Belvidere I

5 9 I-

Broad St.

Grace St.

Franklin St.

Main St, Main Cary St. Cary

Park Ave.

Grove Ave.

Floyd Ave. site introduction Ritter-Hickok intro 10

821 West Franklin Street, Richmond, VA History in Brief Currently owned by VCU Scope of work covered: 9600 square feet, 3 levels

1855 Built in the Italianate Villa style, architect unknown. Owned by W. C. Ritter.

1868-1902 Various resident owners

1903 Enlarged and remodeled by Belle H. Hickok into a more Georgian Revival style The Ritter-Hickok building is in the Fan district, an area of Richmond. In the middle of the Monroe Campus, the building has played a role in Virginia Commonwealth since the very 1940 beginning. It is currently nestled between residences and administrative school buildings, Acquired and restored by the Richmond new and old buildings, as the Offi ce of Undergraduate Admissions. The site receives many Professional Institute of the College of pedestrians traveling around it which gives it a great uniqueness. William and Mary (RPI)

1942 Serves as RPI dormitory for women

1962 RPI separates from William and Mary to become an independent state institution

Present VCU’s Offi ce of Undergraduate Admissions images courtesy of Richmond’s Fan Distric, Drew St. J. Carneal of Richmond’s Fan images courtesy and maps.google.com intro Ritter-Hickok

top: various angles of the north side of the building, facing Franklin Street bottom: various angles of the east side of the house, next to Franklin Street Gym Ritter-Hickok intro 12

top: interior images bottom: building analysis diagrams

A hierarchy ABCDy/2 y

small to large spaces E B light

C geometry z D parti z

xxx/2 E unit to whole intro Ritter-Hickok

Sketches front, facing north towards Franklin Street a b A section of the concrete steps and the C plan view of the sidewalk and steps in boundary between the property of the front of the building house and the sidewalk D section of the steps, exploring the B another plan view of the front of the boundary between the property the house sits house, including the various pedestrian on and the public sidewalk walkways leading up to the front door, emphasis placed on the location of the E section of the sloped hill (east/west) on large trees (which seem to act almost like which the house is situated, from the side- buildings themselves) walk leading to the Franklin Street Gym up the brick steps to the house, back down the slope towards Founder’s Hall

c d

e Ritter-Hickok intro 14 a b Sketches front, east side, back towards Shafer Court

A plan view of the path from the east side of the house toward Shafer, intersecting the alley and diagonal pathway

B diagram of the front exterior elevation, breaking the components into a grid

C plan view of the in between space in between the Franklin Street Gym and the Ritter

D section of built in bench on the east side of the house

E rough plan view of the porch, including references to front doors and windows c d e site case studies

California Academy of Sciences San Francisco, California 2000-Completed 2008 Renzo Piano Building Workshop 410,000 sf

New Program Embracing a totally new program for a previously obsolete space: “How do you take this Victorian-era model and concept and make it relevant?”2

Unifi ed the functions of 12 independent Academy structures (built at different times and eras, starting in the 1850s) into one building

Used the obsolete and dilapidated structures as a physical and psycho- logical jumping off point for a new program and a new space

Through discussion, came up with new defi nition of what a natural history museum should be in the 21st century • Accessible to the public • Relevant to a modern audience • Constantly evolving

Need to encompass three parts of the Academy • Research clockwise from top left: living roof, dome • Exhibition for public containing living rainforest, redesigned building, old academy • Collection

2 Quote by Patrick Kociolek, Article by Karen Steen in “Green Architecture’s Grand Experiment,” Metropolis, Sept. 2008 images courtesy of metropolismag.com and arspace.com California Academy of Sciences site 16

Uniting old and new

• Use building to metaphorically and physically unify old and new ideas

• By keeping a few elements of the exist- ing Academy, homage was made to the old academy

• The African Hall, built in the 1930s, was part of the preservation

• Piano kept the main part of the roof the same height as the previous building, 36 ft above ground (appropriate for park, tall enough for a view, and paid tribute to old academy)

