urban design lecture project_yu-ting huang
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Spring 2015
ARC 403+ LA 403 Interdisciplinary Urban Design
LECTURE Project
Instructor: Luis Hoyos Name: Yu-Ting(Kelly) Huang
#0110571976 May 2015
ARC-403_Urban Design Lecture Project Yu-Ting(Kelly) Huang (#0110571976)
May 2015
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Contents
Interested READINGS ............................................................................................................ 2
Theory Responses I ............................................................................................................... 2
Theory Responses II ........................................................................................................... 4
Theory Responses III .......................................................................................................... 6
Theory Responses IV .......................................................................................................... 9
Theory Responses V ......................................................................................................... 12
Project DISCUSSIONS ................................................................................................ 15
Lecture//Project Responses I ............................................................................................ 15
Lecture//Project Responses II .......................................................................................... 19
Lecture//Project Responses III ......................................................................................... 21
Urban Position and Diagram ................................................................................ 22
Photo Essay of Site .............................................................................................. 25
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Interested READINGS Theory Responses I
Article I: Jerde Transfer by Daniel Herman
Article II: Unreal America by Huxtable
I. While Gruen Transfer mentions creating a shopping experience using a
threshold, moment when shoppers’ purposive behavior, movements break down under
barrage of excessive stimulation, Jerde Transfer tries to bring the formlessness of a city
into a shopping center that is confusing and overstimulating, creating more bodily
assault with the space. Also the three steps “amplification, bombardment of the senses,
entertainment” are the means by which City Walk or Fremont Street change the modern
flaneur into an addicted consumer. For a master plan that contains not only the shopping
center, I want to implant Jerde incoherent spaces and shopping pattern into other
buildings, including the factory in our project. The factory is rehabilitated and will be
used as a place where creativity happens, and it also suggest the designers and visitors
“how” creativity happens by means of several nonlinear space arrangement which
makes them juxtaposed, staggered, displaced, or even dislocated. We use the factory to
symbolize the place to incubate ideas, so instead of creating the consistent products
through production and assembly line, we insert the studios in a more incoherent
pattern. The visitors from outside can enter from the main axis(runway), but once
getting inside, the sinuate space leads them to explore more about the factory(the
creative working space), just as how thoughts are formed and developed. Hopefully it
will work as it is in the shopping center, stimulating more experience and relation with
the design.
II. What is entertainment and what’s the ideal place for it? Do people go for
entertainment in order to escape from the reality? Just like wishing something
happening in a movie happens in the real life, we imitate good things and sometimes
even improve them to create our own and imagined space, pretending that we have it
originally. However, to what extent do we accept the fake, especially the real fake like Las
Vegas? We intend to create things with ingenuity, but in respect to “space making,” and
combining with re-defining terms such as “gaming” instead of “gambling”, the value
changes and we no longer consider it fake or wrong. “Once the substitute, or surrogate,
is considered the more acceptable experience, remarkable things occur.” The article ends
in the conclusion that “the outrageous is essential”, and as long as the instant sensational
and aesthetic gratification is accomplished, the market reaches its commercial purposes.
So, are consumers somehow controlled, before even recognizing they are in the artificial
environment which the markets create? Or are they prefer this control? The topics such
as “Real and Ostensible”, of “Identity and History”, and of “context”…etc., all give ways to
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the total sensational gratification by new technology. I’m still wondering if it is the
consuming culture of America, of the culture all around the world. But I think even so the
space should have its uniqueness, based on the site and the scale, and the people. While
in our project there is a runway that also creates a virtual or symbolized stage, we need
to think how and from what perspective people treat and would use this kind of space.
