2

3

pa•limp•sest: n., Writing material (as a parchment or tablet) used one or more times after earlier writing has

been erased; something having usually diverse layers or aspects apparent beneath the surface

4

Abstract

Introduction to Key Topics

The Delaware PowerStation

History of the Delaware Station

Future Plans for the Waterfront

Application of Case Studies

Designing the Site

Existing Spatial Conditions

Building Design

Bibliography

5

6-8

10-11

12-13

14-15

16-17

18-19

20-21

22-33

34-35

Table of Contents

5

Abstract

The thesis uses the abandoned Delaware Power Station as a means to examine larger issues of post-industrial spaces and methods of adaptation. A critical application of a palimpsest is used to understand the building as a site within several layers of historic uses and adjacencies as well as contextualizing the building within a larger urban framework along the Delaware River. Several adaptive reuse case studies including the Tate Modern are explored as spatial and tectonic palimpsests which are then later applied as design strategies for the Delaware PowerStation. Analysis of the existing spaces of the power station is central in framing the way in which new structures, materials, and program are adapted within the existing shell of the building.

In the adaptive reuse of the Delaware PowerStation, program is conceived as having two separate yet supportive roles that account for two different types of users. Recreational spaces are designed for the Delaware waterfront as part of network of trails and art gallery and exhibition spaces are designed to establish the PowerStation as a new cultural center. Each layer of the new design attempts at building upon the existing narrative of the building and takes advantage of the enormous volumes within the existing power station as well as some of the more unique architectural components of the building. In the end, what emerges is a palimpsest of space, use, and memory that registers the history of the building and site through its architectural design and program.

6

An X-ray image of the famous palimpsest, “The Archimedes Text”, reveals entangled layers of text and images that have accumulated over centuries.

In his work, ‘Surface Research’, Henri Jakobs utilizes the processes of erasure and drawing as a design tool to build rich and layered textures of information.

What is a Spatial Palimpsest?

Palimpsests traditionally refer to parchment, vellum, or

papyrus that was reused by washing off or scraping away

old texts to create a new writing space. For centuries they

served archeologists and historians alike in the uncovering

previous layers of history that have been otherwise obscured

by layered and tangled surfaces of text. Initial texts and

materials become often lost and partially destroyed by new

authors adapting the material to incribe whatever it is they

felt compelled to write. So, whether it was because of the

lack of supplies or a desire to imbed new meaning into an

existing surface, the writer becoms the active participant in the

destruction of the original in order to create something new.

What results, is a hetergenous mix of different layers that are

so intertwined that is diffi cult to distinct what is old from the

new.1

In a palimpsest, the material, whether it is papyrus or

concrete, is subject to a temporal transformation along with

the text inscribed into it. In archeology, scientifi c tools such as

carbon-dating or radiographing can be used on materials of a

palimpsest order to uncover which texts belong to the original

and determine which layers do not.

1 “Palimpsest.” Th e Chicago School of Media Th eory.

7

By the manual process of scraping away and moving earth, The Peruvian Geoglyphs imbed layers of interesting geometries into the desert landscape.

The Philadelphia row home, because of its side by side construction, can leave a palimpsest of information when an adjacent building becomes derelict and removed. The resulting elevation is a collage of material residues that trace former structures and interior volumes.

As the document gets altered over time, the palimpsest

gains a highly textural quality as it is affected by man-made

or natural erosive agents. And because of that temporal

tranformation, palimpsest gain value as they become several

layers of information within the same surface as opposed to a

singular document that would lose value if it were to undergo

any weathering processes at all.

A spatial palimpsest is the translation of palimpsestual

processes applied to a layered, volumetric design. In a surface

procedure of a palimpsest, scraping and erasing are the

primary tools of the author to allow for new writing to emerge.

As a spatial practice, those same tools of removal can be

generalized into a method of partial demolition that maintains

evidence of the original while adding a new layer construction.

Design can thus be though of as a textual response, in that

it communicates a design narrative that is responsive to an

existing context and yet adds something new in its execution.

8

In Peter Latz’s work on the landscape park in Duisberg, Germany, he uses ecological processes and program as a design tool to reframe how the site is perceived and remembered by the larger public. Once considered an ecological disaster area, the blast furnace plant in Duisburg was symbolic of the post-industrial Germany. In fact, no other city in Germany experience such a rapid decrease in manufacturing than Duisberg and the industrial wasteland became a blight along the city’s waterfront. Latz was able to incorporated as part of the program the weathering and industrial processes that he retooled to bio-remediate the site. Latz described the process as looking at original information as information layers and incorporated each layer as a fragment of an overall park system. Recreational programming was utilized as a key tool in reshaping how people interacted with the site and resulted in complete shift in the way it is perceived.

