Aoccdrnig to rscheearch at Cmabrigde uinervtisy, it deosn’t mttaer waht oredr the ltteers in a wrod are, the olny iprmoetnt tihng is taht the frist and lsat ltteres are at the rghit pclae. The rset can be a tatol mses and you can sitll raed it wouthit a porbelm. Tihs is bcuseae we do not raed ervey lteter by it slef but the wrod as a wlohe.

PORT-folio

alycsa valentine - university of detroit mercy - school of architecture

2007-2010

gate-garden-basin

“Take a course in good water and air; and in the eternal youth of Nature you may renew your own. Go quietly, alone; no harm will befall you.” -John Muir-

ar110 studio deines fall 2007

p3

conceptual underpinnigsword analysiscase studies

objective: create a series of structures that lead to a water source - a gate, garden & basin must be present - use 3 words from provided list as basis of con-cept, how different elements arrangedconcept: basin slightly off-center on site - gate at opening - garden mixed in with the structures

rotatecenter point - cycle of changes - to pro-ceed in sequence - radiating parts - wheel-shaped

inversereversed in position, order, direction, or tendency - turned upside down - turned backward

disconnecteddisjointed - seemingly irrational - sever or interrupt a connection - marked by unrelated parts - cut short crisply - sharp transitionsdesignwheel shape to the flow of the struc-tures - make a slice in the site and have one side be the reverse of the other - separate structures from each other

rouen concert hallbernard tschumi architects- structural inspiration from the way the radii come together- paneling creates an effect similar to idea of moving glass walls

rouen concert hallbernard tschumi architects- flow of structure inspired movement through my site

limoges concert hallbernard tschumi architects- slope of the structure creates visual effect inspiring the relation-ship of my structures

alesia museumbernard tschumi architects- circular form, incorporation of vegetation with structure- interior shadows inspired incorpo-ration of human interaction with structure

p4

preliminary designsketch models

initial drawings

site model

site plan

p5

intermediate designform progressiondrawings

continuing with using rotate, inverse and disconnected as design motivators, i pushed the design to accommodate pedestrian traffic more effectively and to provide changing views to add inter-est and variety to the site. the walls around the two primary structures went from stationary to being able to slide in and out depending on lighting and wind conditions to provide the most pleasur-able experience to those occupying the space.

p6

final designmodel

drawings

site planpedestrian stairway/lookout

sliding section

close up of large structure gateway & small structure straight on site view site perspective

p7

prescribedLOOPS

“It's the repetition of affirmations that leads to belief. And once that belief becomes a deep conviction, things begin to happen.”-Muhammad Ali-

ar120 studio deines winter 2008

p9

loop Isite selectionstructure and skin

investigations - how structure and its skin effects views and shadows - how light moves through openings

collage investigating structure and materiality within the site the pit is centrally located in the school of architecture, adjacent to the main transportation artery of the building.

p10

loop Isite selectionstructure and skin

investigations - how structure and its skin effects views and shadows - how light moves through openings

collage investigating structure and materiality within the site the pit is centrally located in the school of architecture, adjacent to the main transportation artery of the building.

p10

loop IIart research

tattoo research

The tiger as a forceful figure in Japanese culture is apparent through its recurrence in different Japanese media. The Samurai warriors often had tattoos of tigers and embeded the tiger detail in their weapons and sheilds to protect themselves from evil. They also believed the tiger would bring them strength, courage, and swiftness in battle. Tigers and tiger-print are also used in traditional Japanese clothing, kamoras. Tigers are also common in Japanese art. Many believe that having a tiger statue, painting, etc. in or around a house will ward off evil and bring luck and prosperity to those living in the house. Although the symbolism of the tiger remains the same, in contrast to tattooing, tigers tend to be expressed more realistically in the art forms.