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Interested READINGS Theory Responses II
Article: Here’s How American Cities Can Learn From Italian Piazzas
Source: Website article bY A. Ghigo Ditommaso (APRIL 16, 2015)
http://nextcity.org/daily/entry/italian-piazzas-the-future-of-public-space
When all the ages and architectural or stylistic movements all somehow tried to
relate back the old Italian or Greek/Roman archetype, a lot of them only take the
appearance of the element and hoped to create the similar life and event in the field
(also called place making). In addition to the easy and simple “contextual” reason, this
article analyzes the factors which led to the failures of American plaza, and tries to
rethink the possibility of taking advantage of the key principles and the spatial
characteristics that their design entails, hoping to reinterpret the old Italian city plaza.
The following are a few aspects of the successful plaza, but relating back to our site
in West Hollywood, we still face the challenge of “context”. Our major intention is
therefore upon the way base our design on these rules in which lies the spatial value.
Successful Plaza
(i.e. Piazza Maggiore)
The American
context
(i.e. San Jose City
Hall Plaza)
Keywords:
1. Center the hearth of the city’s daily life
(Naturally formed, is related to
daily life, and has historic source
with which people can identify)
The location is
arbitrary
Center;
Urban fabric/history
*Value: Identification
2. Path The piazzas are nodes of the
pre-existing pedestrian patterns.
Can be traversed
in only one way;
inactive after City
Hall operating
hours
Life,; Change—
different people and
route
*Value: Interaction
3. Edge Active and permeable ground
floors. The monumental scale of
the churches and palazzi is
broken down to the human scale
with the insertion of
fine-grained bustling
commercial activities
Surrounded by
irrelevant space—
vacant lot,
multilevel parking
garage, gas station
and the parking
lot for a big box
retail complex
Permeable edge;
human scale;
commercial activities
*Value: Accessibility
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4. Stage(
Arena
)
A place for a theatrical play in
which people spontaneously
take the role of the actor and the
the spectator. A place to linger
and hide.
Theater—actor and
spectator;
balance(microclimate
, views…);
*Value: Visual
accessibility (to share
life and power)
Design Issues and Goals
The project aims at creating another center that combine the entertainment
and shopping/hotel function. It’s different from the old European city center which
has been developed along with the citizen’s life; however, because the area has its
own history and characteristics, such as demographic and commercial condition—
central area of the boutique stores, clubs for gays, design center and park…etc.— it
has the potential to become a new central gathering place that fits in people’s daily
life.
In addition, by creating connecting paths and permeable edges from each
side(including the hotel that blocks the side toward Santa Monica Blvd.), we hope
to bring people to the center, while they come here as part of daily life to dine, shop,
and exchange their ideas. Also, inspired and hoping to reflect the history of the site,
one of the spatial values we want to create is the see/be seen platforms/stages and
passages, where their creative ideas can be easily shared and expressed.
In all, by using different elements above(center, permeable edge,
double-layers paths, stage/platform) to create a public space in WeHo that follow
the concept “where and how” creativity happens, we hope to stick to the core
value—a successful place/plaza starts from people’s life and their behaviors. Since
people’s ultimate identification of a place stems from where the things and events
happen, we hope to create a place where they can share and identify it as a part of
their life.
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Interested READINGS Theory Responses III
Article I: Street_Block_Building by Moule and Polyzoides
Article II: Methodologies and Practices by Dutton
However the urban environment is structured depends on the designers who
follow the rules of building set by the government. Any rule constituted would result in
how people live, for example, the American urban tradition cut the city into grids, and it
not only formed the structure of landscape, American people’s live model—there habit
of working, commuting, leisure life and entertainment, was formed under this model.
According to the New Urbanism, the single family house and car shape the American life.
So every place needs a parking lot and before people can gather together, they need to
drive, usually through highway. The urban city has its inherent structure, no matter how
well it functions; however, people in different period can reform this structure based on
the previous experience.
