open studio booklet

O

SPRING 2015

OPEN Andrea Johnson

Alberto BabioAndrew SmebyAnna MahnkeBrent DareChelsey SchonChristopher MasseyDeuk-Geun HongDustin SchipperKamon LiuLindsey KieffaberMolly DalsinScott DobsonSundus Al-Bayati

YOUR IDEAS | YOUR TALENTS | YOUR STUDIO

3

This workshop explores new methods in interdisciplinary and student-driven learning in a rigorous studio format.

Each student or student group proposes and develops a project where the conceptual framework, medium, ways of making, process and project deliverables are part of the exploration.

Throughout the course, students will take a leading role in developing course content and directing the course work.

The group will propose readings to provide the foundation for discussion and the impetus for related creative work.

Each student or group will develop a project proposal that includes a framework, schedule, and benchmarks to be discussed and agreed upon between the students and the instructor.

The work will be evaluated according to the proposal goals, rigor and clarity of process, depth of research, making and craft, and presentation of work.

Throughout the course, each student will contribute to the class blog to record and reflect on their work.

At the end of the session, the student will curate their work into one portfolio.

This workshop encourages the combination of individual and collaborative work to support students becoming aware of the methods and rhythms of their creativity and how to engage in broader dialogue surrounding their work.

The studio encourages support knowledge through lectures, readings, and guest lectures with student-lead discussions for each topic area, and encourages processing, reflecting, and experimenting with that knowledge through making.

As students take charge of their learning process and success in preperation for future self-directed work, a growth mind-set and the understanding that through failure intelligence is developed will be fostered.

The framework for each project is defined through initial discussions between the students and instructor, and feedback is provided regularly in the format relevant to that framework, including individual and collective critiques, pinup’s, demonstrations, per-formances, discussions, etc.

THE COURSE PEDAGOGY

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INDEXPAGE

MINNEAPOLIS’ PARKLET PROGRAM Chelsey Schon

SPYHOUSE PARKLET DESIGN Brent Dare

MINNEAPOLIS’ ADU PROGRAM Andrew Smeby

PERSONAL SPACE AND PERCEPTION Lindsey Kieffaber and Sundus Al-Bayati

RE-ORGANIZING CDES Dustin Schipper

BOTTLE CAP SCULPTURE Scott Dobson

WAM POP-UP PARK DESIGN Alberto Babio, Deuk-Geun Hong and Kamon Liu

APPROPRIATING INFRASTRUCTURE Molly Dalsin, Anna Mahnke and Christopher Massey

7-24

27-69

73-85

87-104

107-130

132-235

237-262

265-281

O

7

Student: Chelsey Schon

Advisors: Andrea Johnson Lacy Shelby Mackenzie Turner

PARKLETSMINNEAPOLIS PARKLET PROGRAM

8

ACKNOWLEDGMENTS

Special thanks to Lacy Shelby, Mackenzie Turner, Peter Crandall from the city of Minneapolis, Christian Johnson, Andrea Johnson, and the supporting businesses that offered their time and space to collaborate with us during this project.

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TABLE OF CONTENTS

Project Abstract 10

Existing Program Conditions 11-17

Lake Street Proposal 18-23

Bibliography 24

10

PROJECT SUMMARY

This project is investigating the impact the Minneapolis parklet program pilot has on the city of Minneapolis and for future potential and success of the program. The applications of parklets are established through the guidelines and procedures outlined by the city of Minneapolis Par-klet Application Manual. The project is developing principles and ab-stractions that are vital for the future parklet program to incorporate in such applications. This includes taking a micro and macro approach and view of the existing program reactions and potential program reactions. Ultimately, this project and research will yield an understanding of the potentials of the parklet program and is adaptation to the conditions within the city of Minneapolis.

11

The Minneapolis Parklet Program contains guidelines and procedures for installing a parklet. An applicant must lo-cate their parklet on one of the following conditions in order to be eligible:

Commercial CorridorCommunity CorridorActivity Zone

This map displays the exist-ing program conditions, city zoning areas, and crucial infrastructure. This is used to as a base map to further un-derstand the existing program rules and guidelines.

Minneapolis Parklet Program I Existing Program Conditions

12

Utilizing the base map condi-tions and a 1/4 mile comfort-able walking radius, mapping an ideal parklet scenario with the prescribed guidelines helps to begin to understand the performance of the po-tential success of the program within the city.


13


City initiatives often require a egalitarian approach to estab-lishing program guidelines. Mapping the city council wards and the parklets that inhabit each, begin to show the results of a bureaucratic urban plan-ning agenda and the potential reactions.

14

EAST HARRIET

LINDEN HILLS

LOWRYEAST

EAST ISLES

LOWRYHILL

BRYN MAR

BANCROFT

KENWOOD

CEDAR-SLES

CARAGLYNDALE



Identifying the neighbor-hoods that are excluded from the parklet program with the established guidelines and egalitarian approach help show the shortcomings of the existing program.

15

1.12 m

iles

0.37 miles


Through further reduction of parklets within the defined city council wards by the following parameters: commercial cor-ridors, community corridors, activity zones, and commercial + office zoning areas a bureau-cratic urban planning agenda is further visually understood.


16

EAST HARRIET

LINDEN HILLS

NORTHROP

HALEPAGIE

DIAMOND LAKE

KENNYARMATAGE

WENOAH

COOPER

CORCAN

LONG FELLOW

UNIVERSITY

LOWRYEAST

EAST ISLES

LOWRYHILL

BRYN MAR

HARRISON

NORTHLOOP

CLEVELANDMCKINLEY

FOWELL

HIWATHA

BANCROFT

BRYANT

BANCROFT

LOGRANPARK

MID CITYINDUSTRIAL

KENWOOD

CEDAR-SLES

CARAGLYNDALE

WAITE PARKCOLUMBIA

PARK


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BUS STOP YIELD

BUS STOP SHELTER

PARKING METER

LIGHT

STREET SIGNAL

12’

6’

32’’

120’

20’’

BUS STOP SHELTER

STREET SIGNAL

BUS STOP YIELD120’

32’

6’

PARKING METER


Two pro formas were defined to understand two different conditions that exist with the parklet program structure:

Condition 1 [Top]: Nicollet CafeFranklin Ave + Nicollet AveSmall Business OwnerUnfamiliar with Parklet Proce-duresLimited Budget

Condition 2 [Bottom]: Spy-house Coffee North Washington AveMulti-Location EstablishmentFamiliar with city Permit re-quirements + ProceduresComfortable Budget

Comparing the two conditions with the existing program guidelines and rules shows the inept adaptation of the program for individual owners at a micro scale

18

Minneapolis Parklet Program I Lake Street Corridor Proposal

Proposing the parklet program establishes a corridor/path ap-proach versus city wide nodes, will provide intensity and authority to the pilot program, allowing the iterative place making experiment that is a parklet to expands its variables within a confined corridor to better understand the success of potential permanent parklet installations.

19


The Lake Street parklet cor-ridor does not satisfy an egali-tarian approach, however Lake Street spans many income defined conditions within the city. The Lake Street proposal can offer a beginning look at how a concentrated pedestrian focused street re-design can help affect multiple neighbor-hoods and street scales within Minneapolis.

201,000 ft Human Detecting Distance

1/8 mile 1/2 mile Desired Transit Stop Distance

A

B C

D

A

211,000 ft Human Detecting Distance

1/8 mile 1/2 mile Desired Transit Stop Distance


Through research of human detecting distances [1,000-1,800 ft.] and comparison of desired transit stop distances, the 1/4 mile radius was rede-veloped with an 1/8 mile radius distribution.

Business Interaction for Parklet Program1. Business(s) [A] can help fund Parklet to neighbor Business [B]2. Business(s) [C] can help fund Parklet to neighbor Business [D]Smaller Community Footprint helps to facilitate multiple owners of one Parklet + mul-tiple business benefit

22

NICOLLET

OAKLAND AVE.

HENNEPIN

Intertwining the parklet program with established city initiatives such as the North-ern Sparks Festival can offer further incentive for business owners to invest in the parklet program.

The existing infrastructure surrounding downtown Min-neapolis, often separates the pedestrian in defined neigh-borhoods. Combining city promoted programs can help facilitate a potential marriage between defined boundaries the pedestrian currently faces.


23

Proposing the parklet program establishes a corridor/path ap-proach versus city wide nodes, will provide intensity and authority to the pilot program, allowing the iterative place making experiment that is a parklet to expands its variables within a confined corridor to better understand the success of potential permanent parklet installations.

The Lake Street parklet cor-ridor will serve as a catalyst for future growth of the parklet program within the city of the Minneapolis.


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BIBLIOGRAPHY

Lynch, Kevin. The Image of the City.