Traditionally, tiger tattoos are done in Japanese-style, for tigers are a very popular symbol in the Japanese culture. In the traditional Japanese-style, the tattoo is in full color, and the tiger is somewhat cartoonish and usually surrounded by water and sometimes flowers. However, in modern times, the tiger is done more realistically and black and white is becoming popular. Tiger tattoos are usually very large; therefore they are most commonly done on backs, shoulders, and arms. The tiger is the symbol for many things: power and might; pride and beauty; passion and sensuality; cruelty and violence; and purity and courage. The most common of these, however, are beauty and strength. As a tatto design, the tiger often symbolizes a new passion in someone’s life, a reminder of inner strength and beauty, or protection from evil.

p11

loop IIIinstallation on the bodyprostetic

analysis of human mus-cular and skeletal sys-temas as inspirations. focus on core and back

the prostetic is a wearable response to the meanings and purposes of the japanese style tiger tattoo. the beauty is represented through intricate sewing detail that holds the closing system on to the body of the pros-tetic. the combination of the duct tape body and the reinforced zip ties serve to represent strength. the japanese tiger tattoo is also a symbol for protection. this prostetic is similar in design to a warriors armor. after wearing the prostetic for awhile an intense feeling of confinement is experienced. even after removal, the feeling of pressure on my body was still prominent. the intention for the prostetic is to incorporate the feel-ings involved with wearing it in to architectural expression.

p12

loop IIIsketch models

installation

Investigation to discover ways to connect out-side activities with the internal functions of the tattoo parlor using weaving and folding, incor-porating prostetic materials.

investigation between the relationship of the site and prostetic. two prostetics were made and applied to the columns within the site

p13

loop IVprostetic reactionsketch models

interpretations and implementations of my reactions to wearing the prostetic and the meanings of the japanese tiger tattoo.

carefully weaving attributes of the symolic tiger. the rock as the central image exuding the strength in the tattoo, surrounded by the fluidity of water and the intricate detail of the tiger. a representation of the beauty and protection associated with the beliefs about the presence of a tiger.

the feelings of closeness and tighness expressed architec-turally. the existing columns in the pit will be closed off with a frame wall that has specified viewing windows. the views are meant to limit what is seen to reemphisize the con-stricted feeling from the prostetic. to further this experience a pin-up wall will be created two feet away from the viewing wall. this will ser-vice both the experience of confinement for the tattoo parlor and also a funtion for the architecture school. a storage area for the parlor will be located under the existing hallway floor so it is concealed and does not inter-rupt the simple elegance and funtion of the space.

p14

loop IVtattoo parlor

final model

2’ viewing hallway

floor plan

viewing wall sectionviewing area section

overall perspective interior view close-up interior pin-up space - hallway

artist’s chair

moveable couch sectional

drawing/light table

adjustable tattoo table

moveable prep station

reception desk

p15

re-SEARCHarchiveCensorship always defeats it own purpose, for it creates in the end the kind of society that is incapable of exercising real discretion. -Henry Steele Commager-

ar130 studio d.pitera fall 2008

p17

site analysisgriswald street @ clifford streetdowntown detroit

The site is located where Griswald Street deadends at Clifford Street in Downtown Detroit. The site is the space of the two merging alleys meeting in the center of the block. Traffic occupies the space of the alley and the design of the structure must not interfere with it or the loading docks and doorways that are serviced, or inhibit any other activities. The lower walls and doorways of the alley are covered in layers of grafiti. The facade of the one building provides the fire safety stairs to its occupants adding additional character to the site and another obstacle to be considered in the design of the structure. The westerly buiding facade is checkered with windows providing light to those living there. The structures edging the alley create and extremely vertical environment, dwarfing the smaller vacant building in the middle of the two alleys, creating a visually interesting contradiction of size and perspective. A variety of materials are present throughout the site, including many varieties and ages of bricks, metal, wood, stones and paint.

p18

site analysisprogramatic considerations

signage and censorship

The program for this site is to design a research archive for banned and altered books and music. The acts of censorship on written and audio material exist to attempt to sculpt one’s perceptions of the world, much like an architect attempts to influence a person’s movement through the experience of a space. Signage is one method of censorship that explains how one is to use or not use a space or thing, a written visual censorship of experience. However, it can also serve as a way of expressing one’s experience. Signs tell us what something contains, whether or not to enter, or to act a certain way, while Grafiti is the free expression of a person’s being. Layering is another method of censorship. Layers are most often built upon without going back and the initial state of an object is often altered or translated numerous times. Each layer censors the layer below and only reveals its initial state after the layers above are peeled away. Only the seperation of the layers make them appear seperate, much like how a reader

would not know that what he/she is reading/listening to/experiencing is being censored without being told.

p19

conceptual designdesign intentionssketch models

Parasite/parasitic - when some-thing uses another object for sup-port that provides no support for that object. A parasitic relation-ship between two objects can be destructive or benefitial; it can benefit one organism while com-pletely destroying the other or both organisms can benefit from the relationship. MY intention is to use a parastic-like structure that attaches to the surrounding build-ings in the alley to support by archive, pushing the question of whether or not architecture has a beneficial or destructive relation-ship with its surroundings.

