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Visitor Center Produced for ARC 581 Michael Hobgood November 2012 North Carolina State University Gowanus Canal
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Visitor Center
Produced for ARC 581
Michael HobgoodNovember 2012North Carolina State University
Gowan
us C
anal
Contents
Gowan
us C
anal
Idea 1-19
IntentQuotationCommentaryPrecedents
Site 20-63
General StatementAerialVicinity MapExisting ZoningFuture ZoningBoundariesSetbacksExisting Topo & FootprintsNatural SystemsCirculationImagesGrainContextAnalysis
Program 64-94
General StatementArchitectural AspirationsSpatial RelationshipsSpatial RequirementsMassing AlternativesPrecedentsCode
IntentQuotationCommentary
1
ID
ID EA
Program 64-94
General StatementArchitectural AspirationsSpatial RelationshipsSpatial RequirementsMassing AlternativesPrecedentsCode
Intent
3
I grew up with few toys and little entertainment under the guide of farm people who constantly pressed the idea that if you want something you must work for it or reimagine what you already have. Boxes and old car parts turned into derby machines and castles. Those were my reality and not much has changed since then. Today I seek to develop crafted spaces that transform reality in a harmonious way that acknowledges today’s inhibiting issues of social expectations, money and politics. I used to bargain with my father on what I could use from the parts bin and felt a sense of good deed when the idea in my head came to reality after utilizing the least of his discarded treasures. In my life and in undergraduate studies I have learned that the opportunity to design should never be compromised by barriers. Struggle to break them, go around them or make them obsolete because it the only way we can leave this world a better place.
Architects don’t invent anything; they transform reality.
We have gone beyond that stage in architecture in which unity of language was believed to be the universal solution. Now we recognize the complex nature of the city, and it is just as well that this complexity exists since it is the real nature of the city itself. In our work situation we �nd that these transformational movements take on very di�erent forms. 1
Architecture without love is annoying. There are far too many build-ings today. Architecture has become a business. Increasingly there are people making a career from telling architects what they can and can’t do. It is very rare for me now to talk to craftsmen face-to-face. Buildings have to be speci�ed down to the cent, so you can no longer tailor them on site. This is sad. Using non-local materials is in a way a re�ection of opening up, to com-munication, to context of exchange with history. This was my idea, but as you can imagine everyone was against it.2
In the initial work I began by studying the site in order to classify: this is o.k., I can use this, this is terrible, etc… But now I take everything into consideration since what I am interested in is reality… There is no classifying architecture as ‘good’ or ‘bad’. Everything that is there is important and noth-ing should be left out… It is not only a question of making relationships out of the real conditions but also out of space and materials. Such relationships have to be established between the project and that which surrounds it, as well as between the di�erent parts within the project itself. Thus a project’s internal relationships take on a completely eclectic and hybrid nature since the external conditions of the work must penetrate and taint it.1
It’s like �nding a solution to a concrete problem which I’m involved in, but without an architectonic language being established, because I’m part of a movement for change which has much wider implications. Nothing really holds..every job has its own particular moment but the ongoing change does not stop… I’m aware that something else will come. 1
-Alvaro Siza
1
5 Quotation
2
I grew up with few toys and little entertainment under the guide of farm people who constantly pressed the idea that if you want something you must work for it or reimagine what you already have. Boxes and old car parts turned into derby machines and castles. Those were my reality and not much has changed since then. Today I seek to develop crafted spaces that transform reality in a harmonious way that acknowledges today’s inhibiting issues of social expectations, money and politics. I used to bargain with my father on what I could use from the parts bin and felt a sense of good deed when the idea in my head came to reality after utilizing the least of his discarded treasures. In my life and in undergraduate studies I have learned that the opportunity to design should never be compromised by barriers. Struggle to break them, go around them or make them obsolete because it the only way we can leave this world a better place.
Architects don’t invent anything; they transform reality.