“This attitude -- that even in a 155-year- • Piano’s new Academy was seen as old scientific institution nothing is sacred a contrast to Herzog & de Meuron’s -- may be what has allowed the Academy renovation of the De Young Museum to make its great leap so gracefully.” across the gardens, with its 144 ft tower and controversial modern facade -Karen Steen, Green Architecture’s Grand Experiment (Metropolis, September 2008) • Piano’s architecture, especially his integration of the green roof, was seen as an extension of the park instead of an imposition on it (unlike the situation with the de Young)

from top:african hall, de young museum, comparison of old and new structures on site site California Academy of Sciences

roof 01 Piazza Some of the innovative new exhibits at the 02 Restroom Academy: 03 Store 20 04 Cafe / Restaurant 07 Science in Action: 05 African Hall Scientifi c discoveries display area, updated 06 Islands of Evolution daily level 3 07 Science in Action Relates science to the present, shows 08 Planetarium constant change 09 Rainforests of the World 10 Climate Change in California 13 Research Lab: 11 The Swamp Floor to ceiling glass enables the public to 02 level 2 18 19 12 Early Explorers Cove watch an active science lab in action 13 Research Lab Exposes the heart of the Academy, 14 Building Green emphasizes transparency 15 Academy Gardens 16 Staff Entrance 14 Building Green: 02 17 17 Forum (auditorium, theater) Exhibit on the LEED-certifi ed building and 18 Classrooms its unique features level 1 16 19 Naturalist Center Explains how the building itself is a part of 12 20 The Living Roof modern science 11 14 03 13 20 The Living Roof 10 Public area for visitors to observe the 07 15 0108 9 15 building’s green roof 06 Using the building as part of the exhibit, goes hand in hand with Building Green exhibition 02 05 03 04

section elevation

*building images not to scale drawings do not include lower level (mostly water exhibits) images courtesty of calacademy.org and steven holl architects images courtesty of calacademy.org NYU Department of Philosophy site 18

NYU Dept. of Philosophy 5 Washington Place, NYC Steven Holl Architects 2004-Completed 2007 30,000 sf

• Interior renovation • Modifi ed 1890s landmark building into “University buildings need to focus academic building, suitable for students as incubators for interaction between and faculty students and faculty. It was a pleasure • Comprised of six levels working with a university that was willing to broaden its design approach by including our staircase that now functions as the backbone of the building.” - description on Steven Holl Architects website

Bringing the building together as a whole

Holl’s vision of the stairs as the backbone of the building was based on the concentration of light in the stairwell and its vertical gesture, as in the stairs became a new motion or parti

Not only did the stairs become a larger symbolic characteristic, but Holl was fully aware of its effects on individuals and how the singular person would experience the stairs

from left to right: building exterior, holl’s sketches, holl’s model site NYU Department of Philosophy

natural light Holl’s stair design

• Light from the windows which meets at the landings

• A new 4’ x 4’ skylight to bring in another layer of light to the space

• Prismatic fi lm on south-facing windows to cast multi-colored light onto the painted white walls and stairs

• Meandering fl ights of stairs to encourage casual encounters and to 6 allow people to see one another from 5 various angles

• Perforated handrails to further the concept of light play

• Light changes with the seasons and 4 times of day

• Irregular form of stairs breaks up the regularity/monotony of the grid set by aligned windows in the building 2

6 9

4TH FLOOR Stairwell section (typical floor plan)

N special thanks to steven holl architects NYU Department of Philosophy site 20

So...

• How can I design a “backbone” for my space? What would that mean for me?

• In what ways did Holl use the rigidity of the existing building to defi ne his design and in what ways did he do something different?

• What can be done in a traditional building to maximize its fl exibility for modern use? site Columbus Circle

Columbus Circle History

Traffi c circle 1869: “open circular place for turnabout Located in Manhattan for horse drawn vehicles” Intersection of: Broadway, Central Park West, Central Park South (59th Street), and Eighth 1892: Columbus monument dedicated Avenue by Italian community; sculpture de- signed by Sicilian Gaetano Russo Between Time-Warner Center and Central Park 1902: Columbus Circle subway station Time-Warner Center Central Park constructed Important Issues 1929: end of circular traffi c fl ow • History Regenerating something of historical 19??: pedestrians prohibited from enter- importance ing plaza

• Accessibility 1979: Columbus Circle described as Creating an approachable site “a chaotic jumble of streets that can be crossed in about 50 different ways - all 3 • Space Between of them wrong.” Paul Goldberger, Using and connecting space in between architecture critic to maximize potential of a space 1987: “Columbus Circle is like a black hole. Cars go in, cars go out, N but you never know what’s going on 3 inside.” Ethel Sheffer, chairwoman of a Columbus Circle task force