Sense-orship - Books and music are banned or altered because they are thought to be able to change the ideas, opinions, etc. of its readers. Similarly, architecture can be used to alter the views of a space, hereby censoring the perceptions of the “readers.” Human experience is censored through modification of sensory experiences. Specific sights, sounds, smells and textures bring out different feelings and perceptions in the observer. Materiality of floors, walls and ceilings can distort one’s perception of closeness and visibilty. The idea of visibilty correlates to how banned/altered books and music are attempts to make certain ideas and language not visible to the public. Also, people who are aware they are doing something that may not be accepted by the general public usually do not want to be seen, censoring their own experiences.

p20

final designprogramatic details

final models

west perspective west alley arial view east alley east perspective

front view

floor plan

beam diagram - attachment points at center points between existing windows

interior perspectives

media storage shelf - cd’s contain both sets of lyrics, play-able in jukebox

p21

urbanMAKER“At a certain point, I just put the building and the art impulse together. I decided that building was a legitimate way to make sculpture.” -Martin Puryear-

ar140 studio d.pitera winter 2009

p23

site analysisurban contextsite pictures

downtown detroit indusrial factory greektown coaches corner parking lot

harmonie park

the site is currently a parking lot on randolph street across the road from harmonie park in downtown detroit. it is located in paradise valley, a district, celebrating arts, culture and entertainment.

entertainment district

downtown area

greektown

major roads

green spaces/parks

site

cafe/bar/club hilton hotel

p24

design inspirationsglass sculptor storysketch investigations

relax - to make less tense - to release oneself from inhibition

fade - to disappear or die gradually - to increase gradually

float - move or hover - to launch

piece - to mend - patch - joining pieces - to join together

stop - to interrupt - to cut off - to restrain - to press down

fall - force of gravity - drop down sud-denly - slope or extend in a downward direction - to collapse

sculpting, a life - the snow was gently falling from the deep blue sky...he made a stop at the front door and picked up his daily supply of newspapers...he was finally able to put all of the ideas floating in his head into a cohesive form...he lit his burner and began delicately piecing together his masterpiece...he gave himself a half hour to relax...he slowly faded out the lights...

p25

preliminary designsprogram designmodel

the site was divided in to seven seperate 25’ x 100’ strips. each student was assigned a strip and a maker. the intention of the project is to design within the strip to accommodate and express the funtion of the assigned maker while responding to the neighboring design and the urban condi-tions of the site. My project is located in lot 7 which is the southern most portion of the site. initially another building was to be designed next to mine. however, that building was dropped and i had to respond to the resulting empty lot located betweeen mine and the next designed lot. this empty stip is to be utalized as a pedestrian path throguh the site and the intention of the north facade of my building is to activate this space and draw attention toward my site. i accomplished this by projecting the fading form out from the facade of my building. also, x-shaped glass scul-tural elements create the facade of my structure and serve as exhaust vents for the furnaces and the gaps between them at ground level serve as entrances in to the building. the glass sculptural elements also serve

as a projection screen for films at night, which serve to keep the site activated at all times. the middle level of the structure is to be used as an exhibition space for the glass scultor and other local scultors and art-ists. the top level is a studio apartment for the scultor. it is isolated from the rest of the building, only accessible by ladder or elevator, but has views of the lower levels and of the street level below.

p26

final designfinal model

drawings

3rd floorloft apartment

2nd floorgallery space

1st floorstore space

basementworkspace

outdoor projection screen

interior gallery space

2nd floor harmonie park view arial view south persective north perspective

p27

“If we are always arriving and departing, it is also true that we are eternally anchored. One's destination is never a place but rather a new way of looking at things.” -Henry Miller-

touchNOtouch

ar210 studio bernasconi fall 2009

p29

site/placesite picturessketches

The Dequindre Cut is located just east of Downtown Detroit. It was origanally a railway that serviced the detroit area businesses. When the railway became

unused, grafitti artists and homeless began occupying the cut. It has recently been transformed in to a public green-way. The new renovation runs from

just north of the Riverfront to Gratiot Ave. There are plans to expand it south to the Riverfront and stretch north to Eastern Market.