As a rule, products do not age well either through the process

of things becoming obsolete or having an outlived use. For

palimpsests, this condition is a given and but adds to their

value a historic artifact. For buildings however, the aging

process can be life threatening. “On Weathering: The Life of

Buildings in Time”, David Leatherbarrow argues that buildings

gain value as they age and their material surfaces become

weathered.1 His argument appears at fi rst counterintuitive;

How can materials gain value via aging? The thin white

walls of modernist construction, like that of Le Corbusier’s

Villa Savoye, have aged terribly since its construction

through erosive processes and quickly fall into disrepair if

not constantly maintained. All architecture, in fact, is subject

to staining and erosive projects, but as Leatherbarrow would

argue, these processes only appear as deformations if the

building has an idealized state which can only subtracted from

after its initial design.

Architecture embodies a collective memory made visible.

Leatherbarrow writes, “In the time after construction, buildings

take on the qualities of the place wherein they stand, their

odors and surface texture being modifi ed by and in turn

modifying those of the surrounding landscape.” Much like

a palimpsest, buildings aggregate in layers of material

transformation and are continuously subject to different

interpretations in how they are understood within its site.

1Leatherbarrow; On Weathering: The Life of Buildings in Time.

Things Lost but Not Forgotten

9

The ‘ArtHouse’ by LTL Architects is an adaptive reuse project that incorporates that pre-existing layers of the building that was once a 1950’s theater turned department store and used it as an active part of the new design.

To understand the cultural narrative in regards to particular memories of a city, one can observe its

architecture and built spaces. To understand the attitudes of the people towards its history and memory, one

can look at the way the city responds to its historic buildings. For the greater part of the 20th century, there

have been two dominant attitudes towards adaptively reusing historic buildings. The fi rst attitude emerged as

part of the Beaux Arts Tradition which offered a “promise of harmony and continuity between present and past.”

Historic building adaptations were a restorative process that sought to replicate how the building once existed,

often blurring distinctions between new and old and seeks as its ultimate goal to eliminate the presence of time

altogether. Thus, the preservationist method treats memory and architecture as a static and singular entity

rather than a complex layers that has changed with time. 1

The second method of adaptive reuse has emerged from the theoretical doctrines of the modern movement

of the early 20th century. This movement although diverse on many different scales can be characterized by

a critical moment that split histories into a dialectic between new and old. Adaptive reuse of historic buildings

has thus resulted in a “clear break between parts” and a sharp distinction between the existing architecture

and new design.2The existing architecture is largely left alone and newly designed structures are perceived

as something separate. By splitting architecture into disparate poles, the memory is registered and shaped

by fractured and discontinuous elements. Adaptive reuse of a historical building can be an opportunity for

intervention to register the memory of the architecture and site as a palimpsest. When removed from the

dialectic between new and old, memory can be understood as part of a continuous process that has evolved

from multiple layers of history. This attitude towards memory allows for new design to insert itself as part of that

process and results in a third method; ‘the palimpsest’.

1 Hewitt, Mark Alan. “Architecture for a Contigent Environment.”2 Crisman, Pheobe. “From Industry to Culture”

Adaptive Reuse as a Palimpsest

10

Aged buildings contain a palimpsest of collective site memories that have both a physical and conceptual

presence that when adaptively reused, can be registered spatially into an architectural design.

The site of the Delaware Power Station has evolved over time and has been infl uenced and has

infl uenced important key events of Philadelphia. In its current state of degradation, the Delaware

Power Station should not be seen as only an object in a neutral space but a critical element of a

larger contextually shifting landscape. Environmental factors of weathering, industrial processes, and

pre-existing activities of the site have shaped how that space has transformed over time. What the

‘palimpsest’ allows for in adaptive reuse is the ability to continue within an architectural narrative, a

collective memory, and a history. Different layers tell different stories, and where the layers overlap

can provide crucial points of intersection that architecture has the capacity to communicate through

design. This method changes the role of the architect to the archeologist and the architecture into a

palimpsest of important events and memories of the city.