1998: circular traffi c restored

2005: Columbus Circle renovation

3 David Dunlap, “An Island of Sanctuary,” New York Times, August 4, 2005 right: early images of the Circle images couresty of maps.google.comnyc-architecture.com Columbus Circle site 22 traffic pattern around Columbus Circle pedestrian areas around Columbus Circle (including crosswalks) Accessibility

• Circle has a strong pedestrian presence due to the amount of sidewalks and crosswalks as well as the sheer number of people walking throughout the city

• Being that it is between the Time- Warner Center and Central Park, the Circle plays a very important role in pedestrian pathways from one to the other

• By opening up the monument area of the Circle again, pedestrians not only gained a more direct pathway from one landmark to the other, but another space for themselves

*most recent version of google map, without updated renovation N site Columbus Circle

pedestrian and vehicular traffic pedestrian space New Columbus Circle Space Between Completed 2005 Olin Partnership; • 3 ways for pedestrians to cross Circle Fountain by Wet Design • Returns historic monument to public • More than 200 ft in diameter access

• Reclaims the social space between • Reconfi gured to suit pedestrians buildings and cars • Enhanced approachability • Fountain with 99 jets muffl es sound of traffi c • When fountain is turned off, ledges become benches to increase fl exibility 4 • Idea of “island of sanctuary” in the of space even during different seasons middle of the city

• Acts as pausing point between Time- Warner Center and Central Park

• Devotes less space to traffi c, but fl ow is much more effi cient combining section and plan major pedestrian lingering spaces

4 David Dunlap, “An Island of Sanctuary,” New York Times, August 4, 2005 images courtesy of nyc-architecture.com and various individuals from flickr.com The Linkery program case studies 24

The Linkery Restaurant transparency pedestrian oriented San Diego, California Jay Porter, owner 4,600 sf

• Slogan “Hand Made Cuisine” • House made fresh sausages and house • Specializes in local ingredients and cured meats like bacon, hams, and local processing methods other charcuterie • Describes itself as a “neighborhood • Craft beers, including the Linkery’s restaurant” own brew • Midrange prices • World and regional wines

Features Program • Farm-specifi c all-natural meats, • Relationship with food and community highlighting sustainable farming of • How these relationships are explored in heritage breeds the restaurant design • Fresh produce, often organic, Relationship with Food blurred boundaries emphasizing independent farms in the and Community region 7 • Homemade breads Design Concepts • Linkery is founded on writings of • Linkery as “Third Place” : place Wendell Berry: people go to when they are are not 5 • “Radical transparency” at home or at work; informal social Eaters, that is, must understand that eating setting; anchors community and fosters • Blur the boundaries between restaurant takes place inescapably in the world, that it is interaction and sidewalk (neighborhood) inescapably an agricultural act, and how we eat determines, to a considerable extent, how • Owner Jay Porter’s interest in urban • Easily accessible, pedestrian oriented the world is used. This is a simple way of planning played an important role describing a relationship that is inexpressibly in starting the restaurant: “If I really complex. To eat responsibly is to understand wanted to make a difference in how the and enact, so far as we can, this complex fabric of the community came together, 6 relationship. the best thing to do would be to open a 8 business in the neighborhood.” • Linkery can begin to mend the broken link between people and their food,

between people and the world 5 Conversation with J. Porter, November 2008 6 The Pleasures of Eating 7 Jay Porter, thelinkery.com/blog, July 20, 2008 8 Conversation with J. Porter, November 2008 program The Linkery

01 Main entrance Design 02 Front counter 03 Seating • Kitchen grill is purposefully situated 04 Emergency exit directly in front of main entrance so it 05 Bar is the fi rst thing the customer sees 06 Work table 07 Beer storage and brewery • Kitchen is about 1200-1500 sf, less 08 Men’s restroom than 1/3 of the total sf 09 Women’s restroom 13 04 01 10 Employee lounge • Kitchen is visible through windows 12 03 11 Private party room 12 Offi ce • Work table (6) is only about 40” from 02 13 Delivery Entrance fl oor (establish clear sight lines through 16 14 Curing room customer seating areas) 03 15 Walk in 14 17 16 Dishwashing • Roof is 15 ft from fl oor with lowered 04 17 Hot food prep ceilings over most non-kitchen areas 11 19 06 05 18 Cold food prep 15 19 Pick-up station • Garage doors can be raised to create 18 pedestrian friendly environment as well as blur what is inside and outside