We have gone beyond that stage in architecture in which unity of language was believed to be the universal solution. Now we recognize the complex nature of the city, and it is just as well that this complexity exists since it is the real nature of the city itself. In our work situation we �nd that these transformational movements take on very di�erent forms. 1
Architecture without love is annoying. There are far too many build-ings today. Architecture has become a business. Increasingly there are people making a career from telling architects what they can and can’t do. It is very rare for me now to talk to craftsmen face-to-face. Buildings have to be speci�ed down to the cent, so you can no longer tailor them on site. This is sad. Using non-local materials is in a way a re�ection of opening up, to com-munication, to context of exchange with history. This was my idea, but as you can imagine everyone was against it.2
In the initial work I began by studying the site in order to classify: this is o.k., I can use this, this is terrible, etc… But now I take everything into consideration since what I am interested in is reality… There is no classifying architecture as ‘good’ or ‘bad’. Everything that is there is important and noth-ing should be left out… It is not only a question of making relationships out of the real conditions but also out of space and materials. Such relationships have to be established between the project and that which surrounds it, as well as between the di�erent parts within the project itself. Thus a project’s internal relationships take on a completely eclectic and hybrid nature since the external conditions of the work must penetrate and taint it.1
It’s like �nding a solution to a concrete problem which I’m involved in, but without an architectonic language being established, because I’m part of a movement for change which has much wider implications. Nothing really holds..every job has its own particular moment but the ongoing change does not stop… I’m aware that something else will come. 1
-Alvaro Siza
Architects don’t invent anything, they transform reality. The site, the conditions of the site and the people, economies, materials and consequences of a project are all real. Architects transform this reality by working a solution to the complex problem that exists. This complex problem continues to become more complicated as money, code and technology evolve. It is the architect’s responsibility to maintain the position of master builder who is responsible for the reality transformed.
Siza tells us that architecture is a delicate act with heavy implications. When he mentions there being too many buildings and that architecture has become a business he means that the craft of architecture is not wide-spread enough and our values towards craft have changed. There should be honor in building in the �rst place since these masses that we form are the sites of exchange of ideas between people and cultures for generations to come. For instance, placing a material foreign to the site does not taint the project, rather it signals the context of exchange. Exchange of ideas is the mode of survival for human beings and architecture. We understand that knowing a non-native language or an interesting piece of information about another culture does no harm to one’s self, rather it makes us better. Our projects must start with the goal of establishing not a language, but the idea of progress.
When we take on a project and we have come to grips with the com-plexity that exists, we are now faced with the mounting question of what to do with our materials. The solution is to begin creating relationships with the context through space and the material itself. The relationship can be akward, subtle, fun, boring or whatever, so long as the relationship functions with the surroundings and the context is allowed to penetrate and taint the architect’s intervention. It is the holistic, intertwined result of the context and the build-ing that becomes the nest for human progress. The materials are de�ned not for architecture’s sake, but rather for the sake of preserving cultures.
Commentary 7
Siza tells us that he does not like to establish a language on the site, and that he is “part of a movement for change which has much wider implications….nothing really holds…I am aware something else will come”. He means that our architecture is of a time. What we make is a massive time capsule of what is trending, materials, technology, ideas and tastes. Almost all cultures become mixed with others over time, race becomes more and more neutral and tastes shift with no real predictability. Our architecture is likely to indicate a time, yet the opportunity to create something timeless still exists. Ideas, ideas of generating a new space that harnesses the idea of community and prompts the exchange of culture for generations is a time-less stamp to wear.
Following this direction one must try to establish a working, timeless ideology to provide a direction to a group of people using appropriate spaces and materials, without establishing an architectural language.
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Idea Precedent 9
Nuese MuseumDavid Chipper�eld w/ Julian HarrapBerlin, Germany2009
The nuese museum is a layered composition of old and new. Siza and Chipper�eld both state that historic sites are a particular challenge in that people often try to conserve almost all of the originality of the building. The societal contradiction is that in order for some-thing that is not forever to be preserved, the artifact itself requires innovation.
The building pre-renovation was heavily damaged in WWII. The concept for the design was to �t the build-ing for use as a modern museum without confusing the new construction with the existing building which is rich in history and design.
The new re�ects the lost, without imitating it.
