Landscape and Memory:
Transformation of an Urban River's Edge
Eileen T. McHugh
Bachelor of Arts in Design of the Environment
University of Pennsylvania, Philadelphia, PA
May 1988
CBk's
Submitted to the Department of Architecture in partial fulfillment of the
requirements for the degree of
Master of Architecture
OR 2 710
LM-MW-'n
at the
Massachusetts Institute of Technology
February 1998
Author
Eile1 T.
Hugh
Dep tent of A
tecture
Tanuary 16, 1998
Certified by
Imre Halasz
Professor of Architecture, Emeritus
Ihesis Advisor
Accepted by
Roy Strickland
Associate Professor of Architecture
Chairman, Departmental Committee for Graduate Students
Eileen T. McHugh 1998. All rights reserved.
The author hereby grants MIT permission to reproduce and distribute
publicly paper and electronic copies of this document in whole or part.
2
Thesis Readers
Stanford Anderson
Head of the Department of Architecture
Department of Architecture, MIT
Hasan-Uddin Khan
Visiting Associate Professor of Architecture
Department of Architecture, MIT
3
4
Landscape and Memory:
Transformation of an Urban
River's Edge
Abstract
Eileen T. McHugh
Bachelor of Arts in Design of the Environment
University of Pennsylvania, Philadelphia, PA
May 1988
Submitted to the Department of Architecture on
January 16, 1998, in partial fulfillment of the
requirements for the degree of
Master of Architecture
at the
Massachusetts Institute of Technology
February 1998
Thesis Supervisor: Imre Halasz
Title: Professor of Architecture, Emeritus
I grew up in Philadelphia. The waterfront and its urban character motivated my original focus combined with architectural interests in dealing with public spaces. The search
began for a site which was a locus of intensity and contained
elements of time, sense of place, the character of the city and
a particular relationship with the waterfront.
Venice Island, located in the Schuylkill River at Manayunk, a
Northwest neighborhood, was chosen due to its intimate
scale, localized community and richness of natural and manmade environment. The equal strength of the context pushed
the thesis to explore the transformation of the site using the
influence of these existing forces. The site contains physical
boundaries that include river, island, canal, and Main Street.
These suggest threshold and propose a journey or passage to
connect the Main Street to the river. Thus the importance of
memory and identity to the formation of place combined
with that of a journey incorporates existing remains on the
island and interventions that intensify the experience. By
introducing aspects of the city to the island and further connections to the river, I propose it is a place for people to learn
about the environment as an integration of existing forces
through the physical forms and sense of place generated by
the transformation.
The thesis is organized into three parts, which follows the
development of the exploration, the first being the urban
waterfront and examining ideas relating to public space,
inhabiting the edge and the important of the River. The second part outlines the early ideas and study of the site and the
city and issues of built and natural environment and design
approach. The final section documents the design and transformation of the site related to landscape experience, journey
and the urban rivers edge.
6
To Imre for his insight, patience and humor.
To Hasan for his great discussions and thought provoking questions.
To Michael for all the love, support and encouragement you gave
me.
To my parents who knew I could do it.
To my friends and family in Philadelphia, especially Ruth and Steve
Palmisano, who understood
To my friends and extended family at MIT, who made it all worth it,
Sandra, Rodney, Bundit, Chu-Jun, Janice, Lana, Jesse and Soo.
To Sandra for her kindness, encouragement, sense of humor and
latenight talks.
To Betty and Clio who always stayed up late when I did
Thank you
7
8
Contents
Abstract.............
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55.
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Acknowledgement ....
7
Urban Waterfront .....
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.11 7
public space ...........
the political ...............
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the river..................
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. . . .17
.. .. 22
Site Context...........
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waterfront as public space ...
searching for a site..........
site history.................
site analysis ...............
revealing walls .............
point of view ...............
city fabric on island..........
waterfront inspirations........
ile de la cite, paris...........
isolo, verona ...............
insel de jugend, berlin........
isola tibertina, rome..........