07 03 10 09 08

*not to scale visible kitchen clear sight lines inside/outside

N images courtesy of the linkery and various individuals from flickr.com images courtesy of the linkery The Linkery program 26

raw ingredients Evolution of food at the Linkery

• Restaurant moves the food from the back (raw) to the kitchen (processed) to the front (plated) consumption

waste • The waste then goes from the customers back to the kitchen to be disposed

processing • Jay Porter refers to this cycle as a foodfood pprepre 9 “fountain effect”

waste • Refl ects the larger process of food production kitchen consumption

Restaurant as pedestrian-oriented neighborhood10:

1. Neighborhood has discernible center

2. Most of the dwellings are close to 1 2 the center 3. Streets within the neighborhood form a “connected network,” which disperses traffi c by providing routes to various destinations 3 4. Neighborhood is organized to be self-governing N 9 Conversation with J. Porter, November 2008 10 Neil Takemoto, “The 13 Points of Pedestrian-Oriented Development” Cooltownstudios.com, May 2005 program Chipotle

Chipotle Restaurants Relationship with consumer Founded in 1993 Started in Denver, CO • Appeals to wide range of people, of Steve Ells, founder & CEO all ages and both blue collar and white Currently over 700 US locations collar populations Chipotle’s Manifesto • “Hip” industrial feel of each restaurant Food With Integrity (excerpt from company appeals to young people website):

• Minimal menu and quick service TThehe hhallmarksallmarks ooff FFoodood WWithith IIntegrityntegrity iincludenclude tthingshings llikeike uunprocessed,nprocessed, • Orders can be placed online, by phone, sseasonal,easonal, ffamily-farmed,amily-farmed, ssustainable,ustainable, and fax nnutritious,utritious, nnaturallyaturally rraised,aised, aaddeddded hhormoneormone ffree,ree, oorganic,rganic, aandnd aartisanal.rtisanal • Comprehensive and easily accessible And, since embracing this philosophy, website it’s had tremendous impact on how we run our restaurants and our business. • Publicizes eco and health efforts (hormone free meat, no transfat, LEED [...] certifi ed restaurant in Illinois)

It’s even infl uenced the way we view “Fast Casual” food service other aspects of our business, from the *wikipedia defi nition materials and systems we use to design and build our restaurants, to our staffi ng • limited service or self service and training programs.

• average check per person $8-15 How has Chipotle taken the concept of Food with Integrity and made it accessible to • made to order food customers?

• more complex fl avors than typical fast • Relationship with consumer food

• Fast Casual Service • expected service: 10 minutes • Restaurant Design • contrasts with traditional restaurant Chipotle program 28

Restaurant design Chipotle Richmond, Virginia • Open fl oor plan and straight 13 forwardness emphasize transparency 10 Public / Customer and honesty of both food and company 09 01 Entrance 02 Ordering and point of sale • No freezer or microwave in any 03 Condiment and beverage area Chipotle, keeps with the importance of 08 04 Trash receptacle Food with Integrity; additionally sets 11 05 Main indoor seating the restaurant apart from other “fast 06 Patio seating food” chains 07 Restroom 02 • Main points of customer traffi c are 12 Private / Staff condiment and beverage area and trash 07 08 Cold prep receptacle 09 Hot prep 1 10 Walk in fridge • Simple fl oor plan helps ease circulation 11 Dishwashing issues and customer hold ups (keeps 12 Offi ce customers satisfi ed, even during busiest 07 13 Service door times) 03 04

• Built-in structure to organize queue for ordering; also helps with circulation 06 05 • Order area appeals to customers through assembly line production; generates communication between the person preparing food and consumer *not to scale

Primary customer circulation from en- trance until condiment bar

Secondary customer circulation from condiment bar to seating

Third customer circulation from trash receptacle to restroom or exit

program Shafer Court Dining Center

Shafer Court Dining Center How were site and program successfully resolved? VCU dining facility, Monroe Campus Richmond, VA • Designed outdoor seating area and Hanbury Evan Wright Vlattas + Company use of large, full size windows to blur Completed 2004 boundaries of interior and exterior 57,000 sf • Kitchen is split into two fl oors instead of being contained on one Challenges