In reviewing the chaos which is caused by the conventional city-making model and
ineffective zoning policy, the New Urbanism seeks a fresh paradigm to reaffirm the
notion of public realm. The first article mentioned “an accessible(socially and physically)
shared place can be guaranteed at the most elemental scale through the urbanist
principals”…and “the tenets prefer human scale over that of the auto, balance private with
public interests and employ simple and physically determined methods over those that
are complicated and solely legal-minded.” Although a good design is always simple, when
dealing with the urban topic I wonder how simple this can actually be, and how zoning
really can be constituted and thus function well. Since when facing the urban issue such
as WeHo or other new development or reform project, there is too much to consider
(what the faculty call “the prevailing context”) and we end up trying to build a big
framework and hoping nothing is missing, based on the previous research, experience or
policy and modification. The CNU, experts like CIAM in the 1920’s, in the end of the 20th
century tried to reform building industries and society, which is the goal of early
modernist. They claim a way and attitude of designing method that is rooted in the
historical precedent, and values the cultural variety. They also attempt to transform the
framework of architecture in professional and project level: (1) profession: develop and
disseminate ideas and practices at the professional level; (2) project: redefine the urban
“project” that de-emphasize the singular act of design and favors.
In reframing the project, they focus on three scales: the Regional; the Neighborhood,
District, and Corridor; and the Street, Block, and the Building. Although having the
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similar connection with the government agencies and development organization, the
CNU used the bottom-up way and started its influence more from the local level. They
both hope to seek social community, but CNU focus on promoting compact
neighborhood design and ameliorate the impact of the automobile. And while
questioning about the individual buildings and cars that are often conceived as private
and self-referential, it seeks a fresh paradigm to guarantee and to order the public realm
through individual buildings. About the public realm, they claimed the form is realized
by the deliberate assembly of streets, blocks and buildings:
Purpose Method
1. Street: not the dividing line, but the communal rooms and passages.
Pattern Connectedness and continuity within
the network
Main and alternative path
Hierarchy Street balance between vehicular and
pedestrian load(rhythm of building
form and waikability)
Distances between intersections
Figure
(Scale?)
Shift in scale within street section Landscape, building edges and
vertical streetscape elements.
Detail Proper use by pedestrian Minimalize block radii to slow cars at
the intersection
2. Block: unfold the building fabric and the public realm
Size Single buildings can reach the edge
of blocks and parking forced to be
located away from the sidewalk.
250-600 ft.
Configuration Block are to be lotted for all types od
buildings and density, and that all
the sides can define public space.
Lot of different width and depths;
Alley absorbing parking and serving
load.
Streetground Extension of the public space Division of parkway, sidewalk and
setback; lobbies and major
groundfloor interior space extend out
Streetwalls Enclosure of the street Mass (height, mandated setback)
elements on the elevation
Parking Accommodate the pedestrian is the
priority over parking
Cars be accommodated in the middle
of blocks; parking garages to be
regular buildings for future use and
need significant public face?
Landscape Trees along the blocks establish Species of trees and the patterns of
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overall space and scale of street and
sidewalk.
(Consider artifacts from man’s
historical contact with nature)
their placement; Public open space
types for inhabitation
3. Building: the relationship between each other determines the characteristics
Use Balance between functionalism and
universal flexibility; organize the
building types by common
ingredients
Building be designed by its type, not
solely function, for future adaption;
Density Density regulations be stated
independently of building use and
parking
Replace the FAR zoning regulations
with building envelope guidelines
Form Each building and garden is of a
particular formal type and they
share the characteristics and
generate the cohesive framework
within the city, keeping the historical
continuity in towns and cities.
Frontality shall allow 3 scales of
architectural expression(public
character of the street; semi-public
nature of open spaces interior to the
block; one that responds to the
service nature of alleys and
backyards)
Coding: The code which is resulted from the specific street, block, and building design rules will
balance and eventually generate the public realm by their individual interests and actions.
