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Designing or a Second LieSpectacle + Resource



2

WHAT IS THE PROBLEM?

“Architecture is a visible symbol o the values it represents. As a sum total o the climate, cultureand construction, architecture consciously or subconsciously carries the identity o its time,place and people.Being a physical object and visible rom the distance, buildings oten are conceived as an iconexpressive o the collective image. While, in terms o scale t hese icons represent neighborhood,city, region or even the country; in terms o their values they range rom temporal to political tosocio-cultural to technological or religious overtones.”1

According to a practicing architect and a researcher Yatin Pandya, architecture is a maniestation o tangibintangible values that vary in sizes and orms. Buildings not only provide occupancy, but they also display simages o location, users, and unction. A collection o these images, which Pandya reerred as an “icon,”conproound meaning that makes each building to be distinctive.

ICON: “a sign (as a word or graphic symbol) whose orm suggests its meaning”2

In the past, architectural icons were “anointed by the public, and sometimes a long time ater they were built.”architecture is acknowledged as icon, architecture becomes “the signiers o the value, quality or characteFollowing examples are the buildings that speak in ‘single-voice’- a powerul voice that can impress the vie

Historical examples are the Giza Pyramids, the Colosseum, or Hagia Sophia; they exhibited innoconstruction method, special intentions and harmonious additions to the immediate surroundings.5 For insthe Giza Pyramids depict Egyptians’ unquestioning obedience and respect to their king; the constructioover 80 years by 20,000 to 30,000 workers with millions o blocks to “shelter and saeguard the part o a phasoul that remained with his corpse,”and their pyramid shapes were designed ater “a sacred, pointed stonethe benben,”a symbol o the rays o the sun, which adds an absolute authority to every pharaoh.6 The Coloand Hagia Sophia also became the icons o the particular cities and countries o where each building stand

Modern examples are the White House, the Eiel Tower, or the Empire State Building; they became architicons and represent “popularly-recognized symbol[s] o something larger than [the building] itsel”.7 For exthe White House is a house o Presidents that symbolizes the “Presidency, the United States governmenthe American People;”since 1800, Presidents not only lived in there, but they also met the public and renothe interiors to show their ways o governing.8 While the White House may represent a slowly ever-chagovernance o the United States, the Eiel Tower and the Empire States Building stand in particular cultuera when the buildings were designed; French culture or the Eiel Tower, and Art Deco style or the EmpirBuildings.

Previous examples are considered icons o specic governance, history, era and building styles. However, tdevelopers became drastically eager to build placeless and repetitive icons or economic prot and reputation.9 However, due to the economic collapse, an egocentric movement within iconic architectentering a paradigm shit. Will the roles o icon disappear rom current architectural discourse, or will other emerge and re-motivate the next phase o the icon?

1Yatin Pandya, “Iconic Architecture versus Architecture as Icons,”

Daily News & Analysis, October 3, 2010, http://www.dnaindia.com/.2 “Icon,” Merriam-Webster Online Dictionary , 2011, http://www.merriam-webster.com/.

3 Witold Rybczynski, “When Buildings Try Too Hard,” The Wall Street Journal , November 22, 2008, http://online.wsj.com/.4 Yatin Pandya, “Iconic Architecture versus Architecture as Icons,”Daily News & Analysis , October 3, 2010, http://www.dnaindia.com/.5 Andree Irig, “Iconic Architecture Redened,”Suite101, July 25, 2008, http://www.suite101.com/.6 Paula Willard, “Explore the Pyramids,”National Geographic , 1996, http://www.nationalgeographic.com/.7 Witold Rybczynski, “When Buildings Try Too Hard,” The Wall Street Journal , November 22, 2008, http://online.wsj.com/.8 “White House History,” The White House, 2011, http:// http://www.whitehouse.gov/.9 Witold Rybczynski, “When Buildings Try Too Hard,” The Wall Street Journal , November 22, 2008, http://online.wsj.com/.