• Split kitchen also corresponds with Site takeout services on the fi rst level and • Needed access for extensive delivery, dine-in services on the second level loading and unloading, trash removal

• Used scale, intimacy, and other • Surrounding buildings vary in scale elements to create multiple dining and use environments

• Constrained site size for size of Dining environments program

• Variety of table and seating options, Program including lounge seating downstairs, • Appeal to students outdoor “patio” seating, main dining hall upstairs • Well-functioning kitchen and ease of service • Designed bar seating at the food service islands to promote transparency and a • Emphasize Shafer’s central role on connection between student and staff campus

• Used different table sizes, from tables Non-traditional aspects of program suited to seat two to tables for eight, • Flexible student meal plan: throughout Shafer to enhance fl exibilty Instead of requiring students to buy and a more “restaurant” environment fi xed number of meals per week, new plan depends of actual number of meals served

• Visible food prep

• Various food options to appeal to a more diverse palette Shafer Court Dining Center program 30

01 Entrance Design dishwashing area 02 Lobby 03 Cafe dining • Site maximizes the potential of the 04 Outdoor dining space by utilizing the food islands, 05 Retail emporium which allows students to enjoy 06 Take out service window seating staff only 07 Private dining 08 Offi ces • One-way circulation upstairs and 09 Bakery downstairs toward the exit helps 10 Kitchen/Storage create a circulation which is less seating 11 Cashier likely to become congested 12 Dining 13 Food service islands • In the upper level, multiple beverage food service islands 14 Dishwashing refreshment areas are designed to 15 Restrooms decrease a wait time and encourage 16 Service entrance students to spread out in the space one-way circulation to upper level • The dishwashing area is also where one-way circulation students drop off their dishes, and from dishwashing area it gets very busy with heavy traffi c to exit coming in from both sides

refreshment areas • Second fl oor is noisier and more hectic than the fi rst fl oor, gives the impression that the second fl oor is how students use more social than fi rst fl oor the building as a cut through (both • Outdoor seating area is underused directions) during cold months

• Appears it was anticipated that the building would be used as a short cut from one side to the other

N images courtesy of vcu.edu and Inform publication, 2006 of vcu.edu and Inform publication, images courtesy process casestudies 1994 Italy Rome, Auditorium Rome • • • • • • Essential DesignIdeas Renzo PianoBuilding Workshop Renzo Piano Appreciate of thechallenge” Stay awayfroma Respond tothe Process isa Designing isa Keep inmindthespace’s history dialogue circular process context style and , notananswer nature , instead,bede oftheproject emotional effect , notlinear fi ned bythe“acceptance context /circularprocess ontheenduser emotional effect emotional history / style history founded ongreatcommonknowledge.” to arefusalrecognizethatarchitecture is costs ispointlesspresumption:itamounts “In myviewthedesiretobeoriginal atall Renzo Piano • • • the project essential tothesuccess of musical environments are Recognized interiors in Acknowledges precedents: them partofthecomplex preserving thembutmaking under thesite,notjust discovery ofancientruins Worked intheunexpected 1991 Noumea, NewCaldonia Jean MarieTjibaouCulturalCenter 11 2008 San Francisco,California California AcademyofSciences context /history dialogue nature style • • • • emotional effect emotional and respectforthegeniusloci.” with theroots,gratitudeforpast, be attainedonlythroughconnection “True universalityinarchitecturecan Kanak people,theirhistoryandculture system ofaircirculationinthe“huts” Used thenatural preconceived style Brought onlyskillsneededtobuild,not clients toimprovethedesign Continually communicatedwiththe Brought projectintothecontexto circular process dialogue / context fl ow ofairtocreatea to thefunctionand useofthesetting.” spaces, secludedspaces. The choiceislinked dramatic spaces,serene spaces,participatory capacity toarouse theemotionsbycreating “We havetogiveourprofessionbackits • • • Designed appropriatespaces in in thedesignofgreenroof exterior, bothwork togetherespecially Considered boththeinteriorand answer thatquestion.” to hearfromthembeforehecould Academy ofSciences.Hewouldneed he woulddesignthenewCalifornia “Piano toldthemhedidn’t knowhow updated program conjunction withtheinnovative, 12 f the 13 14

11, 12, 14 Renzo Piano, Renzo Piano Logbook 13 Karen Steen in “Green Architecture’s Grand Experiment,” Metropolis, Sept. 2008 Renzo Piano process 32