Preservation Site Structure Organization Light Sustainability Relationships
Preservation Site Structure Organization Light Sustainability Relationships
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1 Siza, Alvaro, Kenneth Frampton, and Bernard Huet. "Critical Anthology."
Professione Poetica. Milano: Electa, 1986. 177-81. Print.
2 José Antonio Aldrete-Haas and Álvaro Siza.
BOMB , No. 68 (Summer, 1999), pp. 46-51
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Glass, wood and iron are used sparingly and supported on piers to ‘�oat’ the building above the ground, resembling a respectful presence on the site. Clean rectilinear forms distinguish the human intervention against the natural, however composition of foreign materials allows constant interaction with the site and qualities attributable to nature through color, texture, light and siting.
The Lennox Residence embodies the idea that materi-als foreign to the site are a necessity to making it better, and if considered and used appropriately have a way of adding new harmony to an existing condition.
Idea Precedent 12
Lennox ResidenceArtau ArchitectureOttignies, Belgium2006
Preservation Site Structure Organization Light Sustainability Relationships
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1 Siza, Alvaro, Kenneth Frampton, and Bernard Huet. "Critical Anthology."
Professione Poetica. Milano: Electa, 1986. 177-81. Print.
2 José Antonio Aldrete-Haas and Álvaro Siza.
BOMB , No. 68 (Summer, 1999), pp. 46-51
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Idea Precedent 16
Church of SeedO Studio ArchitectsHuizhou, China2011
The Church of Seed is an example of a space �nely crafted from the site and for the site. The in-situ concrete is formed with local bamboo, harmonizing the otherwise massive and blank concrete with the existing conditions. Light becomes the emotional and visual element most prominent inside, while wood and concrete stand naked and humble, attribut-able to the local village’s culture.
The pieces of the church establish a relation-ship between the local conditions, the site and local materials. The church as a whole takes on the nature of its surroundings and allows the conditions to penetrate and taint it.
Preservation Site Structure Organization Light Sustainability Relationships
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General StatementAerialVicinity MapExisting ZoningFuture ZoningBoundariesSetbacksExisting Topo & FootprintsNatural SystemsCirculationImagesGrainContextAnalysis
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22General Statement
Principal Organizers: David Briggs & Anthony DeenCompetition Name: The Water_Works CompetitionWebsite: http://gowanusbydesign.org/water_works/view/objectives/
Client: Gowanus by Design
Location: Brooklyn, New YorkCoordinates: 40°40’50” N 73°59’8” W County: KingsCERCLIS # NYN000206222
The intent of the competition is to provide a new community center that will occupy the site with a Com-bined Sewer Overflow [CSO] reten-tion facility. It is not the purpose of this competition to require an inten-sive engineering solution for the CSO retention facility, but rather to acknowledge the various components of the system, show approximate size and locations, and demonstrate how they support the competition's larger design objectives. The goal is to generate a new typology that will emerge from the symbiotic relation-ship of a community center and a sewage management facitlity. Entrants are encouraged to explore how the sacred and profane uses of water are realized in an evocative design solution.
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22Extended Aerial
Map coutesy of Google, Inc.
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2004 Aerial0 250
Feet source: United States Geological Survey, March 2004
DEGRAW ST
DEGRAW ST
3RD
AVE
3RD
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NEVI
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RH-034 CSO
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24 Aerial
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Site Statement
The base competition site is located within the dotted line with the option to acquire the adjacent western block. The opportunity to revitalize the canal and offer public spaces for recreation and circulation along the retention bank is too great to pass up. The design should consider the pedestrian and vehicular pathways while offering uninhibited, safe and efficient passages for the able-bodied and handicapped.