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Eiffel Towerickr.com _ by [Radek Tobolka]

Empire State Buildingickr.com _ by [b00nj]

White Houseickr.com _ by [HarshLight]





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Spectacle + Architecture

Guggenheim Museum Bilbao was the rst case study where spectacular architecture benetted struggling localeconomy. Designed by Starchitect Frank Ghery, the Museum was not only meant to become an iconic building. Itwas also intended an urban regeneration plan.22

Bilbao had major concerns such as increasing unemployment rate, pollution, trafc congestion and riot.As a solution, city enorced new systems in the three main sections; new transportation system, communitydevelopment and cultural investments. The Guggenheim Museum Bilbao was one o the major cultural investment,and its main purpose was “to increase the quality o lie or the citizens.”It was a costly construction; the budgetwas $119.6 million but the Museum totaled $228.3 million in the end. GMB’s nancial report in 2004 announcedthat “the initial investment o $183.8 million was recovered within the rst six years o the museum’s operation.”Itdemonstrated a spectacle - a new and unique way o operating a museum - that other museums in Europe neverpresented beore.23

“GMB [Guggenheim Museum Bilbao] is an interesting model or those museums that havebeen set up as economic reactivators. Unlike most museums in Europe, GMB has adoptedmarket-oriented budgeting with parallel commercial activities such as image copyright usagemanagement, caes, a high-end restaurant and a large museum store all aimed at making themuseum sta more efcient and sensitive to customers’ tastes. Traditionally state-nancedEuropean museums have been reluctant to cash in on such activities. At GMB, 70 percent o operating costs must be covered by museum revenue and 30 percent by the local government.As a consequence, ullling the budgetary predictions implies a commitment to attracting thehighest number o visitors possible, normally through special exhibitions. This is the type o museum that generates the largest impact on local economy.”24

According to Beatriz Plaza, Applied and Regional Economics proessor at the University o the Basque Country inBilbao, the Guggenheim Museum Bilbao was promoted as a commercialized complex. In order to attract morevisitors, the Museum provided extended and elaborated care to visitors. It oered big and small stores that openall the time to satisy viewers’needs and wants - unlike the temporary showcases that used to increase the numbero visitors or a limited time.

The exterior envelope o the Museum seems strange and peculiar, but there is a correlation between its designand the location; standing at the port town along with the river Nervión, the Museum is covered with titaniumpanels that remind the viewers o sh, and its use o aircrat production technology made the overall orm to look like a ship.25

22 Beatriz Plaza, “The Bilbao Eect,” Museum News, September/October 2007, 13.23 Beatriz Plaza, “The Bilbao Eect,” Museum News, September/October 2007, 13-15.24 Beatriz Plaza, “The Bilbao Eect,” Museum News, September/October 2007, 15.25 “Guggenheim Museum Bilbao,” Wikipedia, 2011, http://www.en.wikipedia.org/.

Gehry’s style o Deconstructivism and the museum’s diversied service brought nancial growth and pback into the city. As a consequence, each city attempts to improve its global prestige by presenting buthat are greater and more advanced in scale, orm, and construction method than those o other cities. Dispat least one signature building in regional skyline is becoming critical requirements o city marketing nowthan beore. The Museum has established early success in presenting a museum design that can only be sBilbao, but can it still be considered as a unique success when similar styles o Ghery’s design can now be seexample, in Weisman Art Museum at the University o Minnesota and in Walt Disney Concert Hall in LA?

Warning! Spectacle o Iconic Architecture is alling down

Since the 20th century, architectural icons have emphasized too much on the immediate visuals that buidisplay. Their appearances bedazzle visitors and promote tourism in the early phase, yet it is hard to admthese projects succeed on integrating with the local community. In 2007, 10 years ater the Guggenheim MBilbao was built, “Bilbao is all dressed-up, but hasn’t gured where to go.”Bilbao’s skyline continues to be lleambitious design by other starchitects including Zaha Hadid and Santiago Calatrava, “but architecture alonnot a city make.” Local groups continue to believe that t he “concentration o rst-rate architecture”in theior visitors and oreigners - not or t hem.26

International events such as Expo and Olympics are the main stages to propose mega and attention gatstructures. However, event construction which devotes itsel to reproduce a abricated antasy o the sito the occupancy is acing physical and nancial ruins due to the lack o consideration about the surrouenvironment and the building’s long-term usage. Olympic Game, one o the most well-known internaevents, requires numerous venues or dierent sports games. However, when the Game is over, majority built venues are let on site - underutilized. Olympic venues ail to integrate with the actual site and its nadue to a weighted design ocus on the world-wide appearance and inadequate preparation or post-occup

26 Denny Lee, “Bilbao, 1 0 Years Later,”The New York Times, September 23, 2007, http://www.nytimes.com/.

Guggenheim Bilbao Museumickr.com _ by [e VL] ickriver.com

Olympic Games 1980 - 2010

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Olympic Venues: What’s wrong? What is disappointing?