My sketches (loosely) based on Piano’s sketches Piano’s sketches

Rome Auditorium

Sketch depicts the convergence of the auditoriums to form the communal outdoor amphitheater

• This represents the site in relation to the neighboring buildings and the substantial trees around it

Jean Marie Tjibaou Cultural Center • Sunlight is noted, to show the natural light is blocked from the East and West, Sketch represents the landscape in relation to the but not from the North heights of local trees and proposed structures

• Sketch is a loose analysis of the site’s plan, including pedestrian pathways to the Franklin Street entrance and the informal path on the East side of the California Academy of Sciences house

Sketch explores the fi ltration of natural light • Also in this sketch are representations from the skylights in the roof in elevations of the of the large trees, showing how they are front and back of the proposed building or are not involved in the design and location of the pathways images courtesy of italiantourism.com, panoramio.com, metropolismag.com, Renzo Piano Logbook Renzo metropolismag.com, of italiantourism.com, panoramio.com, images courtesy • • • • Bene • • • • Unique characteristicsofthechair Retail Price$1600 2002 -OntheMarket2008 Designed byJeff Weber, BillStumpf Herman Miller Embody Chair fi Thermal comfort(breathablematerials) Positive effects oncirculatorysystem movement Natural alignmentandhealth Improving oxygen (arms, tilt,height,back Adjustable to pressure exposed backwhichservestodissipate H Flexors,astructuralelementofthe and secondarymotions Two layersofspringssupportprimary motion Tapered backforgreaterbackwardarm ts include fi t peopleofvarioussizes fl ow whileseated fi t) process Embody Chair/HermanMiller • • Process Work • • • Process • • • Explore shapesanddetailsabouthow comfortable movement ofthechairtokeepsitter Show designersworkingoutthe able tomovefromthesittingposition The waythebackandbodyshouldbe prototype models tests, computergeneratedmodels, talking withexpertsinvarious Design teamspentnearlytwoyears in 2002 ergonomic andcomfortabledeskchair exploration ofanevenbetter, more in 1994,HermanMillerstartedthe After thesuccessof Aeron chair chair back sizes comparing andcontrastingdifferent Take advantage ofquick photosin structure, drawnin section materials andpieces withinthechair Use colortodescribe anddifferentiate units Worked throughsketches,performance and neurologists extremity conditionstooptometrists medicine, fromspecialistsinupper- fi t togethe fi elds of

images courtesy of herman miller Embody Chair / Herman Miller process 34

Weber’s Sketches

Weber uses the human body as a kind of mold for the chair, shaping it around the characteristics he knows are key to the success of an offi ce chair

• Various views (back, plan, perspective, elevation)

• Uses color to show where the pressure is situated

• Sketch emphasizing connection and pressure on pelvis through symbol notation

• Depicts the range of motion of the arm as allowed by the shape of the chair back

• Uses color to show differences in My sketch (loosely) based on Weber’s Relating back to my process... materials and the areas of the body • I used different colors to show what I they support How to design for movement and mobility? feel are the different areas in the fi rst fl oor plan • Draws the sitter in a position to What is the “other” research I can do outside comfortably use a desktop computer of the immediate obvious that will help me • I thought about what would be the fi nd the best solution? • In plan view, describes the effect of critical connections in the building, and I came up with the front door, the pressure from the seat back on the Compare and contrast precedents with my stairs, and the transition to the back of spine using colors and arrow notation ideas the building

Visually describe the situations (actual and • The green color depicts “pressure’ on possible) in multiple ways the site, the most people and the most traffi c - in the front door and on the side of the building presentation case study Grangegorman Project / MRY

Grangegorman / MRY Dublin Institute of Technology Moore Ruble Yudell Architects (MRY)

• Site is 73 acres of land in Dublin, formerly mental institution (1700s)

• MRY is transforming site into college campus, relating the project to the sur- rounding area

• Samples of presentations MRY showed to the client in 2008, keeping them informed of the progress images courtesy of dublin institute of technology website, dit.it Grangegorman Project/MRY presentation 36 concept

I explored balance and imbalance through sketches and models. Not only does the term “balanced imbalance” refer to a number of concepts in the project and in my thesis, but it is also closely tied in with my personal design manifesto about contradictions.