27
2004 Aerial0 250
Feet source: United States Geological Survey, March 2004
DEGRAW ST
DEGRAW ST
3RD
AVE
3RD
AVE
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RH-034 CSO
26 Vicinity Map
Diagram Courtesy of Emmie Tyson
Bridgerunners Motorcycle club
Gowanus Flushing Tunnel
Quality Woodworking
Brooklyn Truck Repair
NY Sketches
Fair�eld Hotel
Spoke The Hub Dance
Douglass St Music Collective
South Brooklyn WeightliftingBrooklyn Builders
Cross�t Gym
Union Hotel5th Avenue CommitteeLittle�eld (Venue)J. Williams Construction
Adams Book Company
28
28Existing Zoning
Site
29
Diagrams Courtesy of Heidi Nortcutt
Commercial Overlay
C1-1
C1-2
C1-3
C1-4
C1-5
C2-1
C2-2
C2-3
C2-4
Zoning Districts
Zoning Districts Thematic
Residence District (Medium and Higher Density)
Residence District (Lower Density)
Commercial District
Mixed Use District
Manufacturing District
Battery Park City
Park
Primary Land Use
One & Two Family Residence
Multi-Family Residence (Walkup)
Multi-Family Residence (Elevator)
Mixed Residential & CommercialCommercial Use
Industrial / Manufacturing
Transportation / Utility
Public Facilities and Institutions
Open Space & Recreation
Parking
Vacant Land
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recent proposal drafted and reviewed in May of 2008 by the City of New York Department of Planning.
Map courtesy of Bing
MX Waterfront Goals:Public access to canal’s edge
Inclusionary Housing ProgramConsideration of ContextTransitions to neighborhood
M1-4/R6B : Mixed use district30’ min./ 40’ max streetwall50’ max building height2.0 FAR
M1-4/R7A : Mixed use district40’ min./ 65’ max streetwall80’ max building height2.0 FAR Industrial3.45 - 4.6 FAR residential Inclusionary Housing Bonus
M1-4/R6B : Mixed use district30’ min./ 40’ max streetwall50’ max building height2.0 FAR
M1-2 : Mixed use districtMaintain light industrial
R8A/C2-4 : Residential/ Commercial DistrictInclusionary Housing Bonus: 5.4 - 7.4 FAR60’ min./ 85’ max. streetwall120’ max. building height
Future Zoning
MX Waterfront South
MX Waterfront North
M1-4/R6B
M1-4/R7A
M1-2
R8A/C2-4
31
30 Boundaries
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34 Natural Systems
TemperatureOver the course of a year, the temperature typically varies from 27°F to 85°F and is
rarely below 14°F or above 93°F.
Daily High and Low Temperature
The daily average low (blue) and high (red) temperature with percentile bands (inner band from 25th to 75th percentile, outer band from 10th to 90th percentile).
The warm season lasts from June 1 to September 15 with an average daily high temperature above 76°F. The hottest day of the year is July 25, with an average high
of 85°F and low of 72°F.The cold season lasts from December 4 to March 11 with an average daily high
temperature below 47°F. The coldest day of the year is January 18, with an average low of 27°F and high of 38°F.
Fraction of Time Spent in Various Temperature Bands
The average fraction of time spent in various temperature bands: frigid (below 15°F), freezing (15°F to 32°F), cold (32°F to 50°F), cool (50°F to 65°F), comfortable (65°F to
75°F), warm (75°F to 85°F), hot (85°F to 100°F) and sweltering (above 100°F).
SunThe length of the day varies signi�cantly over the course of the year. The shortest day is December 21 with 9:14 hours of daylight; the longest day is June 20 with
15:06 hours of daylight.
Daily Hours of Daylight and Twilight
The number of hours during which the Sun is visible (black line), with various degrees of daylight, twilight, and night, indicated by the color bands. From bottom (most yellow) to top (most gray): full daylight, solar twilight , civil twilight, nautical
twilight, astronomical twilight, and full night.
The earliest sunrise is at 5:23am on June 14 and the latest sunset is at 8:32pm on June 27. The latest sunrise is at 7:29am on November 3 and the earliest sunset is at
4:27pm on December 7.
Daily Sunrise & Sunset with Twilight and Daylight Savings Time
The solar day over the course of the year 2012 . From bottom to top, the black lines are the previous solar midnight, sunrise, solar noon, sunset, and the next solar midnight. The day, twilights (solar, civil, nautical, and astronomical), and night are indicated by the color bands from yellow to gray. The transitions to and from daylight savings time
are indicated by the "DST" labels.