Why is what has been done in the past is not enough?

2008 Beijing Olympic was a short term, widely expansive project that was all about international, appearance and status. Among 37 venues and stadiums that were built, Beijing National Stadium was thestriking structure, recognized all over the world,” and its “dynamic orm and vast scale create[d] a new icChina and the city o Beijing.”27

“Herzog & de Meuron’s design or Beijing’s Olympic Stadium is ingenious, or example, but insteado the complex engineering it was the widely perceived image o a bird’s nest (a nickname thatdid not originate with the architects) that cemented the building’s international iconic status;the woven steel wrapper seemed to symbolize both China’s ancient traditions and its rush to

modernization.”28

The design o the Stadium extremely ocused on international prestige while paying less attention to itsevent local usage. It still presents stunning appearance that somehow seems unrelated to Chinese culture. the construction, $423 million was invested,29 512,000 homes were demolished, and 1.5 million C hinese cwere displaced.30 Chinese nationals not only had to sacrice their residences, they also had to und and suthe event that they don’t get to enjoy. Local community was not the true audience o the Olympics, as i thestanding silently behind the door.

Since the event was over on late August in 2008, Bird’s Nest was let as China’s main tourist attractiostadium is announced to be transormed to a mega-mall,31 which is an adequate answer or a large gatspace with an atereect aura o the Olympics. However, mega mall is another version o proposal aimiglobal prestige. The proposed mall may attract visitors again, but not t he local groups who have already loshouses and stores due to the government’s “gentrication in the name o improving a city’s image,”32 whbeen complaining about “how too much money [was] spent on the Games while social programs or seniordinary citizens were neglected”33 or who are signicant endangered by air and water pollution.34

Time to challenge today’s reproducible Iconic Architecture and its Spectacle,

rom mega to a “worthy testament to the culture o its time”35

Current icons o the Olympic Spectacle are placeless and etishized; host city present iconic luxury that are driven by tourism, and the city is eager to boast wealth and to express status - a antasized image that dreect most o the local conditions and needs.

Why do cities want to host the Olympic Games? Again, hosting the Olympics is not only about spotligcompetitions between athletes rom dierent nations. It is “the chance or the host nation to showcase themto the world,”as they are receiving countless visitors and sport ans and “as the Games are broadcast to millpeople across the globe.”Without such signicant event, city government rarely executes important planninas improving transportation system and building additional acilities that provide more employment to thcommunity.36 Hosting the Olympics can accomplish city revitalization, which usually takes long years and needs lot o approval and consents rom community, in a short time. Why not use this great opportunity tolocal groups long-cherished wish and need that can also present unique solution or the local problems?

27 “Beijing National Stadium (Bird’s Nest),” ARUP , 2011, http://www.arup.com/.28 Witold Rybczynski, “When Buildings Try Too Hard,” The Wall Street Journal , November 22, 2008, http://online.wsj.com/.29 “Beijing National Stadium,” Wikipedia, 2011, http://www.en.wikipedia.org/.30 EricaBulman,“Rightgroup:1.5millionpeopledisplacedby preparationsor2008 BeijingOlympics,”USAToday ,June5, 2007,http://www.usatoday.c31 Xinhua, “Bird’s Nest to become shopping center,”China Daily , January 30, 2009, http://www.chinadaily.com.cn/.32 Maureen Fan, “As Olympics near, many Chinese homes ace wrecking ball,” Washington Post , July 16, 2008, http://www.boston.com33 Michael Huang, “Communism causes Olympics atigue?” China Elections and Governance, August 28, 2008, http://chinaelectionsblo34 Jonathan Watts, “Chinese protesters return to streets ater Olympics,”The Guardian, August 31, 2008, http://www.guardian.co.uk/.35 Andree Irig, “Iconic Architecture Redened,”Suite101, July 25, 2008, http://www.suite101.com/.36 “Introduction,”Hosting the Olympic Games, 2011, http://hostingtheolympics.webs.com/.