Balanced Imbalance

... is the acknowledment of imbalances while striving to rebalance them

• Combining slow food concepts with fast food service • Working with irregularities in the building and site • Relating the typical American consumer to the food system • Controlling the fl uxuation of sensory experiences • Questioning food as a central way class status is enacted • Balancing the various circulations in a food service • Considering the building as a plant concept 38

sketches bringing together concept, describing the connection between two equal things creating a new balanced form from something fl at program, and site

using circulations to create balance weaving together the relationships in the site and program design Programming

correlation between correlation between quality of food and type of restaurant “third place” environment and type of restaurant

high food quality “third place” starbucks › z chez panisse gutenberg cafe home › z craft the village home ¡ „ millie’s KEY: fast food ¡ sit down fast food sit down gutenberg cafe starbucks star-lite „ chipotle fi ve guys subway tropical smoothie linkery subway z fi ve guys star-lite tropical smoothie the village „ chez panisse ¡ shafer arby’s craft arby’s my project mcdonald’s › mcdonald’s low food quality just a restaurant

comparisons between program case studies bar seating alcohol available freezer open kitchen wait staff dine-in take-out social focus student oriented <$10 per meal internet access lounge seating “third place” easily accessible pedestrians for urban location location conv. breakfast lunch + dinner handemade food seasonal food self service Chipotle -  -  -   -  -- -  -  -- Linkery -  -  -----  - Shafer  -  -  -    -- YY Y YYY Y Y Y YY Y Y note: based on minimal research and personal experience metropolismag.com, npr.org flickr.com, images courtesy of delawareonline.com, lowcountry-restaurants.com, Programming I chose a program with elements of both slow food and fast casual restaurants. It was design 40 important to me to consider the demographics of the area (fast paced, low budget college students), while at the same time bringing in a few elements of the slow food movement.

HIGH

nourish

chez panisse linkery moss room

lettus QUALITY OF FOOD QUALITY chipotle

LOW starbucks shafer court dining center

ATMOSPHERE CASUAL FORMAL design Programming

Space Enclosed Size Proxemics Equipment/Furnishings Notes FRONT OF HOUSE apx. 5800 Cafe Dining N 550-600 Adjacent to bev/con stations and take out area. Seating options with variety of table sizes and number of chairs. Casual Convenient to entry, elevator, and restrooms. Main Dining N 2450- Adjacent to bev/con stations and serving area. Seating options with variety of table sizes and number of chairs. 2500 Convenient to elevator and restrooms. Take out N 450-500 Adjacent to cafe dining and entry. Close to bev/con Includes point of service, refrigerated display case, other food Plumbing wall, non-slip flooring. station. display, offee prep and queue area. Public restrooms Y 300-325 Convenient to cafe and main dining areas. ADA options. Toilet, urinal, sink, counter, mirrors. Acoustical privacy, high ventilation. Not noticeable. Beverage/Condiment Stations N 30-50 Adjacent to dining areas, convenient to take out and Drink machines, various receptacles (recycling, trash, dish), Similar to Chipotle. (min 3) serving areas. containers for condiments. Serving area /Display N 450-500 Adjacent to kitchen. Convenient to main dining Counter with glass barrier, sink, Partially open to kitchen. Open to public. High ventilation, durable areas and bev/con station. and water resistant surfaces. Entry N 350-375 Adjacent to take out and serving areas. Queue area (?) Non-slip floor surface.

BACK OF HOUSE Baking N 275-300 Adjacent to cooking, food prep, food storage. Ovens. Tables, cooling racks. Convenient to warewash. Cooking N 225-250 Adjacent to baking, food prep, storage. Convenient Ovens, multiple burner stove, sinks, tables. to warewash. Food Prep N 375-400 Adjacent to baking and cooking, food storage. Counters, sinks, Convenient to warewash. Dry Storage Y 275-300 Adjacent to food prep. Close proxmity to cooking Shelves for storage. and baking. Cold Storage Y 150-175 Adjacent to food prep. Close proxmity to cooking Walk-ins. and baking. Food Fabrication N 100-125 Adjacent to delivery entrance. Close to storage, Counters, sinks. Aisles N 450-500 Adjacent to all kitchen areas, --- Warewash N 125-150 Adjacent to storage. Convenient to cooking, food Sinks. Drying racks. prep, baking. Office Y 150-200 Close proximity to delivery entrance Desk, two chairs. Employee area N 200-250 Convenient to office and employee restroom Lockers, round table, at least four chairs. Delivery entrance N 100-150 Adjacent to exterior. Close to freight elevator and Accessible to trucks. storage on the second, Close proximity to office. Employee restroom Y 35-50 Adjacent to lounge. Convenient to office. Programming design 42

Space Enclosed Size Proxemics Equipment/Furnishings Notes MAINTENANCE Enclosed 600 total Electrical closet Y 36-50 Mechanical Y 100-150 Elevator Y 150 Convenient to serving and take out areas.