The Delaware PowerStation

Boiler RoomTurbine HallSmoke StackCoal FeedSwitch House

Decommisioned Fuctions

11

In 1921, John T. Windrim designed the 2nd of a trio of power

stations that sit along the Delaware River like Greek Temples

with robotic prosthetics. As a working power station, most

of the building’s space and program was centered on the

machines that generated electricity, but also its civic functions

as an important building for the city. Essentially the building

comprised of three components; each with a boiler room for

steam production, a turbine hall, and a switch gear building

that operated the power distribution system.1 The turbine hall,

designed by the architect, John T. Windrim, was modeled after

the Roman Baths of Caracalla and had an similar monumental

space, but celebrated the machinery and industrial processes

of the space .The Delaware PowerStation loomed a total of

80 feet over adjacent docks and smoke billowed out from

its 12 story tall smoke stacks. Arranged like columns of a

Doric Temple, the smoke stacks are housed in the core of

an expansive concrete shell that covers a total gross square

footage the rivals that of City Hall and the Philadelphia Art

Museum.

1 JohnD. “Peeking at a Powerful Past”

Current Condition

12

City Hall was an organizational tool for the early planners of the city aligning Market Street along its longitinal axis and Broad Street parrallel with its latidinal axis. In addition, the oringal designers of City Hall oriented the iconic statue of William Penn towards the park to illustrate its importance symbollicy. But throughout its history and to present day conditions, the park remains as a under valued historical area by the city.

The Delaware PowerStation is an interesting point of departure when looking at the collective

memory of Philadelphia. As a powerhouse of industry throughout the mid-and late 19th century,

Philadelphia once boasted itself to be the ‘Workshop’ of the world as it rivaled neighboring port

cities of both New York and Boston in terms of its scale and capacity to produce. Like its neighbors,

Philadelphia largely developed dense industrial infrastructure along its waterfront for easier methods

of shipping and unloading cargo. In the period of 1870-1920, there existed 300 different industrial

processes which constituted 99% of the U.S. census’ total categories for industries. At its industrial

peak, Philadelphia had a population of over 250,000 industrial workers who specialized in different

fi elds, but were largely collaborative in a network of mutual trade relations. 1As a result, there existed

a self-sustained system of production that relied on local tradesman and a local market of workers

that bought the products they helped create. With the boom of electricity and other technological

advances in manufacturing, industry saw a spike in production capacity and required large amounts

of raw electricity to power its new machinery. In the 1920’s, Philadelphia constructed four massive

coal to steam power stations that were able to bolster the energy needs of waterfront and even inland

industrial plants. ecause of their impressive scale and prime locations, the power stations became

symbols of the new character of Philadelphia.2

1 “Philadelphia’s Industrial History: A Context and Overview.” 2 Electrical Power and Corporate Identity:

History of the Delaware Station

Penn Treaty Park terminates the southern boundary of the Delaware Power and is one of Philadelphia’s oldest and most important parks. As the waterfront of the Delaware River developed with the boomed with industrial activity, Penn Treaty Park was a precious commodity of open green space for nearby residents. Historicly, it is known as the place where Philadelphia was founded, when William Penn signed a peacefull treaty with the Lenape Indians.

13

Treaty is signed between William Penn and Lenape Indians

Penn Sociey Formed and Finances Penn’s Treaty Park

First Monument erected in Philadelphia at Penn Treaty

Jacob F. Neafi e builds naval yard along Delaware River

Neafi e and Levy Naval Yard builds 1st ‘Iron-Clad’ submarine

City offi cially purchases property to create Penn Treaty Park

Opening day of Park celebrated

Site sold to Philadelphia Electric Company

Delaware Station Built by John T. Wildrim

Expansion of Plant to meet demands

Philadelphia’s Tercentenary celebration at Penn Treaty Park

Power Station becomes obsolete

Park Expansions of sculpture of William Penn

Tracing Site Histories: A Timeline

1682

1824

1827

1844

1851

1892

1893

1917

1920

1954

1970

1982

1984

Although there are no current plans for demolition, The

Delaware Station is at risk for removal. In 1953, after

the Power Station had become largely obsolete, PECO

demolished a major portion of the site which still remains

a vacant lot. Since then, the Power Station has been used

for power only in peak demand times. According to the

Preservation Alliance of Philadelphia, “the station merits listing

on the Philadelphia Register for Historic Places” and argues

for its potential as adaptive reuse project.

The Delaware Power Station currently occupies what will be

arguabably Philadelphia’s most developed and transformed

site in the next 30 years. Major developers have already

poured in money for casino projects like that of the nearby

Sugar House Casino and high-rise condominium projects have

already been built with several more on their way. With a new

infl ux of users to the site and an area ripe for development, the

Delaware Power Station is in a critical moment where it can be

adapted to fi t new users needs and be developed as part of a

brand new layer of development along the Delaware River. 1

1 Blanchard, Matt. ‘PlanyPhilly.com’

Featured in Philadelphia’s 2035 MasterPlan for the Delaware Waterfront, the Delaware PowerStation as seen here poses as a severe boundary to Penn Treaty Park and the proposed trail networks to be built along the Delaware.