Placeless & fetishized icons

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CHALLENGING THE SPECTACLE

In order to maintain the international prestige that the Olympics can bring, and also keep pace with local group’sneeds and wants, the Olympics preparation should be accounted or international visitors and local users. Canthe Olympic Spectacle be reormulated away rom boasting wealth to boasting resourceulness? Can we designan intended post-use to produce a new type o global image? Can t he post-use reinvent the stadium typology?

Current anxiety o post-use is that the degree o its useulness or worth gets signicantly low, sometimesalmost none, ater the Olympics. Some o today’s stadium typology is being “downsized into workaday sportingarenas, reborn as hotels and shopping malls, or all into disrepair.”37 Many once-prosperous-and-expensive venuesare let empty and underutilized as a ‘White Elephant’.

WHITE ELEPHANT: “an idiom or a valuable but burdensome possession o which its owner cannot dispose

and whose cost (particularly cost o upkeep) is out o proportion to its useulness or worth”38

I believe the new notion o Olympic spectacle is boasting resourceulness by planning a second lie o Olympicvenues. Host cities must reconsider what to do with the venues ater the Olympics. Its second lie should be otherthan simply becoming local sporting acilities, because most o the Olympic acilities are built or the sportsthat the local residents may never play or see again ater the Olympics.39 However, it is hard to imagine OlympicStadium to transorm into completely dierent space - mainly due to the inexible orces o each Olympic venueand its disconnected correlation to the surrounding landscape.

37 Juliet Lapidos, “What’s Next or the Bird’s Nest?” Slate, August 26, 2008, http://www.slate.com/.38 “White Elephant,” Wikipedia, 2011, http://www.en.wikipedia.org/.39 AndrewMalone,“Abandoned,derelict,coveredin graittiand rubbish:what islet oAthens’£9billionOlympic‘glory’,”MailOnline,July18,2008,http://www.dailymail.co.uk/.

(1) Infexible orces o venues

Since 1896, most o the summer Olympics presented stadiums that are similar in appearance; central, ovcomplete gure with iconic and sculptural roo.40 Due to those inexible orces that orm a grand and roundvenues seem hard to be transormed into dierent use other than sporting activities, concerts, or shopping

In general, how does a building bring a radical dierence in program with minimal architectural changemade them possible to change? How do they begin to present their own uniqueness and pertinence?

CASE STUDY 1_ Bookstore S elexyz Dominicanen in Netherlands, by Merkx + Girod

“Dating back to the 13th century, the structure was a Dominican church until Maastricht wasinvaded by Napoleon in 1794 and the group was orced out o the country. Since that point ithas been briey used as a parish, then a warehouse, then an archive, then a giant parking lot orbicycles (not such a terrible idea) and nally made over into a bookstore.”41

Constructed in 1294, an old Dominican Church in Maastricht went through ew spatial transormations inbeore becoming a modern bookshop. Originally, owners wish to “place shelves in and around the buildmuch the same way most people would ll a typical interior.” 42 They also suggested “install[ing] a seconwithin the church.”However, the architects Merkx+Girod did not accept their proposals because such desigcause a loss o the “spatial qualities o the church.”43 The designers recognized the history o the church anto preserve its unique landmark setting. As a result, architects erected a three-story structure made out osteel on one side, in order to separate the bookshelves rom the existing interior. Their nal placement shomagnicent and beautiul interior with lengthy rows o books. The mix o antique background and contemgesture is a spectacle which respects both existing and new conditions in agreement; it continues to celebrarich history o the Church.44

40 “Olympic Stadium.,” Wikipedia, 2011, http://www.en.wikipedia.org/.41 Diane Pham, “Ancient Dominican Church Renovated into Modern Bookstore,”Inhabitat , February 20, 2011, http://inhabitat.com/.42 “7 (More) Amazing Adaptive Reuse Architecture Projects: From Ship Houses to Chapel Bookstores,” WebUrbanist , 2011, http://weburbanist.c43 “Bookstore Selexyz Dominicanen,” e-architect , 2011, http://www.e-architect.co.uk/.44 “7 (More) Amazing Adaptive Reuse Architecture Projects: From Ship Houses to Chapel Bookstores,” WebUrbanist , 2011, http://weburbanist.c

Duration

“ S E C O N D L I F E ”

“ S E C O N D L I F E ”

?