36 Natural Systems
32
Natural Systems
38
133
40 Natural Systems
2
PrecipitationThe probability that precipitation will be observed at this location varies throughout the year. Precipitation is most likely around March 17, occurring in 48% of days. Precipi-
tation is least likely around October 4, occurring in 37% of days.
Probability of Precipitation at Some Point in the DayThe fraction of days in which various types of precipitation are observed. If more than
one type of precipitation is reported in a given day, the more severe precipitation is counted. For example, if light rain is observed in the same day as a thunderstorm, that day counts towards the thunderstorm totals. The order of severity is from the top down
in this graph, with the most severe at the bottom.
Over the entire year, the most common forms of precipitation are light rain, moderate rain, thunderstorms, and light snow.
Light rain is the most severe precipitation observed during 34% of those days with precipitation. It is most likely around April 22, when it is observed during 20% of all
days.
Moderate rain is the most severe precipitation observed during 27% of those days with precipitation. It is most likely around April 29, when it is observed during 15% of all
days.
Thunderstorms are the most severe precipitation observed during 13% of those days with precipitation. They are most likely around July 16, when it is observed during
16% of all days.
Light snow is the most severe precipitation observed during 12% of those days with precipitation. It is most likely around January 19, when it is observed during 17% of all
days.
Types of Precipitation Throughout the YearRelative frequency of various types of precipitation over the course of a typical year.
During the warm season, which lasts from June 1 to September 15, there is a 42% average chance that precipitation will be observed at some point during a given day. When precipitation does occur it is most often in the form of light rain (34% of days
with precipitation have at worst light rain), thunderstorms (31%), moderate rain (28%), and heavy rain (5%).
During the cold season, which lasts from December 4 to March 11, there is a 46% average chance that precipitation will be observed at some point during a given day.
When precipitation does occur it is most often in the form of light snow (31% of days with precipitation have at worst light snow), light rain (26%), moderate rain (21%),
and heavy snow (8%).
Warm Season Precipitation Cold Season Precipitation
Relative frequency of various types of precipitation during the warm and cold seasons respectively.
SnowThe likelihood of snow falling is highest around January 18, occurring in 26% of days. The season in which it is relatively likely for snow to fall spans from November 24 to
April 3.
Probability of Snow Fall Being Reported in a Given Day
Probability that snow will be reported at least once in a given day. The season is defined as the period during which the probability is greater than one third the maxi-
mum probability.
Either snow rarely accumulates at this location or snow depth measurements are unavailable or unreliable.
Natural Systems 42
CloudsThe median cloud cover ranges from 63% (partly cloudy) to 82% (mostly cloudy). The sky is cloudiest on December 20 and clearest on September 13. The clearer part of the year begins around June 19. The cloudier part of the year begins around November 7.
Median Cloud CoverThe median daily cloud cover (black line) with percentile bands (inner band from 40th
to 60th percentile, outer band from 25th to 75th percentile).
On September 13, the clearest day of the year, the sky is clear, mostly clear, or partly cloudy 56% of the time, and overcast or mostly cloudy 43% of the time.
On December 20, the cloudiest day of the year, the sky is overcast, mostly cloudy, or partly cloudy 69% of the time, and clear or mostly clear 31% of the time.
Cloud Cover Types
The fraction of time spent in each of the five sky cover categories. From top (most blue) to bottom (most gray), the categories are clear, mostly clear, partly cloudy,
mostly cloudy, and overcast. Pink indicates missing data. Outside of the United States clear skies are often reported ambiguously, leading them to be lumped in with the
missing data.
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WindOver the course of the year typical wind speeds vary from 3 mph to 20 mph (light air
to fresh breeze), rarely exceeding 29 mph (strong breeze).
The highest average wind speed of 13 mph (moderate breeze) occurs around March 4, at which time the average daily maximum wind speed is 20 mph (fresh breeze).
The lowest average wind speed of 10 mph (gentle breeze) occurs around August 7, at which time the average daily maximum wind speed is 16 mph (moderate breeze).