Jacobs, Jane. The Rise and Fall of Great American Cities.

Whyte, William H. The Social Life of Small Urban Spaces.

Oswalt, Phillip. The Urban Catalyst.

O

SPYHOUSE MINNEAPOLIS

BRENT DARE

PARKLETTHE

ABSTRACTPARKLET: A type of openly accessible space for use by the public, typically a local population, which is sponsored and invested in by a private entity such as a business, neighborhood assosication, or some other type of organization. A parklet typically will be the width of a parking stall and the length of one or two parking stalls.

The City of Minneapolis is pursing the Parklet Program into its second summer and this summer will be the first for businesses from the city to be able to propose a custom designed Parklet which can then be installed and implemented for use in the public realm of the city.

The Parkelt design for the Spyhouse coffee shop new location is the destination of this project, but along the way, an investigation of parklets as a typology will be made. An investigation of the specifc site in relation to its context of the Warehouse District will be made. An investigation will also occur at the site itself in regards to rules and regulations from the city, but also in regards to the ultimate success of the parklet itself.

Parklet implemented during the fall of 2014 by the City of Minneapolis outside of Juxtaposition

PARKLETTHE

TYPOLOGIES

Parklet Type 1

Parklet Type 2

Parklet Type 3

Low Tech Design and ConstructionEasily Installed, TemporaryTypically the Cheapest MethodEasy to Customize the Space Within

Moderate Tech Design and Some Skilled Construction Longer Installment Period but Usually not PermanentModerate Price Only Furniture can be Moved and Customized

High Tech Design and Experienced Construction Skills Usually a Permanent InstallmentMost Expensive Type Once Constructed, Very Little Customization is Possible

PARKLETTHE

LOCATION

WAREHOUSE DISTRICT

Washington Ave

Hennepin Ave

394

N 4th St

Plymouth Ave N

94

WAREHOUSE DISTRICTTHE

LOCATION

19th CenturyBustling commercial hub and industrial center for the better part of the 1800s

The railroad and city streetcars running through theneighborhood brought vital transportation to businesses and consumers alike.

1960’s Warehouse District fell into disarray and became a barren, vacant blemish within the city.

1970’s and 1980’s The 1970’s and 1980’s brought a new era of artists seeking large spaces and low rents.

1990’s and 2000’s The Warehouse District was becoming a new cultural hub for the city. Buildings became commercially desirable

Today Fastest growing neighborhood within the Minneapolis

N9T

H AV

E. N

10TH

AVE

. N

SPYHOUSE COFFEE SHOP


WASHINGTON AVE.

N

9TH

AVE.

N

10TH

AVE

. N



WASHINGTON AVE.

VIEW OF SPYHOUSE LOCATION LOOKING SOUTH ON WASHINGTON

VIEW OF SPYHOUSE LOCATION LOOKING WEST ON 9TH


STATISTICS

United States Census Report

1980199020002010

338647

1,5154,291

---91.4%

134.2%183.2%

Year Population %+

Commercial and Residential

- Estimated 9,500 jobs located in the North Loop

- 2012 “Finance and Commerce” reported 522 apartments being constructed and another eight proposed projects would add 989 units to the neighborhood

Age Groups

25 to 34 = 37%

35 to 44 = 17%

45 to 54 = 13%

55 to 64 = 9%


ARCHITECTURE

Chicago Commercial Style

- Highly efficient construction and durable to elements - Efficient use of space - First floor typically used as large store front space

Appeals and Drawbacks- Very inclusive buildings which but up against streetside- Internally can be manipulated but external becomes more difficult-Becomes a superblock type of building which prohibits managable navigation around


BUSINESSES


Resturaunts/Bars

1 CLUBHOUSE JAGER

2 BAR LA GRASSA

3 BEWITCHED DELI

4 C McGEE’S DELI

5 BUNKER’S MUSIC BAR & GRILL

6 PARLOUR

7 BOROUGH MINNEAPOLIS

Shops

1 ZUCCARO’S PRODUCE

2 FRANKLIN DRUG

3 JELLYCAT

Design Firms

1 FAST HORSE

2 JLG ARCHITECTS

3 ROCKET 55

Many of these businesses in the North Loop are close enough to the location of the Spyhouse that it could be an option to have more than one private investor in the parklet


BUSINESSES

WASHINGTO

N AVE.

N 10th

AVE.

N 9th

AVE.

N 3rd ST.

1

3

2

4

5

67

1

2

3

1 2

3


PRESENT GREENERY

WASHINGTON AVE.

N 10t

h AVE

.

N 9th

AVE.

N 3rd ST.


NEED FOR GREENERYPresent Greenery

In many ways the Warehouse District is a great place to live for those looking to be in the city. One clear and present issue is the lack of greenery or even open space for that matter. This area of the city, because of its social heritage, has never had to comply to the number of people and their wishes for collective communal spaces. Virtually no spaces are present within this neighborhood. In contrast, the southern end of downtown has, Loring Park, Gold Medal Park, and the Stone Arch Bridge.

Need for Green Space

The North Loop Neighborhood Association commisioned Great River Greening to put together a “scoping study” within the Warehouse District, first determing if a park is necessary, and then prescibing options according to the wants and needs of community members. The study enthusiasticallyendorsed the creation of a North Loop Park.


WHY HERE

The Study composed by Great River Greening inspected the warehouse district for possible park placements and strategies. They came up with a zone for the future park which so happens to also contain the Spyhouse location and proposed parklet site. The criteria the group came up with to determine the zone is as follows: -Area is of significant and growing residential population-Area is not easily accessible to river; north of Washington has easier access-North of I-94; Lower North Loop is still very industrial-West of 5th Avenue; further east is rail, Target Field, and Intermodal Station-South of 10th; further north is primarily transit and industrial

Potential Parklet ImpactEconomicSimilar to a park, a parklet has the potential when brought back year after year to a consistent location can have a positive impact on property value and a possiblity of higher profit for local businesses.

Neighborhood Identity Similar to parks, parklets help strengthen neighborhood character and identity through features and functions that celebrate the history and life of the community and provide a place for casual interaction.

Neighborhood LivabilityThe North Loop still exhibits a character lacking in green amentities and pedestrian oriented experience. This parklet can make public accessible space available, and also help to push the initiative of a large scale park in the future.


WHY HERE

WAREHOUSE DISTRICT

N

BUS STOP SHELTER

STREET SIGNAL

BUS STOP YIELD

NO PARKING SIGN

STOP SIGN

PARKING METER

120’

15’

6’

32’


An analysis of the specific site and possible locations according to the regulations of the city

N

BUS STOP SHELTER

STREET SIGNAL

BUS STOP YIELD

NO PARKING SIGN

STOP SIGN

PARKING METER

120’

15’

6’

32’WAREHOUSE DISTRICTTHE

An analysis of the specific site and possible locations according to the regulations of the city

13’3”

6’

16’

9TH AVENUE N.

19’11”

20’4”

15’8”

30’


9th Avenue North - Section

Min OverheadHeight - 84inMin Barrier

Height - 36in

Two Lane Tra�c - 22ft

COMMERCIAL

RESIDENTIAL

RESIDENTIAL

RESIDENTIAL

PARKING GARAGESidewalk - 15ft

6AM

7AM

8AM

9AM10AM 11AM 12PM 1PM 2PM 3PM 4PM 5PM

9th Avenue Location Sun Study6-7 HoursOn 9th Avenue, the sun study shows that on the summer solstice, the parklet would get around six to seven hours of direct sunlight.

120’

WASHINGTON AVE.

15’10

120’

WASHINGTON AVE.15’10


Washington Avenue - Section

Max BarrierHeight - 42in

Four Lane Tra�c - 45ft

COMMERCIAL

RESIDENTIAL

RESIDENTIAL

RESIDENTIAL

PARK

ING

GA

RAG

E

On Washington Avenue, the sun study shows that on the summer solstice, the parklet would get around four to five hours of direct sunlight.

6AM

7AM

8AM9AM 10AM 11AM 12PM 1PM 2PM 3PM 4PM

Washington Avenue Location Sun Study4-5 Hours


DESIGN CONSIDERATIONS

A survey taken from the previous mentioned Scoping Study realyed what particularly the people of the North Loop felt was important in a park, which can translate very easily to what they could imagine in a parklet.

Important Issues to Consider:-Use at all hours of the day-Connectivity between pedestrians, biking, transit, and os acess-Iconic identity and easily visible-Micro Climate for all North Loop residents-Perceived as an open and public space (not exclusive)-Promotes Ecological Function


DESIGN CONSIDERATIONS

SID

EWA

LK

STRE

ET

Individual/ Standing

Group Gathering/ Sitting

Greenspace/ Family Friendly

One goal with this design is to construct onto the sidewalk because of its wide dimension. With an encraochment license from the city, this is a possibility.