Designing for a Second Life

Precedents of Adoptive Reuse (a)

Rag Flats

Philadelphia, PA, USA

Selexyz Dominicanen

Maastricht, Netherlands

The High Line

New York, NY, USA

Dominican Church Elevated Rail Rag Factory

Bookstore Park Condo



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CASE STUDY 2_ The Tate Modern Museum in London, by Herzog & de Meuron

The Power Plant in London’s South Bank was located at an abandoned site; it displayed a gloomy açade lledwith dark bricks. The plant also had short lie span; it was built in 1947, but was shut down in less than 40 years.However, the developers o the Tate Collection picked the plant as a site to convert into the modern art gallery.Now, the existing space has born again with a new program; the building was turned into the new Gallery o Modern Art or the Tate Museum.45

Most o the design rms who proposed design or a new museum disregarded the nature o the plant.Nevertheless, Herzog & de Meuron was the only designers who suggested reusing a signicant portion o theplant. As a result, the 500 t, 5-story Turbine Hall which once housed generators o the station now became anentrance or the museum; a glass ceiling brings ample amount o natural light or viewing art pieces, while the oldplants are vividly presented in the inner structures o girders, columns and walls.46

According to Rowan Moore, the author o Building the Tate Modern, the Tate Modern is “a space you nevercould ever have achieved with a new building.”47 The architects accepted the massive mountain-like brick buildingand even enhanced its industrial taste, rather than demolishing it. At the end, the Tate Modern became a spectacleand “striking and distinguished building,”48 and other cities such as New Delhi, the capital o India, are alreadycarrying orward similar experiment on one o the city’s decommissioned power plants.49

Precedent studies introduced an interesting blend o old site with new orces by adding a contemporary gestureon the preserved existing condition. It is hard to conrm whether a new bookstore or a museum was needed inNetherlands or London, but those adoptive reuses have invented a unique bookstore and a museum that anyother Dominican Churches or power plants in other countries have.

Then, can venues be tested to see i they can adopt radically dierent but pertinent u sage? Can it be achievedwithout complete demolition? Can they be designed at the initial stage with its secondary usage? Followingexperiments present a mix o two programs - stadium and housing. Here are several reasons or using housing asthe secondary program: 1) it is usually the rst and prior acility needed or the Olympics; 2) it is a program or localand permanent users; 3) It requires almost an o pposite planning strategy than stadium design.

45 “The Building,” Tate Modern, 2011, http://www.tate.org.uk/.46 Jackie Craven, “Designing the Tate Modern,” About.com, 2011, http://architecture.about.com/.47 Jackie Craven, “Designing the Tate Modern,” About.com, 2011, http://architecture.about.com/.48 “The Building,” Tate Modern, 2011, http://www.tate.org.uk/.49 “Delhi’s disused power plant to be Tate Modern-style museum,”IBTraveler , December 31, 2010, http://www.ibtimes.com/.

EXPERIMENT 1_ Can Housing and the Stadium perform simultaneously?

The goal o this experiment was to break a central and complete gure o the stadium. In this experiment, diarrangements o the same physical model diagramed a number o possible conditions. Moreover, these placedemonstrated ew strategies o decentralizing the center o a stadium, and also o ragmenting the centeinto multiple - but smaller - sport elds and housings. Overall experiment was conducted to see i stadiumhousing can perorm simultaneously in the same uniorm space to deliver a state o being resourceulnesexperiment has taught the necessity o speciying the dimension o the stadium, the types o housingtectonics o the dividing bou ndaries.

EXPERIMENT 2_ Can Housing orm the Stadium?