p30

site/placematerial/detail collages

place collages

The Dequindre cut is a hidden gem with the potential to become a cultural center of Detroit. Roughly 20’ below street level, it is barely visible to the traffic above, nor is the traffic visible from the cut. With the bridges/ under-passes covered in teh works of the area’s great graffitti artists, the urban character is undeniable. The place is real, openly showing its age and weath-ering. Blending the cold, hard concrete with the inner passion and soul of the artists priveledged enough to work there. However, its original and wild past is covered, simply paved over as if it never existed. The old rail lines and veg-etation have been removed, replaced by asphault and grass. Now families and average citizens enjoy thir walks/rides through an area not long ago inhabited by homeless. Although this new commu-nity greenway is great for the locals, at what cost to the soul of the place?

p31

Programmingdesign questionsinitial intentions

acci-DENT

the cause of the grade change of the De-quindre Cut was that accidents with street level traffic and the rail line became too high, demanding the rail to change levels. A dent is anything that changes the surface of an object; more specifically in this project, changes in the surface of the landscaping. Graffiti is also encompassed in this definition, for it changes the look of the object being painted.My proposed interventions will work to unite the Dequindre Cut’s current use as a public pathway with its rich history as a graffiti “hall of fame” and a rail line connecting the riverfront with Eastern Market.

questionssite issues

- for what reasons would someone want to come into the space

- how can secluded areas for grafitti artists be created without detracting from the visual safety of pedestrians

- who is intended to use the space

- where should new entrances be created to provide better access to the site in response to the surrounding area

- how can the bridges be used to activate the site and draw people’s attention in to the space

- how can the history of the site be integrated in to the design

- the cut is disconnected from its surrounding area

- the new design has elimi-nated the cultural interac-tion between the grafitti art-ists and the site

- the current path does not appropriately respond to the previous conditions and uses of the site

- the cut is not very visible from the surrounding streets and sidewalks

- the site has limited entrance points

p32

programming Precedentsthe high line

midtown greenway

Midtown Greenway, Minneapolis, MN

began as a rail corridor as part of the Milwalkee Railroad’s main line to the west coast - increasing conflicts where the trains crossed at street grade - railroad underwent a grade separation - rail line placed in a trench - auto industry replaced the use for trains - redesigned the space - became a 5.5 mile bike and foot trail and is accompanied by a light rail in a selective area - Part of the original rail still remains active.

The High Line, Manhattan, NY

began as a freight rail line that carried goods to the industrial West Side and the Post Office - originally at street level - accidents caused grade change - elevated line meandered between city blocks instead of directly over roads - use dimin-ished due to automobiles and highways - scheduled for demolition - saved by con-servation experts - became a 1.5 mile green space that integrates the original rail line with vegetation and a concrete pedestrian path.

p33

design precedentsartistic expressionlandscape considerations

- unplanned - continuous change - secluded spaces - rooftops - underpasses - abandoned alleys and buildings - skate parks - art - freedom of epression - clean lines - layers

Rueil-Malmaison, France - minimalistic - sharp contrasts - natural features working with architectural ele-ments - rolling hills - limestone walls - conceals functions

- construction details - materiality - visual interest - connection of spaces - creates flow - addresses accessibility

Rotterdam, the Netherlands - active public space - unprogrammed activi-ties - hydraulic light masts - operable by public - sculptural element - activate specified spaces - visual separation - grade change - benches - surface material

graffiti parks

shell petroleum headquarters

Schouwburgplein [theatre square]

sculptural bridges

p34

initial designprogramsketches

path, wall and rail perspective bridge installation perspective

proposed rails

proposed rails and pathway

close-up of rails, pathway and walls

Hyde Park bridge along dequindre cut

- half-way between the existing entrances - proposed new entrance - original bridge torn down - proposed sculptural bridge