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Transformation - Design Exploration . .
methods ..................
first pass ..................
connection.................
built form ..................
organization - process........
experience visualization......
site forces .................
landscape experience........
final transformation..........
Bibliography ..........
List of Figures.........
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10
THE URBAN WATERFRONT
11
12
fig 1 Doisneau Paris lie des Cygnes, Paris, Oct
1972. Doisneau's photographs of the Paris waterfront have always interested me for their ability to
capture the essence of place and daily life in a
powerful way.
o
U)
o
C.
The urban waterfront is a potential locus of activity and
means for people to interact and learn about their
environment, built and organic. The waterfront has always
held a fascination for me, I am drawn to it and find its edge
an exciting place to be. The fabric of the city and how its
interaction with the water's edge provides the largest public
open space in the urban setting, and therefore has great
potential as a symbolic location. It incorporates many ideas
about identity and character of place and is where built and
natural systems are strong and dynamic. Public space and
the urban waterfront, together bring richness into the urban
realm. The thesis exploration is a means of exploring that
potential.
I began to develop my interests in the social and behavioral
aspects of public space when I took the Environment and
Behavior course with Professor Sandra Howell. Works such
as William Whyte's studies of New York City public plazas in
City: Rediscovering the Center and Public Space. by Stephen
Carr, were of great interest to me. The research related such
elements as available sunlight, location, sittable area and
13
14
fig 2 far left Paley Park, NYC Public Space, p 101
Case study of successful vest pocket park. Includes moveable furniture, shade, sun, water and
greenery.
fig 3 abv left Richard Haag at Gasworks Park,
Seattle, Public Space, p. 126. Interesting case
study in which Haag could see the value in preserving an abandoned Gas Works and creating a
park. Some difficulties with continued contamination.
o6
spatial characteristics on the success of a public space, and its
design and how it functioned on a behavioral level. As I
reviewed studies of the more successful spaces, I began to
brainstorm ideas for certain areas along the river in
Philadelphia. It seemed that since it was such an important
element in the city, that its design should be addressed
specifically in the areas along the river.
Ideas of political identity and exclusion became familiar to
me through readings recommended by Professor Sibel
Bozdogan, which covered a variety of aspects of the current
debates surrounding public space. Chantal Mouffe, speaks of
'the public' no longer existing as a unified whole, where an
existing community would interact with 'constituent others'
or people from outside that community, basing their
interaction on ideas of exclusioL.- in public space, people
struggle to express identity and find meaning. Margaret
Crawford argues that the sense of loss related to discussions
1. Mouffe, Chantal. "Citizenship and Political Identity" October 61. p
28-32.
-
is based on a narrow definition of both public and space.2
Further, she proposed that expanding our notions about
these issues would be a more appropriate response. I began
to consider that the exploration I wanted to pursue took
would involve a combination of the political, the social and
behavior aspects of public space specifically at the
16 waterfront.
Other debates speak of public space which is privately run
and incorporates historical forms for'legitimations' in a space
of consumption. These cases included festival market places,
and other historically related commercial based public space.
Although one could argue that these would be as legitimate, I
had become interested in an expanded notion of public space
and did not want to propose a heritage park related to ideas
of memory and the past, but could exclude based on
economic consumption. I wished to find some other way of
incorporating my ideas in a functional public realm.
Early in the development of this thesis, I spoke with Maurice
Smith about my interests, and how a thesis might be
2. Crawford, Margaret. "Contesting the Public Realm: Struggles over
Public Space in Los Angeles." JAE Sept. 1995. p. 4 .
fig 4 March 1952 Doisneau Paris, p. 453. Women
with children playing at water's edge on public
path.
0
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CL
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L=
4i-
fig 5 March 1950 Doisneau Paris p. 454
structured which focused primarily on public space. He
suggested choosing an existing public space, and proposing
an intervention that would be an improvement. We
discussed the potential of the Plaza at City Hall, in Boston,
but my earlier interests in the waterfront in Philadelphia
remained a primary focus. Knowing how difficult it was to
access the rivers edge in much of the city, I wanted to propose 17
a new public space and link the city back to the water. I grew
up in and around Philadelphia, and spent a great deal of time
in the city. I felt an affinity with its character and an
understanding of its built fabric. I decided to search for a
site, and to which I would propose interventions, and a link
or connection to the waterfront.
