d i s c o v e r i n g t h i n g n e s s & i n t e r v e n i n g t h e e x i s t i n g i n t h e b a t h h ou s e .powerhouse.Masters Thesis Project

Annie RobinsonSpring 2012

t h i s b o o k i s d e d i c a t e d t o : m y s u pp o r t i v e , l o v i n g f am i l y

&m y s upp o r t i v e , l o v i n g s t u d i o

ba t h h ou s e .powerhouse.

d i s c o v e r i n g t h i n g n e s s & i n t e r v e n i n g t h e e x i s t i n g i n t h e

Masters Thesis ProjectAnnie Robinson

Spring 2012

ba t h h ou s e .

BATHHOUSE POWERHOUSE

Introduction

Finding Thingness

Laclede Power Co.

Articulating Prog ram

Design Approach

The Conclusion

Appendices

T A B L E O F C O N T E N T S .

1

2

The following body of work presents the culmina-tion of a master’s thesis project--the intervention of a bathhouse into an abandoned powerhouse along the Mississippi River in St. Louis, Mis-souri. As a study in architecture, this volume of work is to be understood as an argument for discovering thingness upon the reuse of an existing building, unfolding history to reveal its place in the ever-changing urban fabric.

introduction

THINGNESS

5

6

The Bathhouse derived from the study of transformation amongst abandoned buildings. The appropriation, however, often remains entirely free from the former use or content--history forgotten, filled with dry-walled offices or theme park imitations. The phenomenon of reuse has lost its “willingness to proceed” and has culminated in the blighted areas of industrial wasteland. However, the brownfields of St. Louis are a palimpsest of stories, etched with past building foot-prints and discarded foundation fragments. Each abandoned building holds a unique history within its empty shell. It is through this his-tory that one can decipher an intrinsic, underlying substance and use it to transform old into new.

How do we use history as a tool to determine new use for an abandoned building?

Upon this transformation, how is the thingness of the building revealed and/or retained?

It is history that inspired the makings of the thesis question:

7

Bathhouse: a building for bathing

House: A building used for some specific purpose

To contain [power, bath]

Powerhouse: a generating station

Ritual: an established form of ceremony

An observed habitual movement

Thingness: the quality or state of objective existence or reality

DEFINITIoNS

8

“When we fill the jug, the pouring that fills it flows into the empty jug. The emptiness, the void, is what does the vessel’s holding. The empty space, this nothing of the jug, is what the jug is as the holding vessel . . .

the vessel’s thingness does not lie at all in the material of which it consists, but in the void that holds.”

(Heidegger 169)

The question warrants particular definitions explained. The term thingness is derived from Martin Heidegger’s “Poetry, Language, Thought.” Heidegger talks of a handmade ceramic jug, question-ing-- what is a jug? The jug as we know is an object made of clay, with a certain form and function. However, “the vessel’s thingness does not lie at all in the material of which it consists, but in the void that it holds. (169)” The jug is defined by what it keeps and what it outpours. Thingness then, is a culmination of all that it has held—emptiness, water, wine—and all that it will pour unto humanity.

Thingness, as used throughout this project, is the conversation created between the past and the present, discovering what was held and what could be held, and how those can create an architectural harmony. This thingness, spirit, essence must be translated through the vessel of an existing structure.

SITEthe

The chosen vessel for inter pr eting thingness is the Laclede Power Co. Building in St. Louis, Missouri along the riverfr ont of the Mississippi. It ’s combination of rich histor y and outcr y for major r evitalization today makes it a perf ect building to cr eate a str ong conversation between past and pr esent.

11

12

a view fr om the site .engaging the Mississippi.