Attitude - issues of accessibility; visual and physical - current design insensitive to history of the Dequindre CutIntentions - recreate the secluded atmosphere for graffiti without inter-fering with the visual safety of the new pedestrian pathway - integrate activities within the site throughout areas of Detroit by transporting “graffiti” walls to selected sites - bring attention to the site from the road through sculptural interventions interacting with bridges Graffiti - dominant aesthetic force - cultural interaction - insertion of moveable/transportable walls within the site along a rail system - Bridges - supports(abutments) serve as canvases for graffiti artists - crossways for overhead traffic; connect neighboring residential areas - new sculp-tural elements to draw attention to the site below; visual connection between cut and street - Pathway - redesign of the current bike/pedestrian path; more natural and site sensitive - interaction with new elements

graffiti wall detail section: hyde park bridge

p35

final designprogramnodes

Macro Transportation or graffiti rail cars

Micro Transportation of graffiti rail cars

san fransisco

chicagodetroit new york city

pittsburgh

toronto

seattle

detroit institue of arts

campus martius

hart plaza

residential greenspace

belle isle

as rail cars are a popular canvas for grafitti and relate to the past use of the site, rail cars are to be placed throughout the site to be grafittied on by artists. these cars will be transported locally and nationally. a rail car lift will be placed at the midway point of the greenway to transport the cars to the specified locations. the industrial building on the north side of gratiot will serve as the

storage location for the rail cars.

p36

final designdrawings

model

pedestrian pathways / entrances

rail lines / grafitti walls

trees / greenery

rumble track / visibility - reinforced concrete walls

sections

p37

urbanPIVOTpoint

“Do not go where the path may lead, go instead where there is no path and leave a trail.” -Ralph Waldo Emerson-

ar220 studio fuchs winter 2010

p39

phase isite analysiscase studies

presbyterian church jefferson avenue

jefferson avenue

marina & riverfront site / gold coast

cincinnati riverfront park, ohpublic space that connects the great american ballpark to paul brown stadium and activates the riverfront, with the roebling suspension bridge bisecting it. incorporates green spaces and gardens with walkways and small restaurants and shops. space intended to be a hub to outdoor activities in the community.

schouwburgplein [theatre square], rotterdam, the netherlands

active public space for unprogrammed activities. hydraulic light masts oper-able by public serve to activate specified spaces and as a strong sculptural ele-ment. furniture and slight grade change segregate site from surrounding streets. site is sectioned by changes in surfaces: material, texture, and designs.

pedestrian paths

owen park whittier hotel & surrounding buildings

people moverdequindre cut greenway

parks and green spaces

detroit river frontindian villiage

site

the site is located just east of downtown detroit on the south side of jef-ferson in front of the old whittier hotel and across the street from indian villiage - area is very sectioned off - disconnected from neighbor-hood due to safety issues crossing jefferson.

p40

phase iiurban design

function and form

[park]ing lotthe purpose of this project is to create a safe and inviting atmosphere for pedestrian interaction between the site and indian villiage/surrounding residential areas; an urban center for recreation, relaxation, and transporta-tion. this is accomplished by redirecting six of the eight lanes of jefferson traffic under ints existing plane. jefferson’s original plane will be converted into a pedes-trian median, serving as a bus stop, rest/lounge area and a safe crosswalk.

1. bus stop 4

jefferson

3. crosswalk2. undrgrd parking

12

3

zone 1contains a sculptural garden that draws interest in to the site and allows for freedom of experience

zone 2contains a community/recreation center to serve the local area and hosts an after-school program.

zone 3the path is lined with cement walls of varied hights to serve as visual barriers, creating a privatized space in the very public area, also serving as seating

p41

phase iiifinal designpedestrain access

Jefferson Avenue- six lanes of traf-fic diverted under-ground - two lanes remain above-ground for local automotive traffic- creates a more pedestrian friendly environment / safer crosswalk condi-tion - new bus stop in front of recre-ation center

sculpture garden- captures visual attention- allows for free-dom of exploration and experience

aquatics center- regulation size swimming pool- diving boardsmulti-use building- community center- recreational facil-ity

henderson park- privatized park- handball courts- outdoor projec-tion theatre at night

undergrnd parking- hidden from view- re-emphasis of focus on pedestrian traffic- efficiency of space

p42

phase iiibuilding program

interior details

basement-MULTI-PURPOSE GYM-NASIUM

-LOCKER ROOMS

-EQUIPMENT ROOM

main level-AFTER-SCHOOL PRO-GRAM

-INDDOR TRACK

-EXERCISE FACILITIES

-AEROBICS / YOGA CLASSROOM

2nd floor-COMMUNITY OFFICES

-MEETING SPACE

e-w section

n-s section

lobby/stairway 2nd floor meeting rm. hallway

entry plaza gymnasium river view

p43

“When was the last time you spent a quiet moment just doing nothing - just sitting and looking at the sea, or watching the wind blowing the tree limbs, or waves rippling on a pond, a flickering candle or children playing in the park?” -Ralph Marston-

non-denominationalCHURCH

ar410 studio odoerferfall 2010

p45

phase Ischematic designsite planning

longitudinal section

floor plan

tangental sectionsanctuary

offices

nursery

mech. rm.