Another goal of the parklet is to incorporate greenspace throughout the parklet without taking any space away for people to be able to sit.

Using perforated steel allows the parklet to be structurally sound and also allows easy visiblity to the street and from the street.

The last goal was to eliminate the edge of the parklet as much as possible, so that people would feel it was accessible for the public but also the design needed to be safe from the street.

73

Student: Andrew Smeby

Advisors: Andrea Johnson

DENSITY AND HOUSING DIVERSITY ADU’s and their impact on the population of Minneapolis

74

For Open Studio, I investigated the recently adopted ADU ordinance of Minneapolis, and the potential of that specific type of development to impact the anticipated population boom of the next 20 years.

Minneapolis is expected to gain roughly 100,000 residents - an in-crease of 25% - in the next 20 years. That influx will bring the city to a population of over 500,000. Where these people will choose to live will greatly affect the look and feel of Minneapolis.

Currently, Minneapolis is mainly encouraging transit oriented develop-ment. With this type of development, major transit corridors will be lined with newly constructed, mixed-use buildings. These are an effi-cient way to absorb a substantial amount of new housing units.

Mixed use developments have drawbacks, however. Minneapolis em-phasizes its diversity of housing options. Many residents may not feel that living in an apartment complex fits their needs. This could be due to financial consideration, or for personal reasons. We need to encour-age housing options for those who choose a more residential neigh-borhood to settle in.

ADU’s can fill that gap. They can be used to densify neighborhoods and increase residential housing options. The city should be encour-aging ADU development, rather than passively allowing it. ADU’s encourage density, and therefore make residential neighborhoods more legitimate and successful. ADU’s typically replace garages, or are contained within existing houses, and therefore don’t add buildings to the neighborhood. They can fill a need for non-traditional families im-migrating to Minnesota, become livable units for retired seniors want-ing to downsize, or for low income singles and couples.

Density and housing diversityAchieving balanced density with accessory dwelling units

75


Where are people moving?

R.T.... Rybak“450,000 Residents By 2025”Betsy Hodges “500,001 Residents”

Minneapolis Growth Projections


76

How do we incorporate 100,000 new residents in 10 years?

Minneapolis Light-rail Transit Oriented,Mixed Use Development

Problems?• Who wants to live in mixed use?• Could light-rail increase property values

to the point that it forces low-income out?

• How does this affect the neighbor-hoods surrounding light-rail?

Hiawatha & Lake St. Station

Source: City of Minneapolis

What is a realistic expectation for our neighborhoods?

77

At 2.1 people per household, we need 36% more housing units. Roughly 64,000 units.

Portland ADU Penetration Rate

What is a realistic expectation for our neighborhoods?

Can we densify our residential neighborhoods?

The Minneapolis approachDecember 5th amendmentAllowing ADU’s, but not promoting themLimited to owner occupied properties1 year test & report to city council

Can Minneapolis become a leader? Subsidies for renting to low-income fami-liesCity living, low interest loansAllow ADU’s on rental propertiesHandbook of designs and codesSubsidize design

800 Units, or 0.5%

78

Lind - Bohanon4525 Bryant Ave N

Site

The Lind-Bohanon neighborhood represents several challenges to housing in general. Falling home prices and incomes have created an unstable situation for the housing stock. ADU’s are not likely to gain traction in this neighborhood, however, they might be best suited to low income properties as a second source of income for the owner, or a low-income rental unit.

Many garage units in this neighborhood are shifted off axis, creating a welcoming feel

• Income........................$34,000• Housing Value..........$91,000• Incomes have steadily declined

since 1980• 12% decline in homes since

1980 Modular, or affordable de-tached ADU

• Low income, single person

79

INSERT IM

AGES

Bryn Mawr221 Russell Ave S

The Bryn Mawr neighborhood is one of the city’s demo-graphically oldest neighborhoods. The neighborhood is aware that there are no options for senior living in the area, and that most homes are two and three story residences. ADU’s represent a potential way for seniors to retain their residence and move into an ADA accessible unit on the property.

Site

• Average Age.............40• Income........................$86-91,000• Housing Value..........$287,000• 40 % Living Alone• Detached ADU• ADA accessible• Replaces garage• Retains outdoor parking• Senior retains ownership• Primary unit as rental

80

Ventura Village1517 E 18th St.

• Average Age.............33• Income........................$21,000• Housing Value..........$80-164,000• One of the most diverse neighborhoods

Ventura Village is one of the most diverse neigh-borhoods in Minneapolis. The neighborhood is home to many Hispanic and Somali immigrants. It’s also rapidly changing as the transit corridor to the south of the site transforms the neighborhood.

Site

• Larger attached ADU• Non-traditional family immigrating to MN• Raises property value• Provides income for owner

81

Research and Data

82

% of residents below poverty level Residents per household1.34 - 3.74

Source: Brookings Institute

83

Research and DataIncorporating 75 units through low-rise development

Incorporating 75 units through mid-rise development

Incorporating 75 units through residential ADU development

84

BIBLIOGRAPHY

“Minneapolis Gentrification Maps” Governing Data. Gov-erning.com, January 2015.

“5-Year Estimates” American Community Survey. US Census Bureau. Census.gov.

“Neighborhood Revitalization Program” Bryn Mawr Neigh-borhood Association. bmna.org

“Minneapolis Plan for Sustainable Growth” Community Plan-ning and Economic Development. ci.minneapolis.mn.us/

“A big city growth revival?” Brookings Institute. Brookings.edu

“Accessory Dwelling Units in Portland, OR: Evaluation and interpretation of a survey of ADU owners.” State of Oregon Dept of Environmental Quality. 6/1/2014

“Accessory Dwelling Unit Development Program.” City of Santa Cruz

“Guide to financing and ADU” Accessory Dwellings.org. ac-cessorydwellings.org/

“ADU’s: Case Study” US Dept of Housing and Develop-ment. huduser.org 6/1/2008

ADU’s: Comparison of cities in Cascadia. Sightline Daily. Sightline.org 3/15/2013

Student: Sundus Al-Bayati Lindsey Kieffaber

Advisors: Andrea Johnson

Personal Space and Perception

89

TABLE OF CONTENTS

Project Abstract 90

Project Summary 91-93

Personal Space and Psychology 94-95

Diagramming 95-99

Process 100

Final Prototype 101-103

Conclusion 103

Bibliography 104

9090

PROJECT ABSTRACT

Our installation aims to make manifest a spatial idea that normally has no concrete form. How to make visible and tangible a very personal and invisible notion of boundaries, the notion of our personal space? Our interest in personal space is the perception of it, and how percep-tion interacts with the world, including people around us. How con-scious are we of the shape and boundaries of it? How conscious are we of our effect on others’ boundaries and on our surroundings?

91

+PROJECT SUMMARY

The idea for this project sprang out of a conversation about how differ-ently we experience a narrow street in the city. Some of us thought of the experience as more intimate while others said they would be less comfortable walking down a very narrow street with strangers. The discussion led us to explore the notion of personal space through an installation that will be part of the Northern Spark art festival in June, 2015.

The project started with thinking about how can we make personal space, that “invisible and portable boundary” more visual and tangible. The different shapes, sizes and comfort levels have been studied by psychologists, and are variable based on gender, familiarity, culture, age, and many more. And yet, these very personal ephemeral different shapes people have are all mingling and interacting on a daily basis. They are the building block of social and public space.

In this installation, we are interested in what constitute our percep-tion of space and how do we negotiate space if it was directly affecting others. Through a space-making experience, our installation hopes to heighten our senses and awareness of consciousness, presence, and attention to the user’s surroundings.

92

Our initial inquiry was into the shape of personal space. Everyone seems to have a different idea of what personal space is, what the shape of it, how much of it they need to feel comfortable. The shapes of personal space as different as they are normally not defined. It’s a shape without a face, or real boundary, amorphous. We only start to get at the boundaries of it when it’s being invaded.

Implications of Personal Space in Design:

Urban Density

As cities are growing more rapidly than ever before, questions about personal space and how much of it do we have and use become essen-tial in the planning and design of cities. People in Mumbai have 470 sq/person while people in New York City have 1010 sq/person.

Neighborhood and Surveillance

When people’s personal space is invaded, they feel threatened and thus they feel the need for protection. In a neighborhood people might put up physical barriers like fences, trespassing signs to protect their priva-cy. However, some studies showed that in a neighborhood where people knew each other well and were more friendly towards one another, they were less likely to manifest territorial control, and felt more responsible for neighborhood space. Another interesting study shows that bur-glars and criminal tendency depends on how private the neighborhood looked, and that physical and symbolic barriers were not a deterrent factor but rather how well the neighbors knew each other, which cre-ated surveillance.