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Interested READINGS Theory Responses IV
Article I: The Split Wall: Domestic Voyeurism by Beatriz Colomina
Article II: Queer Space by Aaron Betsky
How is the space constructed as interior? What is the hidden mechanism related to
it— its controlling look and the looked control that is caused and influences the traces
one leave and imprint in the interior? This article compares Loos’s room with Le
Corbusiesr’s in the viewing created by space. Loos designs the interior space in the most
economical way—his theory of Raumplan means not only designing by floor
plan(horizontal) but also by the height needed in each functional
room(vertical/multi-layered). The accomplished interior space is therefore a
congregation showing a more complicated relationship and sequences of multi-level
parts of individual rooms. Here the spatial-psychological device can also be read in
terms of power, regimes of control inside the house. In framing a view, the theater box
also frames the viewer. On the other hand, Le Corbusier reverse Loos’s interior to be a
place to be observed.
Construction of
the Interior
Loos Le Corbusier
Metaphor Theater box
(Benjamin’s metaphor: a theater box inside
the house)
Architecture is not simply a platform that
accommodates the viewing subject. It is a
viewing mechanism that produces the
subject. It precedes and frames its
occupant.
Space(sequence
and
organization)
e.g. Müller house(1930): raised sitting area
looking onto other space and turning one’s
back on the exterior.
e.g. Villa Savoye: open window
and ramp.
View/voyuer Raised and directed toward interior. To
look out into the large space beyond, but
Directed toward
exterior(frames of landscape).
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also is the object of another’s gaze The house is seen as frames
for a view, which is temporary
through promenade. Window
is a screen for communication.
Wall Occupied Dematerialized
Other forms of
representation
Domestic drama: scenes and props. Scenes and props(male
objects)
Effect/purposes intimacy and control( also sexuality of
space(symbolic space))
Perception in motion.
Split 1. Between Sight and physical sense. (For
Loos, interior space is Mind’s
eye(pre-oedipal space), it’s about the
fabric but not the clothing( which the
analytical distancing which language
entails )). He privileged bodily
experience over mental
construction(sense before visualize).
2. Between interior and exterior
3. Covering(Major) and
Structure(Secondary)
1. Looking and seeing
2. Outside and inside
3. Landscape and site
The house is a mechanism for
classification (it collects views
and classify them).
The house is immaterial.(a
series of visitors’ view like
montage)
Subject Stage actor Movie actor
Inhabitation Inhabitation is about the spectator Inhabit first, placing oneself
afterwards. (To inhabit means
to inhabit the picture. ”
Architecture is made in head.”)
The author’s argument connects sexuality with the space. I only doubt if it’s a kind
of stereotype. However, applying or creating the similar viewing strategy in the space is
possible. Although our project is not related to a residential building, the exterior and
interior has been merged, and the way to see and be seen is mixed into the building and
the landscape which connects the outdoor dining area and walkway with the interior.
There may be ways that people who stay in restaurant or hotel can monitor or voyeur
the central square, and places that can see and be seen. A challenge is to create an
enclosed and continuous space, since the connected parts provide public accessibility
and need some mechanism to control, to ensure the hiding place still creates the sense of
security to allow people to be themselves. From the landscape’s perspectives, the
merging interface also needs to respond to and enclose the exterior.
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<Table: Concept, Space and view control>
slice cube Platform
(one layer)
Tectonic
(multi-layer)
- light
- Circulation
-open space
- see/be
seen
- volume
-gather
- be seen>see
- display
-connect (extend)
-connect(to
different layer)
space open space Work/stay/
plan
Pass/Stay/Perform Dine
Office ● ˙ ˙see the factory
cubes
Factory ● ●be
seen>see
●see ˙stacked volume
Dinning ● See
(connected to
the passage)
Passage ˙arcade/atrium ●see+connect ˙connect with the
dinning area
Stage ●be seen
Hotel ˙atrium? ●View(st.