Penn Treaty Park (illustrated in yellow) is currently surrounded by scattered vacant lots and nearby casinos and condominiums and rapid periods of development threatens once again the historic park.

14Future Plans for the Waterfront

Why?Excelon Holdings Company (PECO)DELAWARE RIVER WATERFRONT CORPORATION City Planners for Delaware WaterfrontPHILADELPHIA INDUSTRIAL DEVELOPMENT CORPORATION Manages the Philadelphia Authority for Industrial Development (PAID)Delaware River Port Authority

h

Promotes historically industrialized waterfront as a community resource

Neighbors Allied for the Best Riverfront Envisions and plans the development of the riverfront and surrounding areas.Fairmount Park Commission Funds Maintainance and Park Improvemets

Community Support for Waterfront DevelopmentNew Kensington CDC Historically Invested into Penn Treaty ParkGreenPlan Philadelphia Interested in developing public spaces and waterfront planningWRT PennPraxis Developed City’s Waterfront Master VisionCasino Free Philadelphia

PA State Legislature Allows the development of state-owned land that is located between the pier hPhiladelphia Redevelopment AuthorityPhiladelphia City Council Council is involved with the approval of development proposal and zoningDRCC Revitalize a sustainable riverfront corridor in Northeast Philadelphia

How?

Department of Housing and Urban Development Grants and Loans

Growing Greenerand improve natural areas and parks and to invest indowntown urban areas.

ReStore PhiladelphiaA City of Philadelphia funding program for improvementsto commercial corridors.

Delaware River Port Authority DRPA contributes funds towards waterfront development

Casino Related Improvements Nearby Sugarhouse Casino is invested in nearby Public Spaces

Tax Increment Financing (TIF) TIF�s areInvests in public projects within Philadelphia

2035 Civic WaterfrontZoning

Public

Commerical

Industrial

Mixed Use

15

As part of the most rapidly growing parts of the city, the Delaware Power Station has a multitude of organizations that would be in support of an effective plan for an adaptive reuse strategy. Nearby Pier 51 (featured to the left) is currently being developed and scheduled for completion by the summer of 2011 and is being fi nanced and promoted by many of the organizations listed above.

Organizational Support and Funding Strategies

16Adapive Reuse as a Palimsest: Case Studies

The Dovecote Studio project was built by the London based fi rm, Haworth Tompkins, and effectively demonstrates how new construction can be designed within an exterior shell of a former building. The new structure was welded on site and dropped into the shell via a crane thus creating a layer imbedded into an existing layer of the shell.

Designed by the architect Lina Bo Bardi, the SESC Pompeii Cultural Center has been adaptively reused into a vibrant city center. The industrial shell that Lina Bo Bardi worked with occupied a large tract of an abandoned industrial complex and was converted to accommodate a variety of programs, many of which happened on the site informally while the building became abandoned by the former oil drum manufacturing company. Bo Bardi used the massive spaces within the stretch of warehouses and designed for programs from spiritual congregation, swimming lessons, exercise and other activities.

The Hamar Museum, designed by Sverre Fehn, is an adaptive reuse project that registers the memory of the site as an architectural palimpsest. Sverre Fehn was commissioned to design the museum on an important 16th century archeological ruin. Instead of separating the new museum from the existing stone walls, Sverre Fehn built directly within that framework, successfully adding another layer to the already stratifi ed site. The new double-pitched roof of clay and glass is constructed directly on top of the ancient stone walls and its form traces the original outline of the farmhouse that once existed. As a way of narrating the different historical layers of the, Sverre Fehn designed a concrete path that moves the user through the project.

The architects Herzog & de Meuron retained the memory of the power station building by keeping its spaces and external shell largely unaltered and adding an intermediate layer of design that is embedded into the building. The former boiler rooms of the power station were stripped of its materials and industrial relics in order for its 15-30 feet fl oor heights to serve as a gallery spaces for the museum. The switch house was adapted to house new management and curatorial spaces which recalls its former role as the operator of the building’s activity. Most importantly, the Turbine Hall was transformed into an interior, urban street that allowed the exterior of the site to fl ow through its massively scaled volume that is enjoyed by the general public.

17Case Study Application

In this axonometric, the Delaware PowerStation was superimposed on top of site drawing that illustrated the existing waterfront and traced the historic watefront at the time when it was completed in 1921.