93

http://money.cnn.com/interactive/economy/personal-space/

94

Personal Space and Environmental Psychology

German-Swedish psychologist David Katz (1937) defines personal space: “portable, invisible boundary surrounding us, into which oth-ers may not trespass. It regulates how closely we interact with others, moves with us, and expands and contracts according to the situation in which we find ourselves.”

Notions of personal space and the distance we keep around us have often been explored in the field of environmental psychology as they relate to theories of territoriality. Territoriality is the ownership we feel we have on a physical space. Bell et al. (1996) define territoriality as follows “a set of behaviors and cognitions a person or a group exhibits, based on perceived ownership of physical space” The sense of owner-ship could be either permanent like owning a house, or temporary like office space in a job we work in.

Methods of measuring personal space vary from laboratory experi-ments, field experiments to simple questionnaires. However, the results agree that it is difficult to accurately measure people’s ideas of spatial boundaries given that notions of space are affected by various cultural and individual factors. The way we defend our territory becomes then a way of delineating what that personal space might be. Researchers have studied the way people place their personal items around them as a way of creating barriers to denote spatial boundaries. Similarly concrete physical barriers like fences, trespassing signs, etc, are ways of drawing those boundaries.

What happens when personal space in invaded? Research in the field of psychiatry have examined the size of personal space of people who suffer from psychotic disorders like schizophrenia. Studies show the need for personal space is greater for people who have a psychotic disorder. Researchers attribute the reason for a larger personal space due to mental deficits. Schizophrenic patients might “start to feel loss of physical boundaries of the body.” In other words, the relationship between them and the physical environment becomes harder to define, which consequently alters their perception of danger or intrusion.

People with anxiety disorders (especially patients suffering from PTSD) set larger personal space around them than people who suffer from psychotic disorders. The reason is that people with anxiety disorders are still able to “read reality” and require a larger personal space in order to protect themselves from “ a potentially threatening situation in the social environment.”

95

Types of Personal Space according to Anthropologist Edward Hall (1966):

Intimate: 0-45 cm; very close relationships, but also situations where social rules allow contact, e.g. sport (near = body con-tact; far = whispering)

Personal: 45-120 cm; good friends (near = intimate; far = friends)

Social: 1.2-3.5m; business type relationships (near = informal; far = formal)

Public: 3.5m+ (near = speaker and audience; far = public and important figure)

Diagram showing the different layers of space needed in different settings

Intimate Personal Social Public

96

The first diagram shows the different layers of space as it varies from one individual to the other. However, the second diagram breaks from a precise form of what personal space looks like by showing that these boundaries vary in directionality and size as well.

97

A diagram speculating the shape of personal space while doing different activities

98

Draw-your-personal-space-Survey:We handed in a survey to some students in the College of Design and asked them to draw how much space they needed to feel comfortable doing certain activities

100

Process

101

Final Prototype

102

Final Prototype

103

CONCLUSION

As we are making the final prototype, we could already see places where we would improve in the final installation. The density of the strings and creating more visually recognizable patterns from the activ-ity of gathering strings would give a better understanding of what the space looks like. The elasticity of the ropes was a good method for us to push the idea of how we affect other people’s personal space by our own space-making activity.

104

BIBLIOGRAPHY

Roberts, Craig & Russell, Julia. Angles on Environmental Psychology, 2002.

Hall, Edward. The Hidden Dimension, 1966.

Aziraj, Vildana & Ceranic, Spasenija. Differences in the Size of Personal Space between Persons with Anxious and Persons with Psychotic Disor-der, 2013.

Sommer, Robert. The Behavioral Basis of Design, 1969.

RE-ORGANIZING CDESResearch and Proposal for CDes Structural Organization

Dustin Schipper

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The College of Design The Division Dilemma

The University of Minnesota’s College of Design, as it is today, comprises a wide array of disciplines ranging from Apparel Design to Graphic Design to Architecture. However, it has not always been this way. In the recent past the programs which comprise CDes were split between two smaller colleges, DHA (Design Housing and Apparel) and CALA (College of Architecture and Landscape Architecture).

It was decided by the University that the two colleges should be condensed into one for the sake of administrative simplicity. Unfortunately, the University offered no plan on how to actually enable this new College of Design to function as a holistic body, and this was left the newly formed College.

While almost all individual programs within CDes today function quite effectively, it is easily discerned that the division between CALA and DHA has not yet been bridged. The most obvious embodiment of this fault is the clear spatial division between the former colleges’ academic programs and facilities.

Both of the program groups that were once CALA and DHA remain in their former buildings, which are separated by several miles of industry, interstates and neighborhoods.

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Programs within CDes are constantly growing, shrinking and changing. A recent example of this would be phasing out the Housing Studies undergraduate program, and the newly proposed undergraduate and graduate Product Innovation program. This soon to be program will be an interdisciplinary in nature, with students taking courses offered by CDes, Mechanical Engineering and Business.

Currently the Product Innovation program is in the process of acquiring donors that are willing to fund the construction of new facilities. The planned site of these new facilities will be the link between Rapson Hall and the Mechanical Engineering building; a logical choice for a program which will require courses taught in both facilities.

This new construction offers the College of Design a once in a generation opportunity. As money begins to coalesce there is a possibility that enough funding could be acquired to begin the process of finally integrating the remnants of CALA and DHA into a cohesive whole; a College of Design.

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CDes Buildings

Bell Museum

Rapson / Mech Link

Minneapolis Campus Site Analysis

Currently the College of Design manages two buildings on the Minneapolis campus; Ralph Rapson Hall and the former YMCA building off University Ave.

There are two potential sites for the expanding the CDes presence on the Minneapolis campus; the soon to be vacant Bell Museum, and the link between Rapson Hall and Mechanical Engineering.

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CDes Buildings

Event Spaces

Sports Facilities

Residence Halls

Parking

Vehicle Corridor

Parking Zone

Pedestrian Corridor

Activity Zone

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Bell Museum Site Analysis

The Bell Museum recently received funding to relocate to the St. Paul campus, and in doing so will leave behind a large plot of vacant land near the center of campus. This land will likely be in high demand, however it is not entirely unreasonable to think that CDes could acquire at least some of the facilities inside of the new building which will likely be built on the site.

Most faculty and administrators I have spoken with seem to be convinced that the former Bell Museum will be completely demolished to make way for new construction. I decided it would be worth at least addressing the Re-Use potential of the building, as it the only example of Art Decco architecture on campus that I am aware of.

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Sand Lot Currently Built Street Face

Rapson / Mech Link Site Analysis

While the Bell Museum site has potential for use, the Rapson / Mechanical Engineering Link is almost guaranteed to be renovated into the new facilities necessary for the Product Innovation program. Re-locating CDes to this site would only require additional funding; avoiding the political struggle necessary to convince University administration that the Bell Museum site would be best allocated to CDes.

One initial concern which I thought necessary to address from the beginning was daylighting and the courtyard of Rapson. The Rapson Hall courtyard is the epicenter of community life within the architecture programs, and serves many distinct and unique purposes. One of the most defining characteristics of this space, and I would contend essential to its activity, is the unique and powerful daylight which the ceiling paraboloids bring downward.

While this daylighting is adequate most times of the year, during the winter months it diminishes quite dramatically. The Rapson / Mech link is located directly south of the courtyard, and any new construction has the potential to dramatically affect the daylight able to be received.

To address this I performed a worst case daylighting analysis, and limited all future proposals to the confines of the solar massing that resulted.

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N

S

W E

Minneapolis, MN Sun Path Diagram

Summer Solstice

Equinoxes

Winter Solstice

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Undergraduate Graduate

*Major shifts in BDA enrollment totals are primarily artifacts of changes in the program structure

*Major shifts in BDA enrollment totals are primarily artifacts of changes in the program structure

DHA Undergraduate

Arch/LA Undergraduate

DHA Graduate

DHA Graduate

Population Analysis

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DHA and Arch Totals

Undergraduate Minors

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Buffod Level Ground Floor First Floor

Second Floor Third Floor Fourth Floor

1

1

2

3

3

2

McNeal Hall Space Allocation

Public Spaces

Research

Administrative

Labs/Facilities

Studios

Classrooms

Study Space

Grad Research

Permanent Office

Open Lab

Hot Seat

OCM

Gallery

Research Center

Hotel Office/Flexible

Scheduled Lab

Cold Seat

CDes

Research Admin

Conference Room

Storage

Non CDes Facility

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Hot Seats

Circulation Based Study Spaces

1 32

1 2 3

McNeal Hall makes use of “hot seat” studios for all of their academic programs except Interior Design. The term “hot seat” refers to the dynamic characteristic of these studios. Rather than students having an assigned desk, all the desks are shared, with students having just a small storage area to call their own. This style of studio allows a small space to house a much larger population of students, but at a cost to permanence of learning environment. Typically “hot seat” studios are considered inferior to their “cold seat” counterparts, and it is likely most adminis-trators would prefer that the students could have a permanent space to call their own.