The goal o this experiment was to mimic a stepped sectional prole o a typical stadium. In this experiexisting housing units were added and stacked up, and the sport eld was placed in the middle o the top. Odiagrams demonstrate a condition where a collection o housings becoming a site or a stadium. Undcircumstances, international spectators will be able to continue watching the game, while the local spectatobe able to engage on watching the Games as well. However, this test again demanded clear dimension o hunits, potential use o the roo and exterior walls, window locations, circulations, and etc.

Precedents of Adoptive Reuse (b)

Carlinville Southern Baptist ChurchCarlinville, IL, USA

CCASan Francisco, CA, USA

Federal Correctional InstituteRay Brook, NY, USA

Tate ModernLondon, UK

Walmart Greyhound Bus Terminal Olympic Staff Housing Oil-f ired Power Plant

Church School Campus Federal Prison Museum



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(2) Landscaping venues

Urban ecology is one o the vital considerations in constructing Olympic stadium. Again, Olympic Venue is capableo becoming a new icon o the host nation - whether the word ‘venue’only indicates a singular stadium or a groupo multiple structures. They can become signiers o what the host nations want to share with the visitors. Then,how can new developments and existing cities blend well together without conict between preservation andredevelopment? Town squares that are originated rom Medieval plazas are the main examples o alike urbanplanning strategy.

CASE STUDY 1_ Piazza dell’Anteatro, Lucca, Italy

Located in the central region o Lucca, the Piazza dell’ Anteatro was the site o an oval-shaped Roman orum where “gladiators and beasts engaged in mortal combat.” 50 Duringthe Middle Ages, the surrounding houses were designed “into the remains o the oors o the Roman amphitheater,”while par ts o the raw materials o amphitheater were picked uprom the site or t he city’s palaces and churches. In 1930s, under the order o Duke Ludovico,the amphitheatre was rearranged again to reorm the ancient remnant. Lorenzo Nottolini,a local architect who was entitled to organize the site and was managed to maintain themedieval look, reconstructed the ground oor with our tunneled entryways.51

Today, its history is only visible on “the arch ... through which [people] enter the square”rom the earlier entryways. It is also amazing to witness an indelible presence o the Romanorum that is now being surrounded by the houses. houses that “retained the jumbled,medieval look that the diering heights o the tower” add harmonious and spontaneoustaste o the town, although a placement o houses, which would have never accomplishedi there was no Roman orum, indicates an inevitable roles o its rich history. 52 Over the time,the orum has absorbed into the city.

CASE STUDY 2_ Piazza del Campo, Siena, Italy

The Piazza del Campo is another medieval plaza that was also originated rom a site o aRoman orum. However, the plaza is special or two reasons: First, the ground boasts uniqueconormation o being a big concave platorm with decorative paving. Second, it is a placeor the sport called Il Palio - “one o the most time-honoured, sporting events, not just inItaly, but the world.”53

During the Middle Ages, the plaza was a “major urban planning problem or Siena” 54 and had been used as a space or airs and markets. In the late 13th century, the nishedsuracing o the plaza brought a new lie to the town, and t he shape is still presented today.

The Fonte Gaia, a well-known historical ountain or its placement in the plaza and elegantdesign, became another monument in the plaza. The plaza turned into a site or “almost allthe important events in the history o the city” and the local residents’meetings as well.55

Without a doubt, the plaza is a major public space in Siena and one o the mostastonishing medieval squares in the world. Today, the Il Palio is held twice a year, and liveperormance and spectators participate in each other’s experience. The Plaza is “the heart o Siena”that symbolizes the unique and rich history o Siena.56 In act, the plaza is one o themost positive proos o Siena’s culture.

50 “Piazza della Anteatro, Lucca Italia,” Lucca Italy , 2011, http://lucca.ca/.51 “Lucca, Italy,” Way To Go TRAVEL, 2011, http://www.carols-cruise-port-itineraries.com/.52 “Lucca, Italy,” Way To Go TRAVEL, 2011, http://www.carols-cruise-port-itineraries.com/.53 “Piazza del Campo,” ITALY Guides.it , 2011, http://www.italyguides.it/.54 “The Piazza del Campo,” Comune di Siena, 2010, http://www.sienaguidavirtuale.it/.55 “Piazza del Campo,” ITALY Guides.it , 2011, http://www.italyguides.it/.56 “The Piazza del Campo,” Comune di Siena, 2010, http://www.sienaguidavirtuale.it/.