Trash Y 100 Located away from public spaces. Convenient for Standard walk- in modular (AC). Finishes appropriate for heavy use and disposal. cleaning. Recycling Y 50 Located away from public spaces. Convenient for disposal. design Programming

Adjacency Diagrams Programming design 44

Space Planning design Floor Plans

01 customer seating Level 01

02 point of service / bar seating

03 restroom 03 04 trash and recycling area

05 elevator 09 03 02 06 dumbwaiter in use 08 06 07 cold storage 13 04 08 employee restroom 01

09 employee break room

10 food fabrication

11 elevator room 04

12 mop room 07 10 11 13 office 01 01

05

Restrooms

Exits

ADA ramp 0 5 10 20 Elevator Code Overlay for Code Overlay

Occupancy Type A-2 Occupancy Type Stairs Floor Plans design 46

Level 02

01 dining area / tasting room

02 point of service 09

03 restroom 06 04 trash room 07 03 05 elevator 06 10 06 dumbwaiter in use

07 storage

04 08 dishwashing 08 02 09 prep kitchen

10 cooking

11 baking 11

05 01 design Floor Plans

Level 03

01 customer seating

02 bar seating / point of service

03 01 03 restrooms 06 04 trash room

05 elevator 02

06 dumbwaiter in use 03 04 07 storage 07 01

05

0 5 10 20 Section design 48

01 cafe dining area

02 kitchen

03 customer seating area

04 0033 other staff support area

0055 05 restrooms

0066 06 dumbwaiter

0022

0044 0011 design Food Circulation

In my design decisions, I considered several essential circulation paths: food, waste, customers, and employees. Here, I wanted to consume show the steps in Nourish’s food circulation, from whole food to 6 meals ready for consumption.

LEVEL 03

3 coldcoc / dry storagerage 4 prepprp

LEVEL 02 5 cookcoco

faffabricationa process LEVEL 01 2

1 foodfoo is delivered

6 cocconsumeo Sensory Experience design 50

high A major convergence of program, site, and concept occurs in the development of the customer’s sensory sound experiences throughout the building. Here, I attempt to sight show where I anticipated these experiences to take place, due to the food circulation and design of the interior. taste touch The color coded graph coordinates with the colors on the smell plans below it. low

level 1 level 2 level 3

LEVEL 01 LEVEL 02 LEVEL 03 design Franklin Street Entrance

A

Level 01

B A Coffee Bar / Downstairs Point of Service design 52

B design Kitchen

C

Level 02

C

D Semi-Private Dining design 54

D design Dining Area

E

Level 03

E images courtesy of american clay, design-niche.com, structuredgreen.com, plushpod.com, shop.feelmorehuman.com selections. The furnitureand environment inmindwhenmakingthese It wasimportanttomekeepthe fi along withabrighttakeontraditionalwall program. Ispeci building withthemodernconceptof bring togetherthehistoricnatureof I wantedtocreateanatmospherethatwould were inspiredbyspring are environmentallyconcious. The colors and the American Clay Ipickedforthewalls eco-inclined. Inparticular, theMythicPaint nishes. fi ed sleek,modernfurniture fi eld onRoute5. fi nishes are plushpod -orbitchair structured green-perchlounge scrapile table niche -shapestool safecoat paint-chartruese Furniture +Finishes american clay -lomapowderriver mythic paint-aquariumwater design mythic paint-brightwhite 56 “A New Dining Category”. http://industry.bnet.com/food/. May 2001. BNet.

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Irace, Fulvio, ed. Renzo Piano Building Workshop: Visible Cities. Milan, La Triennale di Milano, 2007. 58

Linkery Restaurant. Thelinkery.com. 2007. November 2008.

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Jay Porter, owner of The Linkery

Herman Miller

Steven Holl Architects