monica
blvd+inside)
●(visually)stacked
volume
Park ● ˙ ●
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Interested READINGS Theory Responses V
Article I: Defining the Urbanistic Project by Joan Busquets
Article II: Where and How does Urban design Happened? by Alex Krieger
<Table. (The”●”shows there’s stronger relationship between the type of project with the stage)>
10 Approaches of
urbanistic project
(by Joan Busquets)
Example Urban Design as…. (by Alex Krieger)
1. Bridge connecting Planning and Architecture
2. Form-based category of public policy
3. The architecture of the city
4. Urban Design as Restorative Urbanism
5. As an art of place making
6. As Smart Growth
7. The infrastructure of the city
8. As Landscape Urbanism
9. As visionary Urbanism
10. As community advocacy(or doing no harm)
1. 2. 3. 4. 5. 6. 7. 8. 9. 10
A. Synthetic Gestures e.g. Guggenheim Museum in Bilbao
Key buildings with urban synergy ˙ ● ˙ ˙ ●
B. Multiplied Ground e.g. Lille Intermodal station
Convert urban
artifacts/infrastructure and/or
high-density reuse
● ● ● ● ● ●
C. Tactical maneuvers e.g. Maragueria housing Project in Évora
Infrastructural spinal cord as a
spatial syntax
˙ ● ● ●
D. Reconfigured Surfacces e.g. Schouwburplein in Rotterdam
Reconstruction of fine-grain
open(public and communal)
space
● ● ● ●
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E. Piecemeal Aggreagation e.g. Battery Park City; Paris around the Seine; ease side of Amsterdam
In intermediate scale(18-25
blocks), work on urban fragment
to address city issue by
architecture and services
● ● ● ˙ ●
1. 2. 3. 4. 5. 6. 7. 8. 9. 10
F. Traditional Views e.g. Seaside, Florida. ˙ ˙ ● ˙ ●
G. Recycled Territories e.g. Emscher Park in Germany
Dynamic qualities of territoriy
and the intrinsic logic of the
natural environment
● ● ˙
H. Core Retrofitting e.g. Toledo city center, Spain
The updating of historic cores by
reorganizing the traditional fabric
● ● ˙ ●
I. Analog Compositions e.g. New strategies for London proposed by the Task Force agency
https://www.london.gov.uk/priorities/business-economy/vision-and-strategy/infras
tructure-plan-2050/progress/connectivity
Rethinking the master plan and
its scale. “Project” orientation
with “open” city(at small and
intermediate scales)
● ● ● ˙ ● ● ● ˙
J. Speculative Procedures e.g. Blur Building of Diller + Scofidio
Experimental investigations
based on theory, philosophy,
hydraulics, the computer, etc. to
formulate new planning
principles
● ˙ ● ● ● ˙
The foundation of urban design, according to 1956’s Harvard conference, is the
intersection between planning and architecture. But urban design is not equal to city
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planning. It’s part of it, with it reminded me that it requires most imagination and
artistic capacities. It’s wider than the scope of Architecture, Landscape architecture, and
the City Planner.
In the earlier century, the architects were asked about their vision of city. Why can’t
the emperor be called the urban designer? They plan and govern the city, and some of
the plans are under the category of traditional city revivals which integrate and recover
the infrastructure. However, it relies ona more integrated strategies to fit in the user and
the context.
About West Hollywwod: West Hollywood is known as the home of the
entertainment industry, and is a mixed-use area of residential zone and commercial zone.
Since our project stems from adaptive reusing the historical factory and making it a hub
of creativity production, I define out site it as the type of Core Retrofitting, and we hope
to reorganize and trasforming the traditional fabrics. Also, by following the master plan
we try to create spaces in new scales and layers in the project to differentiate it from
other district. Combing with the landscape the space can be easily used and enjoy by the
passengers or shopper.
ARC-403_Urban Design Lecture Project Yu-Ting(Kelly) Huang (#0110571976)
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Project DISCUSSIONS Lecture//Project Responses I
Topic: Buildings and Spaces for Retailing
Lectured by Luis Hoyos, April 13, 2015
Article : The Exposed City by Nadia Amoroso
From 1900, retail has become one factor of a successful building. It has been
developed as a prototype. The 1850’s crystal palace not only displays the modern
material(tectonics of architecture), its commercial purpose—the stands below reveals
the essence of retail: the need for exchange the products. Whether naturally formed or
intentionally planned, there are certain forms of retail which influence the way people
shop(move) and stay. To lead people’s route and connect two spaces, the connector and
the passage is very important; along the linear passage like arcade, one not only crosses
a space which usually has higher ceiling of a series of adjoining arches, the condensed
shops along each side are very close to the passengers and can attract people very easily.