Wind SpeedThe average daily minimum (red), maximum (green), and average (black) wind speed
with percentile bands (inner band from 25th to 75th percentile, outer band from 10th to 90th percentile).
The wind is most often out of the north west (19% of the time), north east (15% of the time), south (15% of the time), west (14% of the time), south west (12% of the time), and north (12% of the time). The wind is least often out of the south east (4% of the
time).
Wind Directions Over the Entire Year
The fraction of time spent with the wind blowing from the various directions over the entire year. Values do not sum to 100% because the wind direction is undefined when
the wind speed is zero.
Fraction of Time Spent with Various Wind Directions
The fraction of time spent with the wind blowing from the various directions on a daily basis. Stacked values do not always sum to 100% because the wind direction is unde-
fined when the wind speed is zero.
Building Topo & Footprints 44
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Circulation
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reference images for figure ground generation provided by google maps
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Preservation Site Structure Organization Light Sustainability Relationships
IMAGES
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IMAGES
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DOUGLASS ST
LOOKING SOUTH EAST
LOOKING SOUTH - POOL ENTRANCE
LOOKING SOUTH WEST
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LOOKING SOUTH WEST
LOOKING SOUTH EAST - CORNER OF DOUGLASS/NEVINS
LOOKING SOUTH WEST
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LOOKING SOUTH EAST - TOWARDS
NEVINS ST
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LOOKING EAST - TOWARDS SITE
LOOKING WEST - FROM SITE
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LOOKING NORTH - NW CORNER OF DEGRAW/3RD ST
LOOKING WEST - CORNER OF DEGRAW/NEVINS
DEGRAW ST
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LOOKING AT NORTHEAST CORNER - DEGRAW/3RDLOOKING WEST - TOWARD CANAL
LOOKING SOUTH - ACROSS FROM SITE
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http://msuweb.montclair.edu/~olsenk/gc1968.jpg
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62 Analysis
http://msuweb.montclair.edu/~olsenk/gc1968.jpg
The site has an aged patina that has a strong chance of surviving the transformation and becoming appreciated by the new users. The site is not a blank slate and requires careful attention to the details because it is more of a shame to ruin something great than fail to make a great intervention.
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PROGRAMGeneral StatementArchitectural AspirationsSpatial RequirementsSpatial RelationshipsMassing AlternativesPrecedentsCode
PROGRAM
66General Statement
The Gowanus Canal Visitor Center is a place for integrating a water treatment facility with spaces for recre-ation, gathering and resting. The water treatment needs are very large and it is especially the challenge of this project to make the spaces around such a facility not just inhabitable, but also enjoyable. Movement throughout the region has been impeded by the industry and with the prominent location near the northern most portion of the canal it is the resposnsibilty of this program to encourage re-use of the canal. By providing a range of services for activities like sports, swimming, trails for exercise and seamless access to public transportation the canal will have a chance to once again thrive.
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68Architectural Aspirations
The canal itself is a timeless piece that has aged gracefully considering the abuse and neglect it has received since it was just a creek. How timeless is the canal? How timeless is the support of the community? How timeless is the culture in which occupies it? These questions are not exactly answer-able, but the quote from Siza may hold a clue for us and the canal. If preservation requires innovation, then the apsiration of this project is to provide enough innovation to revive and maintain life.