In Philadelphia, the precedent along the river consisted of
recreation, parks and museums which only occur at one
section leaving the rest industrial or inaccessible by
transportation infrastructure. Early in the city's history, a
portion of lands west of the city along the river were set aside
as park lands to try to conserve the quality of water being
supplied to the city.3 Near the city, when people think of the
3. Weigley, Russell F. "The Border City in the Civil War." Philadelphia:
A 300 Year History. p.376.
18
fig 6 and 7 Maps "Philadelphia" Urban Atlas: 20
American Cities.
77
river, they imagine Boat House Row, the Philadelphia Art
Museum and Fairmount Park. This area is quite beautiful
and is known for water sports, jogging and recreation.
Elsewhere along the river, most of the sites are industrial, and
some being abandoned have become wild and 'natural.' In
reconnecting a certain portion of the city to the river, the
question was how does one now inhabit this edge. This
question was addressed specifically once a site was chosen.
fig 8 above Proposed plan of Fairmount Park.
L.N. Rosenthal, after A. Palles. Won design competition of 1858. The water reservoir is located on
the plateau where the Phila. Museum of Art now
stands. This is the scenic area people imagine
when they think of the river. Library Co. of Phila.
Philadelphia: A 300 year History. p 377.
fig 9 above right Fairmount Waterworks. Photo
Eileen McHugh
In referring to 'the river,' I am referring to the Schuylkill
River which is the smaller of two rivers which create the East
and West boundaries of Center City. I was primarily
interested in the Schuylkill, which is a smaller, more intimate
river, as compared to the Delaware, which was a large
shipping river. Along the Delaware, there are many large
scale industrial sites, and a large scale public space called
Penns Landing which is the site for concerts, fireworks and
grand events. The river is deep and spaces are held away
from the rivers edge. Along the Schuylkill, in the areas
accessible by Boat House Row and the Museum, the water is
within reach.
20
fig 10 far left Piccadilly Square London, UK Photo
Eileen McHugh
fig 11 above Quai de l'Horloge, July 1966. Doisneau Paris, p 454.
"Throughout history, the water cycle has
served humans as a model of the natural
world. Early civilizations saw in it a
figure of the basic pattern of life, the
cycle of birth, death, and return to the
source of being. More recently, science
has added to that ancient religious
metaphor a new perception: the
movement of water in an unending,
undiminished loop can stand as a model
for understanding the entire economy of
nature.. .In water we see all of nature
reflected. And in our use of that water,
that nature, we see much of our past and
future mirrored." Worster. Thinking Like
a River. The Wealth of Nature. p 124.
In my discussions with Maurice Smith, and Imre Halasz we
spoke of idea that the river actually consisted the largest
public space within the city, and hence should be public and
had great value as a symbolic location. It should also be
easily accessible, which includes not having to run for your
life across a road to get to the water. One of the other issues I
wanted to address in this exploration was how does one
move from the city to the water. The city of Philadelphia has
its own grid and ordering systems of built form which is
regular. The river, in contrast, which is a dynamic, natural
force and is constantly changing, rising and falling. The
interaction of these two elements, how do they meet? When
one move from city, then to the water, what type of
procession does one experience to pass this threshold to
arrive at the water? I was interested in these issues, as well as
providing a use related to recreation that also included
elements which were somewhat different based on my earlier
readings related to public space. In my search for a site, I was
also considering the importance of a strong local community
which was encountering some struggle or interaction with an
outside group, or 'travelers.'
1ML
22
The river has many metaphorical and mythical connotations.
One can think of the river relating to the cycle of birth death
and life, as well as the seasons and cycles of the year. The
river also brings to mind ideas of the passage of time, and
about things which are much older than any surrounding it.