13

14

LaCLEDE poWEr Co.1246 Lewis Street St. Louis, Missouri

15

l i g h t .

p o w e r.

p r e s t i g e .

s u p p l y i n g p o w e r f o r t h e 1 9 0 4 S t . L o u i s Wo r l d ’ s Fa i r

16

INTErprETINg HISTorY

The building (used from 1902 to 1978) is situated along the Mississippi River; due north of the St. Louis Arch Grounds. It generated the first light of the city and shone as a sign of power and promise during the 1904 St. Louis World’s Fair Expedition. This fair particularly celebrated technology in the Industrial Age—man gaining control over nature.

what can we r eveal through the past?

17

How can the historical essence remain through transformation?

18

THE arTESIaN WELL

Directly across from the site is a 2,200-foot artesian well (three and half times the height of the Gateway Arch), intended to serve the Belcher Sugar Refinery. However, the water was too full of minerals for sugar-making and instead, the Belchers focused their attention elsewhere. They opened a series of bath-houses amongst industrial buildings—people coming to socialize and cleanse in what they believed were healing waters.“Though entirely useless for the purposes of the Refinery,” the Transac-tions report had observed, “it is much used as a medicinal water, and, by some, is visited daily; and, by others, conveyed, in jugs and barrels, to their dwellings, and used for its remedial virtues.” By this time, a spa craze had hit the state, gathering people who simply needed a bath, to legendary Cardinals making business deals in the sauna.

spas amongst factories.

spa: sanus per aquam

or “healing through

water.

mer riam webster

19

1894

population 375,000

2,200 ft . wel l f inished

Belcher Bath House

Sugar Refiner y

location of well

f irst r efrigerated war ehouses in St. Louis.

Laclede Power Co. was built in 1902

population 575,000

population 350,000

1904

2000

20

population 319,000

20112011

M

2ND

BroaDWaY

HWY 70

LEWIS

pedestriansite bike pathmetro bus stop

summer winds

winter winds

DENSITY STUDY

At the time of the Industrial Revolution, St. Louis was an unstoppable power, the river being its greatest asset, bus-tling with trade. As the automobile became the primary mode of transportation, people moved away from the city center, looking for quietness. Slowly becoming redeveloped, St. Louis is hoping to revitalize the downtown population and breathe new life into undeveloped areas.

a city once thriving.

21

w e l l n e s s .

r e j u v e n a t i o n .

l o c a t i o n .

t h e s t a r t o f a r i v e r f r o n t t r a i l .

o f t h e l a n d . o f m i n d , b o d y, a n d s p i r i t .

p r o v i d e s a n u r b a n e s c a p e w i t h p r o x i m i t y t o t o u r i s t a t t r a c t i o n s .

22

appLYINg IT To ToDaY

The cur r ent proposed r edevelopment of downtown St. Lou-is stops shor t of Car r Str eet , the dividing r oad between Laclede’s Landing and the industrial ar ea. The building’s new program can act as a catalyst for an extension of this development only a f ew blocks north, conver ting other abandoned buildings together to cr eate a new district .

What might St. Louis use today?

23

sports

proposed expansion of development

casino

laclede bar district

soulard bar district

parks

busch stadium

scott trade center

city park

soulard

riverfront trailhead

proposed park

Laclede power Co,

mISSISSIppI

lumiere place

laclede’s landing

edward jones dome

metro stop

metro stop

convention center

st. louis arch

24

THE ST. LoUIS rIVErFroNT

8°37’38”N 90°11’52”W 360,000 people in 62 square miles

Today the building l ies in between the river and rubble, a homeless gathering and a multi-mil l ion dollar casino. The bar r en lots of the brownfields ser ve as the division between the heart of the city and disparate r esidential , in-her ently holding the power to f i l l the gap that l ies between with uses that ser ve both.

in between activity and emptiness.

“We must f i l l in the

gaps. It ’s l ike looking

at a person with

their two fr ont teeth

missing .”

influence inter view

25

5 minute walk to metrobus stop

10 minute walk to the landing

15 minute walk to arch grounds

the

arch

the mississippi

26

bikepath The site is currently used as the trailhead for the Confluence

Greenway, marking the beginning of 12 miles of new bike path along the riverfront. The path has a constant flow of bikers and runners. This focus on physical exercise in nature displays a clear desire for both holistic health and urban escape.