In the same spirit as the “hot seat” studios, McNeal Hall also implements a policy that all part time faculty are al-located only hotel offices. Just as in the studios, part time faculty have only limited permanent storage, and must make use of flexible shared spaces to work out of. While the faculty may not always appreciate not having an of-fice, hotel offices tend to be viewed much more favorably than “hot seat” studios, and likely will have a continued role in the College of Design.

McNeal Hall benefits from circulation spaces that feel at once maze-like and comfortable. Within the winding and oftentimes unpredictable patterns of the circulation there are places of spatial interpenetration (gaps between floor plates that allow for visual connectivity between levels) and there are places of rest. These places of rest are designated study spaces with furniture and can be offset from or directly within the path of movement through the building.

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Public Spaces

Research

Administrative

Labs/Facilities

Studios

Classrooms

Study Space

Grad Research

Permanent Office

Open Lab

Hot Seat

OCM

Gallery

Research Center

Hotel Office/Flexible

Scheduled Lab

Cold Seat

CDes

Research Admin

Conference Room

Storage

Non CDes Facility

Basement First Floor

Second Floor Third Floor

Rapson Hall Space Allocation

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Cold Seats

Special Facilities

In contrast to McNeal, Rapson Hall has only “cold seat” studios (with the BDA studio existing in a gray area in between). This is generally accepted as a positive trait within the Architecture and Landscape Architecture programs, and some may even say it is essential to an architectural education.

Rapson Hall has two key facilities that differentiate it from McNeal Hall. It has an extensive library of architectural resources, and a full woodshop with attached digital fabrication facilities boasting a wide array of machines. The shop facilities play a key role in the planned Product Innovation facilities, as they hope to expand on the already available shop, further increasing students’ availability to hands on production processes and learning experiences.

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Product Innovation Center Maker Space and Circulation

The first proposal I studied was the Product Innovation Center to be built on the link between Rapson Hall and the Mechanical Engineering building.

Within this proposal I hoped to capture the strengths of McNeal and Rapson Hall, and which would adequately serve the Product Innovation program.

I began by looking at the space limitations provided by the solar massing I had performed in my earlier analysis of the site.

I then sectioned off a three story open space which would provide adequate area for the large public maker space.

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I decided to approach the proposal space require-ments through a massing exercise, and to structure this massing around a circulation pattern. To begin this circulation pattern I looked at the already existing circulation routes to ascertain their relationship to the maker space and to gauge where they currently penetrate the envelopes of already existing buildings.

Widening the existing circulation paths created ample room for circulation. It also opens the potential for study niches to be built into the circulation routes just as in the more architecturally successful moments within McNeal Hall. A main corridor extend-ing away from the maker space provides easy access to more recessed facilities.

By adjusting the position of the circulation routes, they take on a stepped pattern which has the potential to couple with penetrations in the floor plate to produce complexly interrelated spatial conditions and create a visual and auditory interplay.

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Product Innovation Center Maker Space and Circulation

To the right are all of the new facilities that the Product Innovation program hopes to have at their disposal. The classrooms would be large open and flexible learning environments, much like those in the current STSS building. The administrative would serve as offices for new faculty, brought on to teach specifically for the Product Inno-vation program. There are two cold seat studios, one for undergraduates and one for graduates. The shop has been dramatically expanded and a materials store is directly adjacent to it; as well as a café.

Below is an example of a potential interplay of space created by the overlapping circulation spaces, and the plan view of the floor plates that would create it.

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Maker Space

Circulation +

Studios

Classrooms

Administrative

Materials Store / Cafe

Receiving

Digi Fab / Shop Facilities

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Product Innovation and DHA New Construction and Public Spaces

The second proposal I studied was one which incorporated both the Product Innovation and DHA space requirements into a street facing addition to Rapson Hall and construction throughout the link between Rapson and Mechanical Engineering. One facility which I was unable to find room for in this proposal was the Goldstein Museum, which would likely have to be moved to the former Bell Museum site. This proposal, like the last, is built within the worst case solar massing study previously discussed.

The diagram on the left page describes the areas on the floor plan consisting of new construction.

The diagram on the right page describes the relationships between the public spaces and the gaps in the floor plate. To create the same interpenetration of space and visual connectivity of the stepped circulation from the previous proposal, public spaces have been spread throughout the circulation pattern floor plate permeability relating to their positions; both above and below them.

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Public Spaces

Floor Plate

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Product Innovation and DHA New Construction and Public Spaces

The left page describes the circulation pattern throughout each floor plate, and illustrates the points at which vertical circulation is possible. This proposal’s circulation embodies the tangled intrigue of McNeal’s winding corridors, while possessing a stronger underlying logic. While there are numerous locations where one floor differs from those above or below it, these variances are intended to bring light further into the spaces and create a dynamic experience of traversal.

The right page outlines a potential programmatic arrangement for the new CDes building. Faculty offices are located near their corresponding studios. Cold Seat studio spaces are expanded and allowed to remain open so as to seat hundreds of students. Visually striking research and studio spaces are brought to the street side face of the building to generate public visibility. The maker space and the courtyard act as twin hubs of activity. The new street side face of Rapson Hall announces to the broader campus community the new presence of CDes on the site.

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Studios Administrative

Classrooms Receiving

Labs / Facilities Research

Julie Hillman | Detailed information on McNeal Hall space planning

Holley Locher | Detailed information on Rapson Hall space planning

Barry Kudrowitz | Description of the new Product Innovation program and maker space facilities

Kathy Witherow | Enrollment statistics

Primary Sources New Construction and Public Spaces

133

Bottle Cap Sculpture A

Visual narrative

134

My life was heading towards a stopping point, it had reached a plateau. I knew subconsciously that something was wrong and I had to change but, little did I know what I had to go through to really change. As Muller put it in from a design point of view my life was, “Not determined by our expectations because we have none” (Muller). I couldn’t see what was coming or understand what I had done in my life up to that point. To that point I felt like I had everything figured out and I would just keep moving forward without any major problems.

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I had to find something in myself that I didn’t know anything about. I was blind and I didn’t know. “If we rely solely on seeing it in famil-iar ways, we will only be able to re-enact what we have already done and confirm what we already know” (Woods). I was on what I thought was the right track emotionally, I wasn’t sure and if I kept moving that way then would I have a stable life in the future?

I had to make a choice and I had to go with what my heart was telling me. “Fracture line between what we think we know and what we actually know” (Naja) My heart usually has made the best de-cisions for me, it sees more in people and more in situations that I cannot normally understand. I had lost a real connection with my heart from holding onto the anger I had for so long.

From this I made a few life choices and what perception I had about my life was torn apart.

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Days would drag on, nights were even longer. I was afraid to sleep, afraid to really let my mind go. I couldn’t find a reason to get out of bed or to stay asleep. My dreams were so vivid and surreal the mornings would become the most disturbing part of my day. If I kept going in and out of sleep my dreams would change each time I closed my eyes. I saw disturbing images and stories that would deeply affect me. Some days those stories and images felt so real, like reality and subconscious were melding into one. It took me so long to actually wake up because of the meds and lingering effects of alcohol that would really mesh the two worlds together. The connection of these two worlds really allowed me to feel deeper feelings and learn when something was wrong.

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I would take walks and allow everything to settle or ruminate in me. These walks would allow my brain to settle and get a grip on my emotions. I took life one day at a time, I just waited for each day to end. I had no hope no goals I just wanted it to be over. I was short sided just trying to get a glimpse at moments of happiness. I didn’t want to listen to what people had to say and I felt even more guilt by only being able to talk about myself and not being able to move on.

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I had only a connection with the internal core of my body (head, lungs, heart, stomach, and hands). I felt like certain parts of my body were floating away while my skin, feelings in my stomach, and my strength had been torn away from my soul. There was no real connection between my heart and my body and it drove me crazy. The only time that was lessened was by drinking. It settled the tension in my mind, it grounded my body, but there was a fine line. Sometimes it would go too far and I depended on it to keep me going.