lobby

sunday school classes

the project is to design a 300 seat church and sunday school wing in rochester hills, michigan. the site is currently covered in trees and other greenery. to the east of the site is an existing small church.

p46

phase IIstructural system

design

the church is sup-ported by a bearing wall and beam system. the sanctuary roof is supported by trusses.

p47

phase IIImechanical modelhvac design

HEATING DUCTS COOLING DUCTS

p48

phase IVnatural lighting

artificial lighting

p49

phase Vacoustic designacoustic calculations

ACOUSTICAL CALCULATIONS TOTAL VOLUME: 65,265 CUFT REVERBERATION TIME = 1.5S

MATERIAL ABSORBTION SURFACE SA(SQFT) AC SABINES

FLOOR carpet 2512.24 0.14 351.71seating 888 0.80 710.4wood 719.43 0.07 50.36

CEILING gypsumboard 3275.43 0.05 163.79

WALLS glass 336.94 0.18 60.65diffusers 48 0.30 14.4brick 2432.7 0.03 72.981open-facebrick 874.75 0.82 717.3gypsum board 1085 0.05 54.25

p50

phase VIbuilding envelope

wall section

sanctuary wall section1. 2” INSULATION 2. 1/2” STANDING SEAM METAL ROOF3. 3/4” PLYWOOD4. FACIA BOARD5. STEEL ANGLE CONNECTOR 6. 4”X12” GLUE LAM BEAM7. CMU8. JOINT REINFORCING TIE

9. 2” AIR SPACE10. MASTIC AIR BARRIER11. BRICK FACING 12. CONCRETE MORTAR JOINT13. CONTINUOUS FLASHING14. TRANSLUCENT GLASS PANEL (SHADING DEVICE)15. CHANNEL16. CONCRETE SIL17. CONTINUOUS FLASHING18. HVAC DUCT19. HORIZ. FURRING CHANNEL20. DROP CEILING TILE21. 1/2” GYPSUM WALL BOARD22. METAL FURRING (16” O.C.) 23. WOOD BASEBOARD24. CARPET AND PAD25. SLAB ON GRADE

south elevation

west elevation

north elevation

east elevation

p51

“Our deepest fear is not that we are inadequate. Our deepest fear is that we are powerful beyond measure. It is our light, not our darkness, that most frightens us. We ask ourselves, who am I to be brilliant, gorgeous, talented, and fabulous? Actually, who are you not to be?” -marianne williamson-

PORT-folio

alycsa valentine - university of detroit mercy - school of architecture

2011

p53

DETROITcharrette “The tree which moves some to tears of joy is in the eyes of others only a green thing that stands in the way. Some see nature all ridicule and deformity... and some scarce see nature at all. But to the eyes of the man of imagination, nature is imagination itself.” -william blake-

ar2300 studio deines winter 2011

alycsa valentine - alison suschak

p55

green city analysisabstractinspirations

p56

Our approach to creating a green city starts with redefining what “green” means in the context of Detroit. We found that green has a duality of meaning of both death and rebirth; it is constantly regenerating, growing and changing. As Detroit exists today in a state of change and ongoing decay (deindustrialization, depopulation and increasing unemployment), it becomes increasingly important to seek a long-term solution. Through research on how the natural environment sustains itself, we found that ecological succession, the phenomenon where nature destroys and then rebuilds itself when it begins to deteriorate, paral-lels our reconstruction of “green” and the existing conditions of the city of Detroit: a city that was once vibrant and bustling, but whose current conditions bring images of abandonment and despair, and a need for a rebirth. The intention is to create a city that goes through these natural stages of life, death and rebirth through the injection of a long-term “green” solution. By applying the processes that naturally occur through ecological succession, ideas can be generated about how Detroit can begin its healing and restructuring innately through a built-in consideration of long term change in infrastructure, indus-try, society and landscape. We begin to question how neighborhoods affected by arson, abandonment and decay could rebuild themselves, like a forest burnt to the ground regrows itself as a natural process of its existence; challenging if the causes of the degeneration of Detroit could now be used as the fundamental building blocks of a self-sustaining city.