Besides its remarkable history, the well serves as access to the mineral spring water beneath the site.

Two main elements present themselves on the site and eventually become prevelent in the design.

an escape from the city

a connection to the springsthe well

SITE ELEmENTS

27

SpaCE STUDY

28

THE BUILDINg

Laclede Power Co. sits at the only site of the original street grid, the grid that determines the structure that runs throughout the building. The site of course, is not limited to the land surrounding, but encompasses also the existing structure. Water enters through the previous condenser of the powerhouse, causing a constant flux of water level in the basement of the building. This deep connection to water, both within and without of the building, is echoed in the new program of the powerhouse.

the building is the site.

PROGRAMarticulating

Thingness is found at the intersect ion of the past and the pr es-ent. The intersect ion dictates what f i l ls the vessel of Laclede Power Co. If program is to be inser ted into the vessel--how wil l i t be or ganized and how can this or ganization r etain the essence of what was?

31

BATH HOUSE POWER HOUSE

32

BaTHHoUSE poWErHoUSE

The supr eme connection to water, the ritual found in the making of electric i ty, and the desir e to cr eate a r ejuve-nated communal space ult imately cr eates the opportunity to inser t a bathhouse in a powerhouse. This inser tion embraces the river, embraces the building , and embraces its histor y.

Through the examination of ancient rituals, the bathing experience was found uncannily similar to the movement of coal through the powerhouse—ar rival, pr eparation, hot, steam, cold. The pr ecise ritual fr om one step to another can be used to embody an architectural experience, cr eate a journey for a visitor on thr ee parallel planes—that of the powerhouse, that of the ancient r oman bathhouse, and that of how it is manif ested today.

going to the water.

theBaTHHoUSE poWErHoUSE

33

changing

hot poolcommunity pool

atrium

spa

steam room

water purif ication

boutique hotel individual lap pool

+

the original program included the main components of a roman bathhouse, as well as a water purification system so as to keep its powerhouse-ness.

the large scale of the build-ing required another, more private piece of program. an existing elevation dictated the addition of 12 boutique hotel rooms. the object that carries water throughout the build-ing also now holds atop it a single lap pool, an interstitial territory between public and private.

34

SERVED

THE program:

SERVANT People:Front Desk Booking OfficeMaintenance OfficeLaundry

Things:Sanitation PlantMechanicalWater Treatment (freshwater, wastewater)Storage

Circulation

Total Square Footage:

Atrium and PorchLockers, Showers, RestroomsHot Bath (102˚F)Steam Bath (men, women)Communal Pool (82˚F)Lap PoolYoga SpaceWaiting AreaIndoor DeckTrusstop LoungeMassage Rooms (x4)Hotel AtriumOvernight Stay (x12)

1536 sqft1368 sqft

500 sqft560 sqft

1950 sqft500 sqft896 sqft320 sqft

1188 sqft929 sqft 768 sqft336 sqft

9331 sqft

384 sqft200 sqft184 sqft384 sqft

648 sqft2080 sqft2500 sqft

800 sqft

4809 sqft

19,738 sq ft

35

THE romaN BaTHHoUSE

The Roman bathhouse was the center of social l i f e, a place for cultur e and conversation. Simultaneously, i t was a place for r est and r ef lect ion. Each step of the bathing process r evealed dif f er ent levels of intimacy, dif f er ent types of c leansing . In r esponse to this duplic i ty, the Laclede building is a combination of a community pool and a high-end spa in a museum like sett ing—light and water displaying the beauty of human form.

deter mining sequence

36

“The Roman bathing ritual was complicated, combining what in modern terms would be consider ed a visit to the g ymnasium, bathroom, and spa. The bather enter ed the establishment, disr obed and then exercised. Once a good sweat had been worked up, the bathing process proper was embarked on.”