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70 Spatial Relationships & Requirements
Pa
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gCSOPo
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oor Rec
Food
Bridge
Community Center (Sq. Ft) Indoor Recreation (Sq. Ft)Entry & Check-in 800 After School Rm 1500Large Pool w/ Perim. 13448 Cardio 0001mRSmall thgieW675looP 0001mRAdd Deck Area 15000 Computer Resource 1200Add. Deck Area 15000 Computer Resource 12002 Life Guard 0003muisanmyG0snoitatSMens Toilet Station 300 Multi-purpose Rm 1400Womens Toiler Station 300 Women's Locker 800First Aid Station 200 Men's 008rekcoLPool Equipment Room 300 Mech & Circ @ 30% 3210Life Guard Locker Rm 300 Reading 003mRSecurity Station 200Storage for Pool Equip. 300
0124142713
Outdoor Recreation (Sq. Ft) Indoor Office (Sq. Ft)Canal Bridge/Park 2500 Public Meeting Rm 300(4) Handball Courts 3200 Parks Dept. Offices 1500(6) Half-court Basketball 9300 Men's Restroom 150Ice/Skate Park Hybrid 3200 Women's Restroom 150Sitting with Sprinkle 400 Mech & Circ @ 30% 630(2) Children's Playgrounds 4000(2) Children's Playgrounds 4000Comfort Station 800 Community SupportCirculation at 25% Gross 5675 Hot & Cold Kitchen 400
004gnitaeS
035357092
CSO Retention (Sq. Ft) Additional LandscapingInstrument Control 3500 *Replanted Vegetation 30000Screen & Debris Disposal 7000PB Equip Space 10000
Odor Control 5500 Total Building (Excl. CSO) 49464Total Site 104539
26000 Total Site + ReVeg 134539Total Site w/ Parking 174539
72 Massing Diagrams
Scheme One
Public green spaces transition seamlessly from the sidewalks to the bridge to engage activity on the canal. Courtyrads are created by the buildings and parking occupies the lowest level in accordance with the future zoning requirements which take into acount the potential for �ooding. The red and black are the visitor center volumns with the CSO, PArking and Pool volumns on grade.
74Scheme Two
Public green spaces transition seamlessly from the sidewalks to the bridge to engage activity on the canal. Courtyards are created by the buildings and parking occupies the lowest level in accordance with the future zoning requirements which take into acount the potential for �ooding. The red and black are the visitor center volumns with the CSO, parking and pool volumns on grade. Parking and CSO are set back o� street and the visitor center creates a strong presence on the southern corner of the site and cleans a greenway path straight across to the canal.
Public green spaces transition seamlessly from the sidewalks to the bridge to engage activity on the canal. Courtyards are created by the buildings and parking occupies the lowest level in accordance with the future zoning requirements which take into acount the potential for �ooding. The red and black are the visitor center volumns with the detached CSO, parking and pool volumns on grade. Parking has been moved o� the canal edge to make room for open greenspace.
Scheme Three
Precedent76
Gleneagles Community CenterPatkau ArchitectsVancouver, Canadaxxxx
Patkau took a large program and �t it into a smaller footprint. The proposed site in Brooklyn has plenty of space, but the design intentions are to minimize build-ing presence and increase the the land available for outdoor public spaces. Circulation in a community center is crucial to the func-tion of the space. Patkau cleverly uses the expansive space required for the courts to create an exposed structure and a run of tall glazing to get light and views to the occupants of the �rst and second �oors.The siting allows for people to enter on two levels of grade by taking advantage of the slightly sloping topography. The Brooklyn site intends to use a bridge to connect the buildings to the canal and will likely have to deal with multiple entry levels.
Preservation Site Structure Organization Light Sustainability Relationships
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43
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2
Lower Level
Main Level
Upper Level
Circulation Section
Circulation Section
Court Section 44
Precedent 80
Moses BridgeRo&Ad ArchitectenHalsteren, The Netherlands2011
The Moses Bridge is an example of a bridge as a space. The construction, the idea of being “in” the water, the use of accoya wood which naturally resists rot in water are all precedents that may be applied to Brooklyn at a larger scale. People stop on the bridge to catch a view of or play in the water. It has a distinct presence as a passage and begins to create a destination even as a place for movement. The Brooklyn project intends to engage the canal and merge circulation with destina-tion in an attempt to keep people connected.
Preservation Site Structure Organization Light Sustainability Relationships
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3
45
82
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47
4
48
84
5
Grain Precedent
Palo Verde Library & Maryvale Community CenterGould Evans & Wendell Burnette ArchitectsPhoenix, Arizona2006The library and the community center share re-used outdoor spaces, a simple style and have a transparent entry level that works as a protected community space. The program had to use existing recreational facilities like the baseball �eld and was under a tight budget. The simplicity of the building and the shared spaces make the two programs work together in a spiritual, functional and economical way. The Brooklyn project aims to �nd a similar sharing of tectonics to �nd a beautiful methodology for connecting water resources and community recreation.