18Tracing the Waterline at the Delaware Station

19

The historic watefront is incorporated as part of an urban strategy to connect the Delaware PowerStation as well as any other future development of the site over the next few decades. As a water and soil remediation strategy for the site, the removal and successive design of the new system can help the water’s edge become more accessible to the general public and surounding communities.

Urban Strategies: Waterfront Trail Design

20

The interior volumes of the Delaware Power Station are divided sectionally ito six groups; the switch house, Turbine Hall, the“Buffer Zone”, Boiler Hall, Central Conveyor, Removed Conveyor, and the Coal House at the end of the pier. Each space has a distinct spatial and tectonic features that the design responds both individually and as an overall system.

Switc

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ouse

Turb

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Hal

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Buf

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one

Boi

ler H

all

Con

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r Sh

aaft

Coa

l Con

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r

Coa

l Hou

se

Pre-

Exis

ting

Prog

arm

s Existing Voumes and Space Typology

21

The potential for incorporating new design that would facilitate future and present user needs, the Delaware Powerstation’s existing spaces can be adapted to house recreational and gallery spaces that take advantage of the enormous volumes within and ouside its shell.

Supp

ort O

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s

Exhi

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Exhi

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and

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Terr

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Entr

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Prog

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Re-

App

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nNew Programs/Spatial Arrangement

22

The adaptive reuse of the Delaware PowerStation is divided into two essential components;

recreational spaces and galleries. Its two Boiler halls frame divide the program along the buildings

East to West axis and is split by a central path for circulation that can transport users to either section.

To the boiler hall south of its axis, the boiler stacks that occupied 12 distinct bays are removed

from 2nd fl oor up and in their place, galleries are suspended into enormous and cavernous space.

Similarlily, to the north of the central axis, the identical boiler hall is stripped as well leaving only

a small portion of its boilers on the ground fl oor. Gynmasiums, running tracks, and various rooms

scaled similarly to the art galleries, are to used for exercise and fi tness rooms by the community and

people who frequent the new waterfront trails that run through the site. Towards the edge of the pier, a

boardwalk-like park deviates along the historic waterfront line carved into the site. The coal house that

once fueled the power station in the past now ‘fuels’ the design as the place were users fi rst enter the

project and are transported into the either boiler hall or directly to the new exhibition hall.

Designing the Delaware Power Station

23

The newly designed structural system carves through the coal house and extends towards the Delaware River creating an overhead shelter for different public activities. At the top of the coal is a large open terrace that has access to 360 degree panoramas of the Delaware River and provides for impressive views of cente city Philadelphia. Portions of the ‘coal boon’ are kept and are occupiable for an experience directly over the water in either direction.

New/Old Circulation: Passenger Conveyor Belt

24

The Turbine Hall, similar to the Tate Modern’s approach, becomes a public corriodor that connects both sides of the buildings through its enormous vaulted ceiling. Unlike the Tate Modern, The new path that moves through the building is much more narrow and is slighted ramped and raised above the existing concrete fl oor that is largely left unaltered. Exhibitions are currated in the adjacant ‘Buffer Zone’ that acts as such between the public corridor of the Turbine Hall and adajacant recreational and art spaces.

Cut along the buildings North/South axis, the section above illustrates how the new structural system is suspended into both boiler halls. The system has been proportioned to trace the outline of the boilers that were removed and suspend volumes in place of where the dense machinery once stood in each one of the 24 total bays.

Structure and Scale: Exhibition and Boiler Hall Designs

25

Pictured to the left are the largest of the three types of art galleries suspended into the Southern boiler hall. Scaled to heighten the sense of the enormous volume it occupies, the small circulation paths around the gallery bays meander through the design and currate both how a user experieces the sequence of art in the galleries and the Delaware Power Station.

The Exhibition Hall is designed to feature spaces that can accomodate rotating exhibits that are free to the public much like the Building History Museum in Washington D.C.

Currating the Power Station

26Site Sections and Design

27

On the bottom level of the Northern boiler hall, a pool area is designed underneath the 1st fl oor slab with openings above in each of the bays. An important feature of the design, water follows a portion of the path outside of the building where it meets the edge of the Delaware River.

A permanent museum that features displays of the history of the power station and Penn Treaty Park. It is currated along the path of the historic wateline as it weaves through different parts of the building such as a smoke stack as featured to the left at ground level and re-contextualized that history within the those spaces.

The Historic Waterline: A New Layer

28

29

30

31

32

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Bibliography 34

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