The river is movement, and travel as movement along the
water either physically or mentally projected by the viewer in
journeys or memories in their own mind. The river is
contemplation, as you can pass from yourself and transport
yourself to other places as the water moves beyond you and
has come from before you. At the rivers edge, there are many
layers of physical form, and in their juxtaposition the passage
of time is made real. The river is discovery, and from its
surface one can gain a point of view of the city otherwise
unavailable. In my experiences on rivers as a child, I spent
much time canoeing and know the sense of discovery
available on a river, floating, and moving about against the
current. There is a sense of freedom, since one does not
usually participate in the urban environment in this way. One
fig 12 near the Pont Neuf February 1951. Dois-
neau Paris p 455
Our images of the past and the future are present
images, continuously recreated. The heart of our
sense of time is "now." The spatial environment
can strengthen and humanize this present image
of time, and I contend that this function is one of
its most vital but most widely neglected roles.. .We
have two kinds of evidence of the passage of
time. One is rhythmic repetition -- the heartbeat,
breathing, sleeping and waking, hunger, the cycles of sun and moon, the seasons, the waves,
tides, clocks. The other is progressive and irreversible change -- growth and decay, not recur-
rence but alteration." Lynch, Kevin, Alive Now.
What time is this place? p 65.
normally comes to the river from the city, and the idea of
coming to the city at points from the river was of great
interest and a potential influence in the design exploration.
24
SITE CONTEXT
25
26
Mill Buildings
Main Street
/Regional
Rail
Canal
Schuylkill River
Expressway
fig 13: Aerial Photograph. 1:500, Manayunk, Philadelphia, Venice Island. Delaware Valley Planning Commission.
El
cc
1..
a
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fig. 14: Key Map of Philadelphia regional area,
highlighting Manayunk. Workshop of the World: A
Selective Guide... p 4.
Most architectural endevours begin with a project or program idea, such as a house, school or theater and then search
to find an appropriate site. In my exploration, similarily, I
developed an idea about the issues that I wanted to address,
but I searched for a site which would inform my design process about what should happen there, to allow a dialogue
between initial interests and the abilitiy of the natural and
built landscape to act as a design catalyst. Three ideas had
direct influence over my site choice: a close relationship with
a local commnity that experienced high interaction with outside communities, a sense of passage of time in layers of
physical traces or orders, and an equal strength in the natural
and built environment. After two trips to Philadelphia, and
much ground covered on foot, I decided to chose a site in
Manayunk, a Northwest neighborhood of Philadelphia. The
strength of the natural and built environment was rich and
more complex than some of the other sites I had considered.
In a very small strip of land, some one hundred and fifty feet
wide, the topography falls thirty-five feet from Main Street to
the Schuylkill River. Between the city and the river, there was
28
fig. 15: Venice Island from the Railroad Bridge.
Photo. Michael Ward.
Main Street, an active commercial strip, from which one
moves down to a canal, the island and then the rivers edge.
fig. 16: above, View towards island across the
canal.
fig. 17: above right, View fromfarther up river,
looking back towards the larger bridges and the
island. Photo. Eileen McHugh
Entering onto the island at the closest point to Main Street
was an old railroad bridge which was quite interesting and
not in use at this time. The site was beautiful and peaceful,
although it was an abandoned industrial site now being used
as a parking lot. My discussions with Imre focused on what
might happen there, and what type of public space or inhabitation might occur. The exploration being termed a thesis, I
felt compelled to produce some recognizable physical structure, which I considered to be a building. At the same time, I
felt drawn away from that goal due to my earlier readings
about the nature of public space. I envisioned a place that
allowed people to interact with their environment, and possibly each other, in a more dynamic way as a means of creating
new memories to coexist with past memory and experience.
Could the interaction of natural and built forces at the urban
waterfront provide some shared common experience for people in a community and outsiders?
30
qjj
PAgR
X 'EIMD
,
21
fig. 18: above left, City Ward Map, Venice Island,
1895. Univ. of Pennsylvania Library, Phila., PA
fig. 19: above, View along canal at Rector Street.