What breaks and intersects with paths are nodes for lingering and taking rest (usually a
wider public space like square). A building with shops in different levels can emphasize
design of vertical connector which can be a enjoyable place when one moves in it (e.g. Le
Grand Magasin du Printemps, Paris, 1882). Putting it in a bigger scale, Kevin Lynch
believes there are elements by which the city is conceived. While a plaza or square
gathers people and forms the node, neighborhoods, parks or areas create the district. So
not only can a department store or mall create the enclosed parcel of shops by
consciously creating an interior commercial area consist of paths and nodes, the
combination of cluster of shops aggregated or connected to city walkway, buildings and
landscape, edges(river, walls, avenue), or landmarks(artificial or natural) all bring about
a complete shopping experience in a district or city.
Having a purpose for shopping, or entertainment, one gets to know how a site is
organized. Does a certain cognitive mapping influence a consumer’s behavior? How do
people identify the shopping region? Do people have preference for a certain spatial
syntax for shopping? Whether a person with a clear intension and shop in a specific
store or not, understanding the mental cognition(hierarchy, points of reference, etc.) and
his/her imagination and interpretation of a city or shopping district, combining with
other perceptive or cognitive stimulation(signage, , (iconic)target/landmark, thematic
element, etc.) are helpful to designing a shopping space.
ARC-403_Urban Design Lecture Project Yu-Ting(Kelly) Huang (#0110571976)
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River can be the edge of a shopping District.
(Source:
https://sociorocketnewsen.files.wordpress.com/2015/0
2/ac-21.png?w=580&h=435)
Thematic shopping mall
https://photosatthespeedoflife.files.wordpress.
com/2011/11/venezia.jpg
Although the legibility of a space is helpful in way finding, sometimes the
unexpectedness or breaking of rule is more interesting, e.g. The Horton Plaza breaks the
city pattern(context) and creates several locking spaces, but since it follows the
dumbbell theory and stick to a central open space which has more visual vertical
diversity (through the cutting of the building where the central part acts as both node
and path, with the colorful and vibrant signage) it’s still successful. Similarly, the Circle
Center in Indianapolis, although raised to a different layer and hid in the buildings, its
connection through different blocks still keeps the integrity of the interior.
Horton Plaza breaks the city pattern/order and change it into human scale
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In some shopping area in old European cities, shops grow with the buildings,
sometimes without a master plan. It creates a more complicated, but vibrant city pattern.
Irregular shapes of path or node, in terms of visual effect, can be confusing and
disturbing. However, it creates more human-scaled space, and there still can exist the
order. It’s easy to find something unexpectedly when you make a turn into a valley, which
generates more fun and a closer relationship with the building itself, although the stores
need to find the way to make themselves known to the public.
Irregular city pattern of European City
(Source:
https://s.yimg.com/cd/resizer/2.0/FIT_TO_WIDTH-w568/b
87f70c04860e468d18a9610a2f934df689db835.jpg)
Thematic shopping mall
Source:
http://thumbs.dreamstime.com/z/hong-kong-
wan-chai-pedestrian-mall-14369946.jpg
There are also some retails combined with the public transportation station, so that
whenever people use the public transit system, they shop in the store in the same
building as well. The city of West Hollywood and LA has a different mode of
transit—automobile. Therefore, the parking and the visual accessibility from the car is
more important.