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The bottle caps are the tangible objects left over from the long nights. These mundane objects that people just throw away that I started to collect to find

something that could connect the outside world with my mental state. Emotions

and moments in a person’s life are best represented by an object or a picture. Bottle caps much like beers are held

for a moment in time. They are slowly forgotten and discarded after their use. The collection of these caps the shared experience of these drinks come through and connect people with the forgotten

moments and used as assembly of memories. Memories that become abstracted sculpture

about a mental state.

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Early Iterations

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I have felt that this time of my life was like being stuck under a constant barrage of waves. I struggled just to stay afloat, but I found that drowning was a better idea. The hard part has been trying to capture the range of emotions I felt about one incident. I was “Designed to expand the scope and depth of our experiences” (Muller) and I felt that the process of collecting bottle caps best represented my experience to the rest of the world. Everything around me seemed to be over emphasized to a point where I couldn’t tell where one object started and where one began. The sculpture was meant to be dulled down to only the underside of the caps and the light that moved through it. It was more of literal representation of how light reacts to moving waves of water, with prescribed frames of structure or a “Primal shelter” (Kordetzky) to find a way back to normal life

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Now that I have been able to understand all that I went through and I am able to recount me emotions the sculpture has become more about peaks of light and layering of color and structure. It’s about how I tried to hold my life together with the broken strands of my old life. The structure is fragmented and disproportionate, the colors layer on top of each other, much like the emotions I felt throughout my whole body. Each emotion had its own character and each conflict with the one before to a point of distraction. But, when you really start to look at it there is something new and beautiful created from the shattered remains of a boy’s life that needed to go through this change to see what was really important in life.

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Form

The interior form represents the tangible parts of the built world that have been warped into their shapes and have been overtaken by the caps. More frame in certain areas to better connect with the “built area” and how much was shattered. “One piece that is broken into two pieces, the remnants remain in-between throughout the features” (Woods) The parts of the interior form represent parts of my body, the legs, torso, and head. Each sector is one representation of my body in the abstraction of the three lines mirrored around the center.

Sober my body (legs) would just move, no real effort was put into it consciously, so the base of the sculpture is at a severe angle leaning towards the middle being held up by the other ends. In contrast, my heart kept the going it had the hope I could not find on my own. It held the delicate strings holding my life together it was also hit the hardest. The heart is represented by other pieces stemming off of the major frame to connect the interior and exterior pieces.

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Entry

160

Entry is a major part, as the user approaches the sculpture they are forced to bend down to fully enter and interact the piece. It’s about how the smallest step can totally change your perspective and how you can get turned around from even the smallest of changes in your path. It’s more about finding yourself inside of the piece and being able to experience the exposure yet having this thing over you. Welcoming you in because you can see your path but as you bend down you are shocked to see this new space.

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Light

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Light to me was very streaky and would peak out of the strangest places especially out of my peripherals. Light was also very harsh on my eyes, so much so I would have to wear sunglasses outside even on cloudy days. The effect light had on my eyes started changing what I saw. I was able to recognize more detail and different colors. I was forced to look a certain way allowing my gaze to focus on the smaller details. As I learned how to focus in this new way my brain started to weave a new mental fabric of what I thought of the world and how I perceived myself in it. “Mind and body are matter and energy, engaged in a universal flux” (Woods)

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Grain

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Bottle CapsThe process of finding the shape of the caps. “The depiction of space as an active abstract field” (Reiter) Mapping emotions through the

body, feelings expressed as form, color related to sensations, light related to connections, frame acting as tension, and the grain of the caps representing a new texture. “It still

closes in on an instant of being, touching but not seeing an essence of motion, of change,

in flashes of light at once crossing infinite and infinitesimal space.” (Woods) The many

layers of caps can act like the original idea of shifting planes, but instead of acting as individual pieces they act as one solid

membrane. “Membranes are not rigid formations, they build up, break down and disintegrate as

needed” (Kordetzky). Within this membrane there is a break to signify the moment of total

change. This is formed with the bent caps acting as the tear in the system and informs or misinforms from the greater level of draping. Along with the underside of the caps there is colored resin poured into them to. “Countless pictures per second, the soul one step behind, the simultaneous overlapping of unevenly long sequences from different times cause ruptures,

between them reality displaced? Frozen emptiness? ...Anticipated future with delayed

present?” (Kordetzky)

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Emotions

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My emotions were very intense and effected and were held in certain parts of my body. They had their own form and motion to them, as well as have a specific color associated with them. This is where the caps form starts to take shape. My goal is to make a new form from the mapping and layering of the emotions. The emotions will be placed on certain parts of the frame where the emotions were felt.

Represented as a type of line, shape, or point

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DepressionHorizontal draggingstaying heaviest on the front edges like walking upstreamslowly degrading

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Angerinternal piecesLeaving scars in the middleinterrupting the system

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Anxietyoverlapping multiple sharp linesColor found throughout

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Feara dark voidswirling entities

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Guiltlike depression but translated verticallygathering on surfaces

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Love

flowing throughlifting up but not eroding little to no collecting

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Sparks of happiness &

Moments of calm

moments of light and void amongst a greater field of repeating shapes

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Large crowds gave me anxiety because I felt on display and felt like everyone knew there was something wrong with me yet no one seemed to care. So, the sculpture should be somewhere in the open not directly in someone’s path, becoming more of the surroundings being changed due to the object instead of being a site specific piece. It is more object specific because I saw it as the demon is the same no matter where you are, it’s all about how you deal with it in every environment. You have to find this object not along a major path but, along a different way. “Armature for dialogue between people in a community” (Naja). In a way I would not only like this to be for me, but for the public to understand that everyone is going through a battle, even if that someone is you. You may not see it or understand it but it is placed somewhere where you really have to take a look and wonder what happened. “Placements of niche altars near crossroads or portals mark a vulnerable association” (Muller). The point is to feel exposed at a closer level while still being contained and almost forgotten about at a larger scale.

Site

202

Caps Form Testing

230

Assembly &

after

231

It is able to be taken apart. “Transference of intensities through currents and eddies, through constant confrontation of inside and outside worlds” (Kordetzky). It will have its own light source to push the idea of “Interim world in a state of precarious equilibrium” (Kordetzky).

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This is my piece and my battle and since I took the demon with me through my many travels around the country, it should follow with me until I can find a necessary space to leave it behind.

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Works CitedKordetzky, Lars, Aleksandra Wagner, and Lebbeus Woods. Sequences: Saw Only the Moon. Wien: Springer, 2001. Print.“The Light Pavilion by Lebbeus Woods with Christoph A. Kumpusch.” Dezeen The Light Pavilion by Lebbeus Woods with Christoph a Kumpusch Comments. N.p., 19 Jan. 2013. Web. 09 Mar. 2015.Naja, DeOstos. “Pamphlet Architecture 29: Ambiguous Spaces - , Ricardo De Ostos - Download Manuals & Technical.” Tradebit. N.p., n.d. Web. 09 Mar. 2015.Woods, Lebbeus, Peter Noever, Manuel De Landa, Anthony Vidler, and Christoph A. Kumpusch. Lebbeus Woods: System Wien. Ostfildern-Ruit: Hatje Cantz, 2005. Print.

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Student: Alberto Babio Kamon Liu Deuk-geun Hong

WAM Group: Alexa Herman Katie Covey Hannah Germaine

Advisors: Andrea J. Johnson

W.E.L.C.O.M.EPROPOSAL FOR A POP-UP PARK l WAM

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Project Summary

Feast: Radical Hospitality in Contemporary Art

Since the 1930’s, many artists have used the simple act of sharing food and drink to advance their own aesthetic goals and to foster critical engagement with the culture of their time. These artist- orchestrated meals offer a radical form of hospitality that punctures everyday expe-rience. The meal becomes a means to spark encounters, focus atten-tion, and shift perception. Feast surveys this practice for the first time, presenting the work of artists and artist groups who have transformed the shared meal into a compelling artistic medium.

The art in Feast stretches across eighty years, several continents, and a range of artistic approaches. It is arranged in a rough chronology: After a prologue, Feast offers examples of the artist-orchestrated meal as rooted in the European avant-garde during the early twentieth century; as propelled via idea-, action- and performance-based art in the 1960’s and 1970’s; and as embodied within the rise of participatory, socially engaged, and collaborative practices over the past two decades.

Project Scope: The Weisman Art Museum’s front plaza serves as a thoroughfare for 20,000+ pedestrians and cyclists on the University of Minnesota Campus. Despite the high visibility of WAM, the vast major-ity of students do not engage with the museum. How can WAM be more hospitable? The Pop-Up Park Committee is charged with creating a ‘Park’ that is reflective of the dynamic space inside the museum, that engages visitors with concepts presented in Feast, and deploys ele-ments of hospitable urban design. The park will be staged on WAM’s plaza from April 20-May 3, 2015 and will culminate in a community day celebration.