paleastra

atrium preparation hot bath steam bath community pool

changing tepidarium caldarium natatorium

1 2 3 4 5

atrium preparation hot bath steam bath community pool

paleastra changing tepidarium caldarium natatorium

37

THE poWErHoUSE

The journey of coal was mor e than simply l inear. It shifted heights, moved in a rail car along ramps within the building—moving up to be gr ound fine enough to boil , moving down to r each the cool waters of the condenser in the basement. The cir culation and movement throughout the bathhouse echoes this path, not only ser ving the ritual, but allowing the bathers to experience the structur e at ever y level , r evealing details of brickwork or trusses that would otherwise go unnoticed.

spatial organization

38

atriu

mar

rival

coal

pul

veriz

er

heat

ed &

boi

led

steam

to tu

rbin

es

trans

form

ed

ELECTRICITY

prep

arat

ion

hot b

ath

steam

bat

h

publ

ic po

ol

OUTDOORS

The shift ing of the cubes cor r esponds with the elevation change of the coal, and in turn, the bather.The shift ing of the cubes cor r esponds with the elevation change of the coal, and in turn, the bather.

39

New functions fol low the inher ent geometr y of building , a

col l is ion of an or thogonal grid with a set of angles. The angles

of the building wer e formed by two for ces, the str eet grid of

the city and the angle of the railr oad track that once hug ged

the building . The intersect ion of angles separates the private

and public r ealms, the mor e enclosed belonging to hotel and

massage. The mor e open for the atrium and community pool.

Spaces stem per pendicular to the original angles.

overnight staymassage roomsprivate bathingyoga space

quietsound separated

enclosedprivaterestful

socialopenplayfulinteractive

atriumcafecommunity pool

40

1

2

3

4

.

1

210

1

experiencing the top, bottom, middle of

the arched windows, the concr ete arched

foundations in the basement, and the

por tholes up above.

It is important the bathers choose their

path, so that the ritual is mer ely a

sug gestion, mor e or less seducing rather

than dir ect ing . A central axis of

c ir culation allows for each pool to be

r eached in a dif f er ent way.

41

It was immediately known that the existing building must be r ead to determine programmatic or ganization. Existing mass and void dictated mor e public or private spaces. A lar ge open ar ea holds the communal pool. The hot bath is placed in a cool , dark ar ea. These moves held throughout the design process. Formally, the new structur e only began peel ing away fr om the original f loor, but a general idea that ther e needed to be dif f er entiation was understood.

understanding what exists.

42

43

44

fr om cinema to spa to bathhouse

APPROACH

Countless studies and sketches explor ed how the old and new volumes should interact . To r emain consistent and cohesive throughout, rules wer e cr eated to inform each design decision and begin to develop a harmonic conversation between old steel and new white concr ete.

the

47

early iterations focused on running paths parallel to existing l ines, cr eating too complex system of bridges.

The addition of the aqueduct as an object cr eated a clear programmatic division and added vibranc y and movement to the overall plan composi-t ion.

The tr eating of the “objects” varied over t ime, fr om com-plet ly f loating , to thick walls you pass through (pictur ed her e), to ult imately a combi-nation of both.

Becoming mor e and mor e de-veloped, the plan i l lustrates a modest assimilation of what is new and what is old,

48

Upon evolution of the design, in order to truly maintain thingness, a set of rules needed to be established. As functions became order ed, how these elements interacted with the existing building became the main architectural question.

How can we begin to r eveal and r etain thingness through the programmatic pieces?

How can they move fr om simply program to harmoniz ing objects speaking to the old brickwork?

How does the new interact and inter vene with the existing building?

rULES o F EN gag E m ENT

developing an inclusive conversation.

49

The first abiding rule l ies in “raising .” A new system of paths is raised above the existing f loor. Not only is this ser ving symbolical ly in r espect for the past powerhouse, but also functionally, al lowing water and air to move in the tunnel beneath. This move cr eates a clear dist inction between what is old and what is new.