ARC-403_Urban Design Lecture Project Yu-Ting(Kelly) Huang (#0110571976)
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<Table: The projects’ retail pattern and attributes>
Mo
ve
(Ho
rizon
tal)
Mo
ve
(Vertical)
Stay
linear
No
nlin
ea
r Cognitive(Lynch’s mapping)
Space Plan/section
Path
Ed
ges
Distric
t No
de
Lan
d
mark
Arcade(Hotel)
co
nd
ensed
and
smaller
scale ● ● ● ●(glass
box,
signage)
Square/plaza/platfo
rm(every building)
● ● ● ●
(central
stage)
Pavilion
(Factory(for the
studio))
● ˙
Stair
c ● ● ●
(historic
theme)
Sliced space
(Office and Retail)
● ˙
Stair/
ramp
● ˙ ●
Terrace
(Dining and park)
● ● ● ● ˙ ● ˙
(Tectonic
)
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Project DISCUSSIONS Lecture//Project Responses II
Topic: Urban Design, Urban Landscape Design, and Urban Architecture Design
Lectured by Bob Harris, May 4th, 2015
Although a long-term regional/urban design is composed primarily of architecture,
it’s based on urban landscape design. Urban landscape acts as a vital role, in aesthetic
value it acts as a person’s outfit, appearance or personality, it influences how people
perceive architecture; in a more substantial aspect a space created by landscape
influence if a space is welcoming and comfortable that people want to stay or rest.
Landscape is the interface between human beings and architecture. It is through
landscape that People approach a building. It also mediates the relationship between
buildings and the cities. While it used to focus on edges to a new area between water and
land, or the seam between architecture and landscape, or any line separates territories.
In the end, such lines become thick bands.1 The porous band is a new area where many
things can happen, both human interaction and its interaction with nature or building,
or even city. It’s interesting to regard this seemingly meaningless landscape as
something meaningful.
The lecturer mentioned the philosophy of how we approach urban landscape
design. Any action is an intervention/remodeling of the natural environment—a system
which has its own mechanism and has been running throughout the time. It’s a
long-term and continuous process. Especially when the world is unfinished, messy and
uncertain, it’s not necessary to proclaim a “sustainable design,” since the urban
landscape architect should always start from how to balance their work with the existing
world. The urban elements are interdependent—a wall/facade not only encloses an
interior space, it encloses a public room! The street cuts through the city, and the things
happening on the other side of the street also have a relationship. So we need to create
the sense of place based on these details, making this thick edge not the line anymore.
In Taiwan, it is until recent year that I found people enjoy the landscape and open
space in the city, so I used to think of landscape as only designing or decorating the
surrounding of buildings, such as the path or open space. I think it’s because in the
earlier years the city land use is mainly developed for commercial purposes.. Few people
would spend money on creating public space. The policy evolved and the government
started to encourage leaving more space when building a housing or public project. But
still, when people don’t have the sense of urban landscape, the things which are
designed are just artificial object, without a deeper involvement to our life. It is until this
project and coming to the United states and seeing how people treat the space here, that
1 Balmori, D. (2010). A landscape manifesto. New Haven and London: Yale University Press.
ARC-403_Urban Design Lecture Project Yu-Ting(Kelly) Huang (#0110571976)
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I noticed how urban landscape is such an important matter in architectural design. It
influences how the buildings can/cannot be accessed, used, by providing a connection, a
path, a node, or a resting place. It interacts intimately with the architecture. It’s part of it.
So I think urban designers and landscape designers act as vital roles in helping the city
become a better living place.
ARC-403_Urban Design Lecture Project Yu-Ting(Kelly) Huang (#0110571976)
May 2015
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Project DISCUSSIONS Lecture//Project Responses III
Topic: Hotel Basics
Lectured by Thomas S.Ito, May, 2015
From designing a hotel to operating a hotel, it takes a really long time and
complicated progress. To accomplish a hotel building, it definitely needs not only
architects and constructors, but also developer, operator, investors, and lenders. As a
result, I think I should have the responsibility to know that “the best design” doesn’t
mean “the best hotel”, as an architectural student.