239

TABLE OF CONTENTS

WAM POP-UP PARK 240-241

Feast: Radical Hospitality in Contemporary Art 242-243

Hospitality 244-245

Radical 246-247

Site Analysis 248-249

Site Context 250-251

Overall View 252-253

Site Plan 254-255

Welcome: Radical Hospitality 256-257

Construction 258-259

Perspective 260-261

Bibliography 262

240

WAM POP-UP PARK

Scope: The Weisman Art Museum’s front plaza serves as a thoroughfare for 20,000+ pedestrians and cyclists on the University of Minnesota Campus. Despite the high visibility of WAM, the vast majority of students do not engage with the museum. How can WAM be more hospitable? The Pop-Up Park Committee is charged with creating a ‘Park’

1- That is reflective of the dynamic space inside the museum.

2- That engages visitors with concepts presented in Feast.

3- Deploys elements of hospitable urban design.

The park will be staged on WAM’s plaza from April 20-May 3, 2015 and will culminate in a community day celebration.

_open studioumn Sp 2015

WAM Pop-up Park

Scope: The Weisman Art Museum’s front plaza serves as a thoroughfare for 20,000+ pedestrians and cyclists on the University of Minnesota Campus. De-spite the high visibility of WAM, the vast majority of students do not engage with the museum. How can WAM be more hospitable? The Pop-Up Park Committee is charged with creating a ‘Park’:

1- That is reflective of the dynamic space inside the museum, 2- That engages visitors with concepts presented in Feast, 3- Deploys elements of hospitable urban design.

The park will be staged on WAM’s plaza from April 20-May 3, 2015 and will cul-minate in a community day celebration.

241


WAM Pop-up Park

Scope: The Weisman Art Museum’s front plaza serves as a thoroughfare for 20,000+ pedestrians and cyclists on the University of Minnesota Campus. De-spite the high visibility of WAM, the vast majority of students do not engage with the museum. How can WAM be more hospitable? The Pop-Up Park Committee is charged with creating a ‘Park’:

1- That is reflective of the dynamic space inside the museum, 2- That engages visitors with concepts presented in Feast, 3- Deploys elements of hospitable urban design.

The park will be staged on WAM’s plaza from April 20-May 3, 2015 and will cul-minate in a community day celebration.

242

Feast: Radical Hospitality in Contemporary Art

Since the 1930’s, many artists have used the simple act of sharing food and drink to advance their own aesthetic goals and to foster critical engagement with the culture of their time. These artist- or-chestrated meals offer a radical form of hospitality that punctures everyday experience. The meal becomes a means to spark en-counters, focus attention, and shift perception. Feast surveys this practice for the first time, presenting the work of artists and artist groups who have transformed the shared meal into a compelling artistic medium.

The art in Feast stretches across eighty years, several continents, and a range of artistic approaches. It is arranged in a rough chronology: After a prologue, Feast offers examples of the artist-orchestrated meal as rooted in the European avant-garde during the early twentieth century; as propelled via idea-, action- and performance-based art in the 1960’s and 1970’s; and as embodied within the rise of participatory, socially engaged, and collaborative practices over the past two decades.

Sam Gould | Red76 , Additions/Occupy Your HomeMella Jaarsma, I Eat You Eat MeLee Mingwei, The Dining ProjectTom Marioni, The Act of Drinking Beer with Friends is the Highest Form of ArtAna Prvacki, The Greeting CommitteeDavid Robbins, Ice Cream Social

243

Student: Alberto Babio Kamon Liu Deuk-geun Hong

WAM Group: Alexa Herman Katie Covey Hannah Germaine

Advisors: Andrea J. Johnson

W.E.L.C.O.M.EprOpOsaL fOr a pOp-Up park l WaM

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Laws of Hospitality

Host

Provide shelterOffer something to sit down/sleep Offer something to drink/eatOffer something to get warmerGive something, a presentAsk for your opinion/conversationNon discriminatory

Guest

Right of asylum in exchange for losing the anonymity(give personal information)Be thankfulGive compliments

HOSPITALITY

245

Hospitable Environment

ComfortableIntimacyGood LightTemperatureAlone-Between friendsColorfulGreen-ishCareful presentationNon discriminatory

Be Hospitable to Attract people usingUrban DesignSignsSoundMusicColorComplexityInteraction

Gestures of Hospitality

Eye contactSmileSay Hi/Hello/WelcomeInvite to Come inSay Bon Appetite Bow of respectHold the doorHats offShake handsShow the wayAsk for coatsToast Table’s protocolTable’s ceremoniesTable’s tradition

246

OUT OF CONTEXT

UNEXPECTED USES

HOST-GUEST ROLES

TENSION, BLURRING ROLES

UNCOMFORTABLE SITUATIONS

SEARCHING OF EXTREMES, EXCESSES

BEING BURLESQUE

CHANGING POINT OF VIEW

SOCIAL COMMITMENT

RADICAL

247

STRATEGY

1- BE SURPRISING Fun, interactive, vibrant, attractive,entertainment...

2- INTRODUCE THE EXHIBITIONUse ideas for each perfor-mance. A preview..

3- BE HOSPITABLE TO BRING PEOPLE IN THE MUSEUMSeating, Events, inviting peo-ple to come...

INSPIRATION

_typography

_table arrangement

248

SITE ANALYSIS

250

_Site Context

SITE CONTEXT

brickwoodsteelconcretegrass

252

OVERALL VIEW

W.E.L.C.O.M.E

254

SITE PLAN

Scheme

255

Floor Plan

256


SIGNAREA TYPE OBJECT-PROGRAM CONSTRUCTION MATERIALITY

PIECES RADICALHOSPITALITY

POTENTIAL MATERIALS

WEL

M

C

E

O

INDIVIDUAL

R

A

D

I

C

A

L

I

S

I

M

INTERACTIVE

GROUPS

ALL

FIXED

INDIVIDUAL SEATING AND

TABLESREADINGEATING

STORAGEWALL

ARCHIVESHARING

INFO

THRESHOLD INST.CONTAINER BENCH

SHARING WALL(LOSE THE ANONYMITY)

WRITE YOU NAME, IDEAS

RECLAMED WOODEN

DOORS AND FRAMES

RECLAIMED WOODMOVABLE LIGHT

RECLAIMED WOOD

PALLETSPLYWOOD

PLEXIGLASS

STAGEPLATFORMSPOTLIGHT

TABLEFEST

CONTAINER FOR...FOOD

DONATIONSGARBAGE

GROUP SEATINGSTADIUM STEP

CHILL-OUT AREAYOU HOST. MUSIC

WOODPLYWOOD

PLEXIGLASS

PLANTER

CHALK BOARDPLEXIGLASSBLUE-TOOTH

SPEAKERS

WALL AND TABLE

WINDOWPOINT OF VIEW

RECLAIMED WOOD

PALLETSPLYWOOD

PLEXIGLASS

RECLAIMED WOOD

PALLETSPLYWOOD

PLEXIGLASS

FIXED

FIXED

FIXED

FIXED

FIXED

MOBILE

SEATSTABLE

BEANCHEWSPLANTER

PUFF FOR CHILL TEXTILE OR PLASTIC BAG

CORN

OUT OF CONTEXT

USE

OUT OF CONTEXT

USE

UNEXPECTED PLACE FOR SHARING

VIEWINGBE VIEW

GIVE AND TAKESOCIAL

COMMITMENT

SPOTLIGHT TO HIGHLIGHT

IDEAS

IN-OUT EXPERIENCEWELCOMING TO EXPRESS IDEAS

FLOW OF INFORMATION

PUBLIC-INDIVIDUALARRANGEABLE

SPACE

HOW IS THE GUEST AND THE HOST

CARDBOARDTOYS FACTORY

LEFTOVERS

MOBILE

FIXED

_ H O S P I T A L I T Y

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SIGNAREA TYPE OBJECT-PROGRAM CONSTRUCTION MATERIALITY

PIECES RADICALHOSPITALITY

POTENTIAL MATERIALS

WEL

M

C

E

O

INDIVIDUAL

R

A

D

I

C

A

L

I

S

I

M

INTERACTIVE

GROUPS

ALL

FIXED

INDIVIDUAL SEATING AND

TABLESREADINGEATING

STORAGEWALL

ARCHIVESHARING

INFO

THRESHOLD INST.CONTAINER BENCH

SHARING WALL(LOSE THE ANONYMITY)