grasses

shrubs

forest

small trees

industry leaves

abandon

reclaimationdecay

opportunity

ecological succession and detroit

disturbance

ChangingDetroitgreen cityrehealregrowrebirthrecoverrepairrestorerec

reaterevitalizeregeneraterestructurereconst

ructrejuvenateresuscitatereawakenrenewalre

habilitatereconditionrekindlerepairredorenov

aterenewreanimaterelievereactivaterefresh

demoltion orders

restructure osborn

brightmoor

castle rouge

kranz woods

bagley

w. seven mile /livernois

mcdougall-hunt

rosedale parkeast english village

sherwood forest

virginia park

state fair grounds

downtown

p57

green city interventionmappings

interventions

rebirth

regrow

recovery

reheal

recreate

rede�ne

rebirthregenerate

renewal

revitalize

repair

restructure

green

osborn - rebirth - fire intervention

brightmoor - regrow - seed spray intervention

w. seven mile/livernois - restructure - embedded seed intervention

I N T E R f a c e

ar2300 studio deines winter 2011

alycsa valentine - alison suschak - anthony delarosa

“It has become appallingly obvious that our technology has exceeded our humanity.” -albert einstein-

p59

group urban analysisabstractinvestigations

p60

Beta Community

Our urban strategy begins to investigate how an interface can be imple-mented within the communities of a city and serve as a starting block for reclaiming the areas of the city that have experienced the most distur-bances. The interface is intended to promote community involvement through the education of its citizens and develop in to a cycle of interac-tion and information sharing. The re-use, renovation and restoration of the affected communities must take in to consideration the human scale and promote a playfulness of design that creates an engaging and inter-twined urban fabric. Architecture is viewed as a means of intervention that serves to communicate change and renewal. We have begun to investi-gate the idea of morphogenesis which is a theory based in the ideas of a place being able to change along with its inhabitants and be expressive in a way unique to that place. This concept parallels our approach to the city in that the intention of our interventions is to be able to communicate with the citizens and create places that are informed and interactive, each being unique to the area and able to react to the community’s needs.

demolition reclamation art culture job creation interface community ephemeral education new economies unbuilt improvement recovery recycling redemption repossession control disorder human scale morphogenesis rekindle comeback reawakening recovery rehab reincarnation rejuvenate renewal restoration revival animate arouse awaken breathe comfort console encourage energize enliven exhilarate inspirit invigorate overcome quicken rally reactivate strengthen recondition recover refresh relieve renew renovate repair restore resurrect resuscitate revitalize revive

community intervention interface housing stock

p61

urban interfaceapplication

individual mapping

art culturemusic cultureschool closuresdemolition orderstarget areasite location

grand river ave

woodw

ard ave

grat

iot a

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michigan ave

je�erson ave

je�e

rson

ave

�sher

fwy /

I-75

I-75M-10 / john c lodge fwy

I-94

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I- 96 / je�ries fwy

site mapping

Our group worked together to develop a phone application that would address housing stocks in cities around the country and promote community involvement. The intent is to make the process of home ownership in cities more read-ily available to the public and to provide innovative and specific interventions based on community informed design. It is and open forum for ideas to be submitted and the community votes on the proposals. All operations are super-vised by a non-profit organization.

To test the application, each member of the group went through the application process and came up with their own design intervention.

individual projectcorner conditionssite selection

p62

9311 kentucky

48204

13700 mapleridge

48205

2334 van dyke

48214

14572 auburn / 14575 minock

48223

peel intersection hinge fold courtyardextrusion entranceedge

selection criteria primary - proximity to bus stops - proximity to main roads - neighborhood density - double corner site

secondary -proximity to schools - proximity to parks

highest concentration of residents between ages 5-15high population density 7828 people per sqmimostly black community 79% african american slightly more females than males 54.5% female majority homes built in or before 1950smost households have one or no car

highest concentration of residents between ages 5-15high population density 10303 people/sqmi majority black community 75% african american slightly more females than males 53.1% female most homes built before 1960smajority of households have zero to two vehicles

large age distribution concentrated between 5-20rising population density 6865 people/sqmimajority black community 72% african americanslightly more females than males 54.0% female most homes built before 1940smajority of households have one or no vehicle

large age distribution concentrated between 5-15avg. population density 5547 people/sqmimajority black community 80% african americanslightly more females than males 53.5% female most homes built before 1960smajority of households have one or two vehicles

The corner condition was a primary con-sideration in my site selection. Above are a series of investigations analyzing dif-ferent ways a corner can be addressed.