New structur e wil l minimally interact with existing , tr eating the powerhouse almost as sacr ed ruins. Subtly fol lowing the example of Carlo Scar pa, the design strives to employ layers that speci fy existing moments and amplify them.

RAISING

NEW SYSTEM OF PATHS

EXISTING FLOOR

50

The second rule addr esses the amount of contact between the building and new elements. Car ved, minimalist spaces ar e simply inser ted into the confines of the shel l and structur e, sneakily appearing as f loating volumes. The objects, along with the raised pathways ar e subject to the rule of “graz ing .” The old and new ar e just touching . This way the existing structur e can sti l l be used without impeding—creating cooperation and involvement between both parties.

GRAZING

51

4

8

1 a t r i u m

2 c h e c k - i n ( l a u n d r y )

3 c h a n g i n g r o o m

4 w a t e r p u r i f i c a t i o n

5 h o t b a t h

6 s t e a m b a t h

7 c a f e & w a t e r b a r

8 c o m m u n i t y p o o l

9 l a p p o o l

10 o u t d o o r p o o l

11 overnight stay

9

1 1

7

1 0

3

2

1

6

5

52

5 41 21 2

1 3

1 51 4

6

4 w a t e r p u r i f i c a t i o n

5 c o l d p l u n g e

6 s t e a m b a t h

1 2 s h o w e r s

1 3 l o c k e r s

1 4 u s e d w a t e r

1 5 n e w w a t e r

41 21 2

1 36

1 1 o v e r n i g h t s t a y

1 6 p r i v a t e b a t h i n g

1 7 m a s s a g e r o o m s

1 8 h o t p o o l

1 9 r e s t p o o l

1 1

16

17

18

19

Earlier iterations trialed various ways these interacted. At the midway point, i t was bel ieved that a completely separate structural system was necessar y to dist inguish old and new, something sel f -supporting within the lar ger volume. However, this r esulted in a stagnant placement of functions, lying strict ly within bars of structur e with thoroughly confused cir culator y paths (as seen in overlaid plans).

53

The space between existing structur e and new object was questioned—what was its pur pose? If ever ything is separated,

no separation is sacr ed. However, i f the structur es simply touch, the occasion of spanning fr om one touch to another generates

structural excitement and formal elegance.

54

55

P

P

P

PP

PPPP

P

PP

P

PPP

PPP

P

PP

P

P

P

P P PP

P

P

PP

Another important rule to maintain consistenc y and cohesion is to apply a clear material palette so new forms may be r ead separate fr om existing . White concr ete was chosen because it echoed the worn, crumbling concr ete of the building , but did not imitate it . It al lowed the cr eation of c lean, pr ecise forms with inher ent structural capabil i t ies, r ef lect ing the moving water and bouncing natural l ight. If additional scr eening or privac y is necessar y without complete enclosur e, t imber slats add visual warmth and physical shade. Marsh grasses native to the river wer e brought up to the site to contrast the r ed brick of the facade. It softens and enhances the landscape, r ejuvenating the bar r en ar ea.

maTErIaLITY

56

STEEL

WHITE CONCRETE

WOOD

GRASSES

CONCRETE

BRICK

CONCLUSION

The final pr esentation proved successful in many ways, thing-ness achieved through the subtle moves developed within. A full bathing experience is of f er ed fr om beginning to end, a concept striving to manif est i tsel f in built form.

the

59

Refer ring back to the site of Laclede Power Co., Ther e ar e two primar y moves that occur, r etaining the thingness of the land and cr eating movement and activity through the land that con-nects the building to the river.