WRITE YOU NAME, IDEAS

RECLAMED WOODEN

DOORS AND FRAMES

RECLAIMED WOODMOVABLE LIGHT

RECLAIMED WOOD

PALLETSPLYWOOD

PLEXIGLASS

STAGEPLATFORMSPOTLIGHT

TABLEFEST

CONTAINER FOR...FOOD

DONATIONSGARBAGE

GROUP SEATINGSTADIUM STEP

CHILL-OUT AREAYOU HOST. MUSIC

WOODPLYWOOD

PLEXIGLASS

PLANTER

CHALK BOARDPLEXIGLASSBLUE-TOOTH

SPEAKERS

WALL AND TABLE

WINDOWPOINT OF VIEW

RECLAIMED WOOD

PALLETSPLYWOOD

PLEXIGLASS

RECLAIMED WOOD

PALLETSPLYWOOD

PLEXIGLASS

FIXED

FIXED

FIXED

FIXED

FIXED

MOBILE

SEATSTABLE

BEANCHEWSPLANTER

PUFF FOR CHILL TEXTILE OR PLASTIC BAG

CORN

OUT OF CONTEXT

USE

OUT OF CONTEXT

USE

UNEXPECTED PLACE FOR SHARING

VIEWINGBE VIEW

GIVE AND TAKESOCIAL

COMMITMENT

SPOTLIGHT TO HIGHLIGHT

IDEAS

IN-OUT EXPERIENCEWELCOMING TO EXPRESS IDEAS

FLOW OF INFORMATION

PUBLIC-INDIVIDUALARRANGEABLE

SPACE

HOW IS THE GUEST AND THE HOST

CARDBOARDTOYS FACTORY

LEFTOVERS

MOBILE

FIXED

_ H O S P I T A L I T Y

258

GSPublisherEngine 0.5.100.100

1\4" MDF withplywood core

chalk board paint

benches

cushions

bar table

1'-4"

container

colored edges2'-8"

4'

4' 2'-8''

CONSTRUCTION

260

PERSPECTIVE

262

BIBLIOGRAPHY

- Of Hospitality, JACQUES DERRIDA AND ANNE DUFOURMANTELLE, TRANSLATED BY RACHEL BOWLBY, ED. SERIES: CULTURAL MEMORY IN THE PRESENT. SEP 2000

- Feast, Radical Hospitality in contemporary Art, Stephanie Smith, ed. Smart Museum of Art. The university of Chicago. Jun 2012

- BORROWED CITY, MOTOElastico [Simone Carena | Marco Bruno + Minji Kim]. ed. Damdi. Nov 2013

265

A P P R O P R I A T I N G I N F R A S T R U C T U R E RECONTEXTUALIZING PUBLIC SPACE AND INNOVATION IN A CONTEMPORARY URBAN PARK

CHRIS M A S S E YMOLLY D A L S I NA N N A MAHNKE

The Delmar Mill complex is a site of historical and contemporary consequence. In its years of operation from 1910-1960, its performance was one that prominently fueled the economic growth of the Twin Cities. Now dormant in the service of grain, the colossal structures loom silently over the forgotten landscape, neither remote nor interwoven with the fabric of the city. This dissonance enables a new mode of architectural intervention and a shift in traditional programming. Thus, the proposal for a contemporary urban park reinterprets the historic SEMI mills complex as both provocative public space and dynamic innovation district.

By appropriating the historical infrastructure, the urban park enables exploration, activism, and interaction between people, structures, and nature. Fundamental to the complex is the public space, including procession, appropriation spaces, and spectacle as tools to recreate the mill’s cultural stakes. The complexity and precarious nature instilled in the existing structures translates experiences, understandings, and meanings of history, culture, and contemporary attitudes to the urban park. The layering of meaning, interpretation, and subsequent mental state makes the architecture difficult to resolve, but it is exactly this multiplicity that make the building and the program relevant today. In complement to the public park, an innovation infrastructure is proposed, focused around elasticity, evolution, and a density of disciplines and cultures. The goal is to synthesize the city, the community, and the innovation district to form a contemporary urban park that no form of digital technology, corporate office space, existing public plaza or classroom can match.

APPROPRIATING INFRASTRUCTURE RECONTEXTUALIZING PUBLIC SPACE AND INNOVATION IN A CONTEMPORARY URBAN PARK

RECONTEXTUALIZING PUBLIC SPACE AND INNOVATION IN A CONTEMPORARY URBAN PARK

C H R I S M A S S E YM O L LY D A L S I NA N N A M A H N K E

268

1 26 8 91 26 8 9U of M DT Minneapolis

1913 Prospect Park Water Tower built

1952 Glendale Housing Project – city’s first postwar public housing project

1870Minneapolis | 13,000 people

1860 - 1920 Mass railroad growth (by 1920 - 29 railways) Early industry supported lumber and flour milling

1890 Minneapolis | 165,000 people

1920 - 1950 Height of the industryBegan to diversify products to account for further growth in MN

1925 - 1931ADM Delmar elevators built and become part of the largest grain elevator facility

269

1 2 475391 2 47539 St. Paul

1960'sMills and railroad transport declined

Population moved to suburbs, many businesses left the area Train tracks and structures begin being demolished Empty spaces used as parking lots

1952 Glendale Housing Project – city’s first postwar public housing project

1920 - 1950 Height of the industryBegan to diversify products to account for further growth in MN

2000’s

UMN expands east with TCF Bank Stadium and biotech buildings

1925 - 1931ADM Delmar elevators built and become part of the largest grain elevator facility

2014Surly Brewery completed

2013UMN MDC proposal for SEMI

2012Solomon Atta: The Other Life of Silos ThesisGDIII Graduate Urban Design Studio Proposals

2001

City of Minneapolis SEMI master plan | Cunningham group

Solomon Atta: The Other Life of Silos Thesis

HGA : Surly Brewing

MDC : SEMI PROPOSAL

272

NATURE + INFRASTRUCTURE

1 2 3

Existing structures are seen as a system or complex of infrastructure rather than as buildings within a landscape.

How much do you design to promote appropriation and innovation? What is the needed infrastructure?

273

86 7 9

Existing structures are seen as a system or complex of infrastructure rather than as buildings within a landscape.

Designed Appropriation Spaces

274

PERCEPTUAL MOMENTS

275

Human scale interventions of potent experimental moments-- most of which are remnants of a no longer relevant function: shear cylindrical silo walls rising with a spot of light at the top, the ninth level of the workhouse with two massive holes in the floor and no place of security, and the scalelessness silos themselves framing a view of the equally scaleless city.

276

PATH

277

Path: connecting all the previous interventions, most significantly sequencing

perceptual moments but as well as appropriation spaces and nature and

infrastructure. This is a system and intervention scaled to that of an entire

complex. The intervention creates topography and evokes exploration for a

more provocative public space.

CHARRETTE MODELSThe final two weeks of this 7-week

project were largely devoted to design

charrette and physical modeling.

The immense scale and structural

opportunities that come with the site

were difficult to explore physically

in a short amount of time. These

explorations were primarily focused

on the issues of path and topography.

280

BIBLIOGRAPHY

“AD Classics: Parc De La Villette / Bernard Tschumi.” ArchDaily. N.p., 09 Jan. 2011

Adams, Greene, Raznick; Bright Lights No City. University of Minnesota Masters Final Project 2014.

Https://architecturearmature.files.wordpress.com/2014/05/adamsgreeneraznick_brightlightsnocity.pdf

Atta, Solomon. “Solomon Atta : The Other Life of Silos.” Buffalo Rising. Hyper Local Media, 22 Apr. 2012.

Barlow Jordan, AUTHORIZED PERSONNEL. University of Minnesota Masters Final Project 2014.

https://architecturearmature.files.wordpress.com/2014/05/barlow_authorized.pdf

“Bernard Tschumi Architects.” Bernard Tschumi Architects. N.p., n.d.

“Cedric Price.” Cedric Price / - Design/Designer Information. Design Museum, n.d.

Zumthor, Peter “De Meelfabriek.”

“Latz+Partner.” Latz + Partner, Landscape Architects Urban Planners. N.p.

Montgomery, Charles. Happy City: Transforming Our Lives through Urban Design. N.p.: n.p., n.d. Print.

Oswalt, Philipp, Klaus Overmeyer, and Philipp Misselwitz. Urban Catalyst: The Power of Temporary Use.

Berlin: Dom Pub, 2013. Print.

“Volksplatz Borna.” Wikipedia. Wikimedia Foundation,

281

MDM TEAM MEMBERS

Chris Massey :

GD2 MArch candidate 2016. St. Olaf College 2013 graduate

majoring in Studio Art.

Molly Dalsin :

GD2 MArch candidate 2016. University of Wisconsin Madison 2010

graduate majoring in Chemistry and Biochemistry

Anna Mahnke :

GD2 MArch candidate 2016. t. Olaf College 2012 graduate majoring

in Studio Art.

open studio booklet

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