However, the design is still very important when all else being equal. At that time, a
well planned,well designed asset is going to be of greater value than a poorly planned
one. It’s challenging but interesting to deal within the reality and design. Among all, I
think the most different part of the design from real world to school is the consideration
of budgets. A design would be totally different when architects started to consider the
budget, source of costumers, goal of hotel operating, instead of only the space feeling
and atmosphere. For example, the budget affected the construction level, the class of a
hotel defined the size of rooms, etc. The design was always based on surveys and
accurate statistics. It shows the fact that any building which has relation to the
commercial activities has to be calculated carefully, because everything is all about
making profit.
Researching more detail about the budget allocation, I discovered the hotel design
guidelines are really interesting. It shows that the higher the hotel class, the higher the
money percentage of public areas. It means that the designer emphasize more on the
public place to create a brand image of a hotel instead of only making hotel rooms
luxurious. The brand of a hotel is really important, every hotels that runs well for
decades because they operate their brand image really well. Therefore, creating
fantastic and comfortable public spaces is really important when designing a hotel. For
our design project, we want to create a branded environment by culture depth, so we
preserve the factory and make it into part of a hotel as the hotel lobby. We keep every
public space open and have good environmental quality.
I think a design only succeed when the designer see him/herself as a user and
experience all the progress. “Guest experience” really gives lots of clues for
designing spaces in different part of the hotel programs. When guests approach the
hotel, identity extends to the street to rise anticipation and curiosity are necessary.
ARC-403_Urban Design Lecture Project Yu-Ting(Kelly) Huang (#0110571976)
May 2015
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Final Introspection Urban Position and Diagram
The project begins with the goal of revitalizing the old factory as a city design
center for the West Hollywood public. The film production industries, as well as the
way the new ideas and concepts are produced, need a process of diverging and
converging. To preserve the spirit of West Hollywood, produce, display and realize
the design idea and process, we need places for people to think, be stimulated, and
exchange their idea. To respond to its role and context as area of the boutique
stores, clubs for gays, design center and park…etc., we hope to reveal its potential
to become a new central gathering place that fits in people’s daily life. Therefore,
inspired by it, one of the spatial values we want to create is the see/be seen
platforms/stages and passages, where their ideas can be easily shared and
expressed. The overall circulation breaks the interior and exterior interface, and
the differentiate spaces in buildings functioning for different purposes are carefully
connect and shifted(both horizontally and vertically), that people can smoothly
move and roam in the site.
In all, by using different elements above(center, permeable edge,
double-layers paths, stage/platform) to create a public space in WeHo that follow
the concept “where and how” creativity happens, we hope to stick to the core
value—a successful place starts from people’s life and their behaviors. Since
people’s ultimate identification of a place stems from where the things and events
happen, we hope to create a place where they can share and identify it as a part of
their life.
ARC-403_Urban Design Lecture Project Yu-Ting(Kelly) Huang (#0110571976)
May 2015
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ARC-403_Urban Design Lecture Project Yu-Ting(Kelly) Huang (#0110571976)
May 2015
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ARC-403_Urban Design Lecture Project Yu-Ting(Kelly) Huang (#0110571976)
May 2015
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Final Introspection Photo Essay
About WeHo ONEfactory: There are many ways people can access the site.
But the hotel, acting as a landmark and providing the view toward the north
hill and south central area in our site, has two arcade with high ceiling that
provide sun and visual stimulation. The balconies facing the central area
respond to the extruded studios in the factory adapted into the idea center.
The terrace gradually ascending to the second layer of the connector, is a place
to see the performance, and be seen as an essential part of the process of
creativity production.
Main Entrance of Arcade connecting the central square.
ARC-403_Urban Design Lecture Project Yu-Ting(Kelly) Huang (#0110571976)
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The extruded elements(balconies, studio, glass boxes, etc.) stimulate the interaction of
views and thoughts.
The adaptive reuse of the old historical building connected to each building in two layers
of the site.
ARC-403_Urban Design Lecture Project Yu-Ting(Kelly) Huang (#0110571976)
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The space in different scale and different vertical positions(haning studios in the
factory).
The outdoor connectors of platforms ot the office building.
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