THINgNESS oN THE SITE

beginning outside.

the

arch

the mississippi

60

dir ect ly adjacent to the site is the 2,600 ft . ar tesian well , providing access to the rich mineral spring sitt ing below the entir e site . It is in dir ect axis as the “aqueduct,” the vessel that channels water throughout the building .

bike path

the well

The site is the head to a 13 mile bike trail up the Mississippi River, celebrating natur e sl ightly r emoved fr om the city. The path is embodying the thingness of Laclede as a passageway fr om city to beyond, moving people as the once train that moved pr ecisely along its path.

61

1

4

5

6

7

8 109

2

3

1 t h e a t r i u m

2 c h e c k i n d e s k

3 a d m i n i s t r a t i o n

4 h o t b a t h

5 p u b l i c p o o l

6 y o g a s p a c e

7 o v e r n i g h t s t a y

8 d r i n k i n g f o u n t a i n

9 s u n d e c k

10 o u t d o o r p o o l

Ground Floor Plan

62

Entering fr om a plant enclosed plaza of f the str eet , or through the marsh grass that separates the parking , visitors f irst en-counter a “porch” within the shel l of the building , yet st i l l outside, an important transitor y space that aligns views of both ar t and the river. The space is a bridge acr oss waters, framing and for eshadowing the bathing experience and the deep connec-t ion with water. The atrium space is open and air y, pr esenting a powerful experience upon entering , hidden behind the gather ed people, water fal l ing fr om an “object”. The object r eveals the main event of the bathing experience, and allows a visitor to sit , l isten, view. The caf e is a piece of fur nitur e easi ly moved fr om inside to out, supplying the caf e chairs with water and tea.

maNIFESTED IN THE pLaNarchitectural ideamaNIFESTED IN THE pLaN1the atrium

63

The atrium fuels access to the administration object . The futur e bather checks in at the desk, grabs a towel, and begins the ascent to the changing r ooms above.

The minimalist car ved volume of administration allows for var ying degr ees of enclosur e with an open cei l ing for maxi-mum natural l ight entering onto the fr ont desk through a l ight shaft , as well as the of-f ices on the top f loor.

64

65

caf e seatingcheck in desk

The atrium marks the entr y to the sl iver of c ir culation that l ies between the exterior wall and the objects the bathers move between.

Interior Elevation

66

river bir ches

marsh grasses

modern classical

Detailed Plan of Lobby

Interior Elevation

67

Second Floor Plan

1 4 b o o k i n g o f f i c e

1 5 r e s t r o o m s

s h o w e r s

l o c k e r s

1 6 i n d o o r l o o k o u t

1 7 l a p p o o l

14

15

16

17

68

2preparing to bathe

Moving into the sl iver of c ir culation, one experiences the build-ing fr om a dif f er ent height, with the abil i ty to analyze the brick detail on the top of the arch of the twenty-four foot tal l win-dow. The bather turns of f the course into the changing r oom ar ea, a naturally l i t cei l ing system baf f les the echoes of the pool and allows for quiet pr eparation.

69

The existing glass panels ar e beauti ful , but broken and sporadic.

The glass st i l l in good shape wil l be interspersed with new il luminating panels speci f ical ly placed throughout the windows.

70

71

3Descending fr om the changing r ooms back to the f irst f loor, you experience a dark, intimate space laden with concr ete columns. The hot bath l ives within these columns, providing a r eadying and contemplative space for the f irst immersion in water.

the hot bath.

72

73

Basement Floor Plan

1 8 s t e a m r o o m s

1 9 l a u n d r y s e r v i c e

2 0 w a s t e w a t e r

2 1 s a n i t a t i o n

2 2 f r e s h w a t e r

2 3 m e c h a n i c a l

18

19

2022 21

23

74

Moving through the thick concr ete walls of the foundation, one enters the basement through an existing arch that mimics the towering windows above.

4the steam baths.

75

White arched shapes emer ge fr om the existing arches, almost touching the r ough concr ete wall , al lowing l ight in through a sl iver in between.

