Architecture As Canvas

University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 3-24-2010 Architecture as Canvas Monika Blazenovic University of South Florida Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the American Studies Commons Scholar Commons Citation Blazenovic, Monika, "Architecture as Canvas" (2010). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/1575 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Architecture as Canvas by Monika Blazenovic A thesis submitted in partial fulfillment of the requirements for the degree of Master of Architecture School of Architecture and Community Design College of The Arts University of South Florida Major Professor: Michael Halflants, M.Arch. Vikas Mehta, Ph.D. Josue Robles Caraballo, M.Arch. Date of Approval: March 24, 2010 Keywords: Public Performance, Character Preservation, Skateboarding, Graffiti Artists, Space Production © Copyright 2010, Monika Blazenovic Dedication To a city that was full of life even when death seemed too close. Figure 1. [Lightning Embraces the City]. Source: CyberBulevar.com. Acknowledgements I thank the following people for making the completion of my last year at SA+CD possible: My thesis chair, Michael Halflants for being appreciative of my design decisions and knowing exactly when to make me feel the pressure I needed to feel in order to get this all done; Figure 2. [I was here]. Note: Copyright Woostercollective.com, 2009. committee member Vikas Mehta for being encouraging and having the ability to help me clarify and better understand ideas I had throughout thesis; committee member Josue Robles Caraballo for all the tremendous support he has provided, all the help in getting my thoughts organized, the many trips he has made to USF and all the many times he has had to pay $5 for parking; Thesis I professor Stephen Szutenbach, for all his help and feedback during a crucial time; Stojan Vujatovic, for helping me get a hold of old drawings I thought I may never be able to get; Ryan Clements for taking the time to show me around the Skatepark of Tampa and helping me understand the diverse culture of skateboarders; Eldar Spahic and Zulexxx for their help with skateboarding photography from the site; and my family for being supportive through this long journey. XII. How to Incorporate Program 80 Programmatic Needs within Footprint 81 Shaping Decisions at Plaza Entry 82 What does the Corner Do? 83 Further Resolution of Ground and Form 84 Gr(o)und 85 Table of Contents XIII. Exploration through Section Model No. 1 91 XIV. Exploration through Section Model No. 2 100 List of Figures ii XV. Exploration through Section Model No. 3 108 Abstract iv XVI. Final Schematics 111 I. Introduction 1 References 130 II. Who are They 3 Graffiti and Skateboarding Artists 5 Graduates & Co. 6 Music Lovers & Protestors 7 III. Why Keep the Existing Structure? 9 IV. Case Studies 11 Gr(o)und Workshop 12 Mathematics Center by KPMB 15 Diesel Wall 19 V. Program Character 25 Project Type 26 Goals, Objectives, and Strategies 27 Supporting Ideas 30 VI. Site Analysis 32 Pedestrian Movement 33 Visual Fields 38 Current Skateboarders’ Activity 40 Existing Forces 42 Scale of Existing Structures 44 VII. Program Details 47 VIII. Initial Design Concepts 52 IX. Preliminary Schematics 54 X. Understanding the Existing Structure 57 XI. A Visit to the SPoT 62 While Others Play, They Watch 64 The Changing Nature of a Skate Park 66 Time to Compare 69 i Figure 30. This is how a lemon tastes now 24 Figure 31. Graffiti in Banja Luka 1 52 Figure 32. Inspired 26 Figure 33. Artery 27 Figure 34. City Art: Franklin Street, Tampa 28 Figure 35. Before the storm 30 List of Figures Figure 36. Land Use Map 31 Figure 37. B/W Feeble 32 Figure 1. Lightning Dedication Figure 38. Banja Luka 32 Figure 2. I was here Acknowledgements Figure 39. Diagram: Pedestrian movement 33 Figure 3. Dzoni-Flip iv Figure 40. Physical model of site 34 Figure 4. Freespace 1 Figure 41. Gospodska: a pedestrian street 35 Figure 5. Scar 2 Figure 42. Music Pavilion 36 Figure 6. Sarajevo during war 2 Figure 43. Market 36 Figure 7. Skate Musketeers [at site] 3 Figure 44. Diagram: Movement 37 Figure 8. Johny Smith Grind 4 Figure 45. Diagram: Influence of corner 38 Figure 9. Bearing Down 5 Figure 46. Diagram: Visual Fields 39 Figure 10. Graduates 6 Figure 47. Skateboarding event at site 40 Figure 11. Graduation in Square 6 Figure 48. Diagram: Square’s South-east corner 41 Figure 12. Krajina Square, Banja Luka 7 Figure 49. Diagram: Dialogue of audience 41 Figure 13. Passersby in Square 7 Figure 50. Diagram: Dialogue to surroundings 42 Figure 14. Public Concert in Square 7 Figure 51. Diagram: Existing cultural