Preservation Site Structure Organization Light Sustainability Relationships
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7 8
9 10
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LOOKING SOUTH EAST
LOOKING SOUTH - POOL ENTRANCE
Code
14
15
LOOKING SOUTH EAST - CORNER OF DOUGLASS/NEVINS
LOOKING SOUTH WEST
90
LOOKING SOUTH EAST - TOWARDS
16
LOOKING EAST - TOWARDS SITE
LOOKING WEST - FROM SITE
92
20
2122
LOOKING AT NORTHEAST CORNER - DEGRAW/3RD
LOOKING WEST - TOWARD CANAL
LOOKING SOUTH - ACROSS FROM SITE
94
17
LOOKING NORTH - NW CORNER OF DEGRAW/3RD ST
ork.blogspot.com/2010/09/gowanus-canal.html
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Image Credits
1. http://www.4currencieso�ife.com/indigocoach.net/wp-content/uploads/2008/11/ istock_000004397342small_struggle.jpg
2. http://venice-architecture-biennale-2012.myartguides.com/uploads/big/11818/Alvaro%20Siza-photo%20Studio%20Siza.jpg
3. http://www.aasarchitecture.com/search/label/TEN%20Arquitectos
4 -10. "Neues Museum / David Chipper�eld Architects in collaboration with Julian Harrap" 28 Apr 2011. ArchDaily. Accessed 27 Nov 2012. <http://www.archdaily.com/127936>
11- 15. "Lennox Residence / Artau Architecture" 31 Aug 2012. ArchDaily. Accessed 27 Nov 2012. <http://www.archdaily.com/267264>
16-22. "Church of Seed / O Studio Architects" 11 Jul 2012. ArchDaily. Accessed 27 Nov 2012. <http://www.archdaily.com/253115>
23. http://annepercoco.�les.wordpress.com/2011/07/current-nytimes.jpg
24. http://inhabitat.com/brooklyns-gowanus-canal-gets-superfund-status/
25. Google Earth < http://earth.google.com/ >
26. Map courtesy of U.S. Geological Survey, March 2004
27. Bing < http://www.bing.com/maps/ >
28. Diagram courtesy of Emmie Tyson
29. City of New York Department of Planning
30. Diagram Courtesy of Heidi Nortcutt
31. Bing < http://www.bing.com/maps/ >
32. Diagrams courtesy University of Oregon, SRML
33. Diagram courtesy of Daniel Miguez
34. Diagram courtesy of Sean Steinbuegeler
35. Diagram courtesy of Tyler Shannon
36. Site images courtesy of Gowanus by Design
37 - 38. ork.blogspot.com/2010/09/gowanus-canal.html
24ork.blogspot.com/2010/09/gowanus-canal.html
39. http://msuweb.montclair.edu/~olsenk/gc1968.jpg
40. http://www.shawnhoke.com/wp-content/uploads/2012/11/Canal-Gra�ti-copy.jpg
41. http://www.idlewords.com/images/Gowanus/ry.jpg
42-44. "Gleneagles Community Center / Patkau Architects" 02 Jan 2011. ArchDaily. Accessed 27 Nov 2012. <http://www.archdaily.com/100591>
45 - 48. "Moses Bridge / RO&AD Architecten" 17 Nov 2011. ArchDaily. Accessed 27 Nov 2012. <http://www.archdaily.com/184921>
49 - 52. "Palo Verde Library and Maryvale Community Center / Gould Evans and Wendell Burnette Architects" 08 Jan 2011. ArchDaily. Accessed 27 Nov 2012. <http://www.archdaily.com/102240>
Code compliance charts p. 88-94 courtesy of Pat Rand, found in 2009 North Carolina State Building Code.
Bibliography
1 Siza, Alvaro, Kenneth Frampton, and Bernard Huet. "Critical Anthology."
Professione Poetica. Milano: Electa, 1986. 177-81. Print.
2 José Antonio Aldrete-Haas and Álvaro Siza.
BOMB , No. 68 (Summer, 1999), pp. 46-51