Based on the previous mapping, I selected four zip codes that had high concentrations of houses set to be demolished and schools that had been closed. I then developed a list of crite-ria to narrow my sites. Five sites were selected from each zip code. They were further reduced to one site per zip code after a more detailed analysis.

p63

individual projectprogramming

precedents

art center - studios - equipment rooms - gallery spaces

dance center - practice studios - performance spaces - equipment spaces

music center - practice rooms - recording studio - equipment room - performance spaces

sports/recreation center - skating areas - outdoor facilities - indoor courts - fitness center - classroom/lecture space

common functionscommunity centers - tutoring center - counseling center - childcare facility - technology lab - socializing spaces

9311 kentucky

13700 mapleridge

2334 van dyke

14572 auburn / 14575 minock

AbstractBased on the numerous Detroit public school closings and the elimination of many art, music and gym programs, it is clear that kids and teens need places where they can express their creativ-ity and burn their excess energy. My proposed intervention uses the deteriorating housing stock to create four new community centers, cre-ating assets out of houses that are eyesores to their communities. These centers will be designed primarily for those between the ages of 5 and 20, but will also have services available to all members of the community. The centers will share a group of common functions, plus each center will house a separate program that is missing from the educational curriculum: art, dance, music or sports/recreation. In attempts to con-nect these cross-city programs and make them available to all residents, they will be located in short walking distance from bus stops and close to main roads and highways. The sites chosen for these interventions are located in areas where there are school closings and high concentra-tions of houses to be demolished. The house(s) on the designated sites are to be deconstructed and all reusable materials will be reintegrated into the design of the proposed community cen-ters. The design intentions of these community centers is to create educational spaces through sensory and spatial experiences. The community centers are intended to be highly interactive and stimulating environments that are engaged through simplicity- they are to be simplistically designed spaces so to allow for freedom of interpretation from their users.

st louis art museum

tejo remy & rene veenhuizen

individual projectsite analysissite planning

p64

MACRO SITE ANALYSISproblems- site is slightly isolated from main roads- site is located on the corners of two residen-tial streets that are unconnected

solutions- connect site with streets through pedestrian paths- complete connection between auburn and minock to create dual street corner condition

assets - site is located adjacent to Lyndon Greenway- park can be activated to draw people in to the site- site surrounded by dense residential areas

w. outer drive

ever

gree

n rd

.

wes

twoo

d st

.

aubu

rn

min

ock

single family homes athletic fields proposed street corner

site

playground

park / greenspace major streets

pedestrian paths proposed pedestrian paths

MICRO SITE ANALYSIS

- two demo houses share back lot line

- demo lots neighbor vacant lot edging park’s parking lot (public)

- homes neighboring demo houses are occupied (private)

- vacant lot mostly maintained and lined with trees

14572 auburn 14575 minock

290’

115’

from the 4 sites i selected, i chose to further pursue the design of 14572 auburn/14575 minock in zip code 48223. this site is the community center focused around the arts.

house is fire damaged and boarded14575 minock

14572 auburncovered in overgrowth

publicpublicpublicpublicpublicpublicpublicpublicpublicpublicpublicpublic

privateprivateprivateprivateprivateprivateprivateprivateprivateprivatepriv

publ

icpu

blic

publ

icpu

blic

publ

ic

publicpublicpubicpublicpublic

vestibule

verandah

foyer

p65

individual projectdiagrams

photoshops

circulation

secondary hallways

vertical

main artery interior

main artery exterior

programming

courtyard

lounge/recreation room

gallery

cafe

offices

technology lab

tutoring center

counceling center

gallery

*all studios upstairs bathrooms

storage

*

offices

childcare facility

park elevation auburn facade

entrance hallway

minock courtyard