center 43 Figure 15. Existing Structure 8 Figure 52. Extents of model 44 Figure 16. Hotel Plaza 9 Figure 53. Physical Model: Music pavilion etc. 45 Figure 17. Tilting 11 Figure 54. Physical Model: Close-up 46 Figure 18. Tilting (2) 12 Figure 55. Watchout 47 Figure 19. Tampa Bro Bowl 14 Figure 56. Skateporn 48 Figure 20. Diagram: Glass Volume Insertion 15 Figure 57. Skateboarders 49 Figure 21. Slate Blackboards 15 Figure 58. More Games, More Fun 50 Figure 22. Study of light volume 16 Figure 59. Kill [1] 51 Figure 23. Visually interconnected 17 Figure 60. Kill [2] 51 Figure 24. Less scientific graffiti 18 Figure 61. Diagram: Program Relationships 52 Figure 25. Call for entries 19 Figure 62. Diagram: Forces to influence 53 Figure 26. Your Wall 20 Figure 63. Sketch: Program Relationships 54 Figure 27. Andiamo in ticinella 21 Figure 64. Sketch: Program Relationships (2) 55 Figure 28. Coffee billboard 22 Figure 65. A formal construct 56 Figure 29. Diesel Wall 2008 - Zurich Winner 23 Figure 66. Existing Structure within Core 57 ii Figure 67. Physical Model of Existing Structure 58 Figure 105. Section model no. 1 second level 95 Figure 68. Footprint of Existing Structure 59 Figure 106. Section model no. 1 third level 96 Figure 69. Ground, Second, and Third Level 60 Figure 107. Section model no. 1 fourth level 97 Figure 70. Fourth, Fifth, and Roof Level 61 Figure 108. Section model no. 1 fifth level 98 Figure 71. Skateboarding at the SPoT 62 Figure 109. Section model no. 1 roof level 99 Figure 72. Skate shops 63 Figure 110. Extents of model no. 2 100 Figure 73. Reversed roles 64 Figure 111. Extents of model no. 2 within plaza 100 Figure 74. Reversed roles (2) 65 Figure 112. Competition Day at Plaza 101 Figure 75. Changing Street Course 66 Figure 113. Section model no. 2: overall 102 Figure 76. Bowl and beginner’s course 67 Figure 114. Section model no. 2: south-east 103 Figure 77. Workshop at the SPoT 68 Figure 115. Section model no. 2: entry close-up 104 Figure 78. Grid 69 Figure 116. Section model no. 2: entry detail 105 Figure 79. Component: Full Pipe 70 Figure 117. Section model no. 2: overhead bowl 105 Figure 80. Full pipe configured within grid 71 Figure 118. Supreme at night 106 Figure 81. Component: Quarter Pipe 72 Figure 119. Bastard Store/Studimetrico 107 Figure 82. Quarter pipe configured within grid 37 Figure 120. Extents of model no. 3 108 Figure 83. Component: Half Pipe 74 Figure 121. Extents of model no. 3 within plaza 108 Figure 84. Half pipe configured within grid 75 Figure 122. Section model no. 3: overall 109 Figure 85. Component: Bowl (in section) 76 Figure 123. Section model no. 3: close-up 110 Figure 86. Bowl configured within grid 77 Figure 124. Ground Plan 111 Figure 87. Component: Vert Ramp 78 Figure 125. Second, Third, and Fourth Level 112 Figure 88. Vert ramp configured within grid 79 Figure 126. Fifth Level and Roof Level 113 Figure 89. Apollonian design palette 80 Figure 127. Perspective: Bowl ceiling condition 114 Figure 90. Space requirement footprints 81 Figure 128. Perspective: Vert ramp 115 Figure 91. Initial gestures at corner 82 Figure 129. Perspective: Street-style section 116 Figure 92. Initial gestures at corner (2) 83 Figure 130. Perspective: People-watching 117 Figure 93. Process ground plan 84 Figure 131. Perspective: North-West Entry 118 Figure 94. Diagram of Ground Relationships 85 Figure 132. Perspective: North-West Entry (2) 119 Figure 95. Process perspective 86 Figure 133. Perspective: The walls of meaning 120 Figure 96. Process perspective (2) 87 Figure 134. Perspective: The walls of meaning (2) 121 Figure 97. Process perspective (3) 88 Figure 135. Perspective: From employee wing 122 Figure 98. Process perspective (4) 89 Figure 136. Perspective: View from skate shop 123 Figure 99. Process perspective (5) 90 Figure 137. Section AA 124 Figure 100. Extents of model no. 1 91 Figure 138. Section BB 125 Figure 101. Extents of model no. 1 within plaza 91 Figure 139. Elevation: South-East 126 Figure 102. Extents of model no. 1 within grid 92 Figure 140. Elevation: East 127 Figure 103. Section model no. 1 93 Figure 141. Elevation: North-East 128 Figure 104. Section model no. 1 ground level 94 Figure 142. Elevation: South-West 129 iii Architecture as Canvas Monika Blazenovic ABSTRACT Cities are increasingly becoming vessels of consumption, while various opportunities for production of space and public expression are taken away from the city’s inhabitants. New architectural interventions often disregard a site’s previously developed character and further aid in wiping away memories closely related to a city’s cultural past.

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