Both plazas are major icons o Lucca and Siena in Italy. They are not only well-known or their design or hbut they take center stage o travelers because they are the signiers o distinct cities that they are locategeneral design o a public plaza can be imitated in dierent sites, but these two plazas cannot be recreatedother place.

EXPERIMENT_ Can the Olympics create a magnet or the city?

The goal o this experiment was to test i Olympic construction can oster a unique urban development. rst test, Olympic construction was held at the center o the city. As a consequence, the planning constcity core toward the center o the city and produced a concentrated main streets. In the second experOlympic construction was planned to inll ‘voids’- empty, underutilized and abandoned spaces. This develocan vitalize unoccupied and underdeveloped regions. Although the result may not be completely predic

diagrams have indicated that wise decisions on locating Olympic venues may become - either a good ocatalyst and accelerator o the city planning. Such practice will be held dierently in nations due to the vaproblems and dilemma that each local community has. In order to execute this methodology, specic siteproblems and complaints in local community, research o city government’s previous endeavor, and muchdetailed data are required.

“When in Rome, do as the Romans do.”

A new Olympics Spectacle will challenge the visitors to ‘become’the local residents during Olympics

Earlier precedents have introduced design cases that revitalized an old and abandoned site with a new proby reinorcing historical characteristic o the ancient building with an addition o contemporary gesture.case studies taught that a space that is currently abandoned and underutilized is not a total ailure yet; continuing process o re-writing the history and transorming a space in order to satisy requently chaoccupants o dierent ages, races, occupations, culture, and background.

By re-envisioning existing Olympic stadium as a ‘historical’ remnant and adding another programlocal groups are in need - as a ‘contemporary’ development, a new Olympic Spectacle will produce a uniqpertinent structure that can operate two programs simultaneous. In o rder to achieve this goal, visitors and trawill be orced to live as the citizens o the host nations during the Olympics, so that all Olympics spectato‘supposedly’the local residents. This new stadium typology will continue to operate ater the event, since it designed solely or local residents rom the beginning.

Piazza dell’ Anfiteatro Lucca, Italy

Roman Amphitheatre

Roman Forum

Piazza del Campo Siena, Italy

Constricting city core toward the center to concentrate main streets

Infilling voids to vitalize unoccupied regions

void



16

BIBLIOGRAPHY

Bulman, Erica. “Right group: 1.5 million people displaced by preparations or 2008 Beijing Olympics.”USA Today,June 5, 2007. http://www.usatoday.com/.

Broudehoux, Anne-Marie. “Images o Power.” Journal o Architectural Education, 2010. 52-62.

Craven, Jackie. “Designing the Tate Modern.” About.com, 2011. http://architecture.about.com/.

Das, Anjan K. “The Spectacle o the Industrial Revolution.” Refections, January 14, 2011.http://akdcts.blogspot.com/.

Debord, Guy. Society o Spectacles. England: Rebel Press. 2004 [1967].

Debord, Guy. Comments on Society o Spectacles. New York: Verso. 1990 [1988].

Fan, Maureen. “As Olympics near, many Chinese homes ace wrecking ball.”Washington Post , July 16, 2008.http://www.boston.com/news/.

Felluga, Dino. “Terms Used by Marxism.”Introductory Guide to Critical Theory , January 31, 2011.http://www.cla.purdue.edu/english/theory/.

Huang, Michael. “Communism causes Olympics atigue?” China Elections and Governance, August 28, 2008.http://chinaelectionsblog.net/.

Irig, Andree. “Iconic Architecture Redened.”Suite101, July 25, 2008. http://www.suite101.com/.

Lapidos, Juliet. “What’s Next or t he Bird’s Nest?” Slate, August 26, 2008. http://www.slate.com/.

Lee, Denny. “Bilbao, 10 Years Later.” The New York Times, September 23, 2007. http://www.nytimes.com/.

Pandya, Yatin. “Iconic architecture versus architecture as icons.” Daily News & Analysis, October 3, 2010.http://www.dnaindia.com/.

Pham, Diane. “Ancient Dominican Church Renovated into Modern Bookstore.”Inhabitat , February 20, 2011.http://inhabitat.com/.

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