76

77

5The main pool concludes the steps of the bathing ritual with a deck for laying and watching and an ample stair for simply sitt ing in the water. It is a place to socialize, r elax, and spil l out into the landscape.

the community pool

78

Transverse Section

79

80

81

over night stay the “aqueduct”

82

The long sect ion i l lustrates the progr essional movement through the building and its r elationship to two components that r emain separate fr om the ritual: the boutique hotel and the aqueduct. The private sector of the building is connected to the r est by the visible axes on the f irst and second f loor.

the “aqueduct”

83

1 1 t r u s s l o u n g e

1 2 m a s s a g e r o o m s

1 3 b e v e r a g e s e r v i c e

12

13

11

Fourth Floor Plan

84

The massage r ooms and spa elements hang within the truss-work of the building , openings cr eated between the triangluar shapes so that one may move through them without hitt ing their head. The “roof ” of the hotels ser ves as a r est ar ea, with private drink and food ser vice.

the fourth floor

85

The hotel inser tion of program was a r esult of a dir ect conversation with the existing building . The Southeaster n façade of the building , that which once hug ged the rail l ine, was a strange inter play against the massive arched windows on its opposite side. Sixteen punched openings, lar ge enough to walk through, formerly cr eated strange spatial r elationships. However, with twelve of those windows unobstructed by truss work, it was clear these could be used as over night stay r ooms, small in natur e, perf ect for a nights r est in between biking the Mississippi and r elaxing in the bathhouse.

over night stay

3x4=

12

room

s

86

White brick fr om Laclede words along east side of building ar e salvaged to cr eate the one extension of new through the facade. The one punctur e is made of up both old, r eused, and new materials layer ed speci f ical ly to cr eate a thr eshold.

the “aqueduct”

87

88

Systems Diagram GeothermalExchange

AccessFloor

Freshwater Tank

WaterSanitation

Waste WaterTank

WaterBasin

For a truly holist ic design, the powerhouse must also r etain its powerhouseness through a compr ehensive compilation of systems. The natural spring lying underneath made the Laclede building a perf ect candidate for Geothermal exchange, car r ying hot and cool air fr om the gr ound through the access tunnels of the raised f loors. Water enters the basement dir ect ly fr om the water basin located dir ect ly beneath the wastewater tank, housing its own purif ication system and being channeled and car ried throughout the building ver tical ly by way of the aqueduct. Skylights and portholes al low for natural venti lation.

WorKINg WITH SYSTEmS

the powerhouse maintaining abili ty to generate.

89

BIBLIograpHY

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all images, uless otherwise stated were created by the author of this book.

all maps generated for site analysis derived from googlemaps.com

images of the Laclede Power Co. were provided by Tao+Lee Associates, edited by author.

pg.8 Ceramic Jug, the Library of Congress. www.loc.gov/exhibits/scrolls/jug.jpg

pg.15 World’s Fair. Of ficial Photog raphic Company, 1904. Missouri Historical Society Photog raphs and Prints Collections. Scan. Powerhouse, University of Washington Librar y. content.l ib.washington.edu

pg.17 Artesian Well. University of Nevada Las Vegas. digital.l ibrar y.unlv.edu

p.19 1800s map of St. Louis. Riverlorian.com

p.21 Flower in Concrete. vbis.ca/files/flower_concrete_smaller. jpg Arch in the Park. MVVA cityarchriver.com Biker on Trail. Bill Grant Photog raphy, visualjour ney.com

p.35 Français : La g rande piscine de Brousse, Jean-Léon Gérôme

p. 36 Bath Images at Pompeii, Overbeck Art Renewal Center

p. 49 Scarpa Images. mimoa.eu/images

ImagES CITED

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You lean toward non-existencebut have not yet become it entirely. For this reason, you can still be praised.

Your proposition, like you, is simple, of interest only to the human soul: vast reach of all that is not, and still something is.

© 2005, Jane Hirshfi eldFrom: Poetry, Vol. 186, No. 2, May

Publisher: Poetry, Chicago, 2005