I
Was there a way to revealing past orders and layers, while
also introducing new ones which may potentially wear away
with time? From these readings, I felt there had to be a new
definition of a public place where a common experience
could form a common basis of understanding place and environment. In an attempt to express my ideas, I referred to the
exploration as a 'building or whatnot,' and this term stayed
with me throughout the semester as a reminder.
fig. 20: above left, Building on Main Street,
Manayunk.
fig. 21: above center, Soap Factory, Venice
Island.
fig. 22: above right, Metal Bridge, Watertower.
Imre recommended that I read Kevin Lynch's, What Time is
this Place? which was formative in helping solidify ideas
relating to the past and future histories of the site. Venice
Island exhibited a layering of pervious orders and histories in
traces that remained, and a natural habitat which was quite
strong. Due to the vibrancy of the local communit, this place
would likely have many future layers as well. The site is a
locus of intensity, and I felt it would provide the most raw
material for an exploration.
The site itself was a separate world from Main Street, and the
textures of rough Wissahickon Schist, a local stone, the mirror
32
fig. 23: Historic Panaramic Photo, Venice Island
and Manayunk, 1912. Worksights: Industrial Philadelphia... Pastore Library.p. 66-67
w.
like canal, trees leaning into the water, rusting painted metal,
and the dark earth provided an ample pallet with which to
work. The site had been densely inhabited with industrial
3
mill buildings, but now was overgrown and largely 'natural.'
There were also many native inhabitants including herons,
turtles, ducks, geese, feral cats and others, which was surprising to me in an urban setting.
0
1987.
The history of this area was to the development of the local
character Venice Islandand Manayunk. It had been an island
even before the canal was built in 1820 by the Schuylkill Navigation Company. The Schuylkill River falls about fifteen feet
in a two to three mile distance. Before the dam was built
north of Manayunk, the water was more treacherous, and a a
narrow branch flowed between what is now Venice Island
and Manayunk. It was a point at which one crossed the river
by canoe.1 When the canal and dam were constructed up
river, locks allowed navigation of coal and goods barges
along the canal, and the ability to use the water for power.
1. Nolan, J. Bennet. Downstream to Flatrock. The Schuylkill.p147.
34
fig. 25: Historic Panaramic Photo, Venice Island
and Manayunk, 1912. Worksights: Industrial Philadelphia... Pastore Library.p. 66-67
Manayunk is different in topography and scale compared to
downtown Philadelphia because the land rises sharply some
two hundred feet from the river to the ridge. The original
inhabitants of the area, including a well reknowned mystic
and hermit, Kelpius, lived closer to the ridge.2
Once the potential of harnessing the power of the river was
realized, and a means of doing so was constructed, woolen
and paper mills started to appear on the island. It was a very
productive area for Philadelphia. By 1875, the island was
densely packed with mill buildings four and five stories tall.
Representative of the mill owners would go to the port of
Philadelphia, and would pay high prices to have whole families move up to Manayunk to work in the mills. 3 These immigrants included a large influx of Irish, Italian and German
immigrants. Conditions in the mills were hard and its loca-
fig. 26: Woolens Mill Interior, Spring Garden
Street, Phila., 1899. Worksights: Industrial Philadelphia... Pastore Library.p. 60.
2. Nolan, J. Bennett. Wissahickon and the Falls of Schuylkill. The
Schuylkill. p. 161
3. Shelton, Cynthia J. Economy and Society in Roxborough and Manayunk. The Mills of Manayunk. p.95.
tion was remote from the city. To house these workers
quickly, many small dwellings were built along the steep rise
36 of Manayunk. This building and its response to the topography created a unique built fabric compared to the city. The
density and slope of the area makes it difficult, though, to get
a sense of the whole place. The buildings were largely of
Schist, a rough local stone, and construction was at times
additive and irregular. It was the scale, density and material
richness in the urban fabric that attracted me to this area.
It was after the Depression that the mills at Manayunk
declined in its development. There was a push for better
wages and shorter work days, and between that and strains
experienced because of the Depression, that many of the
mills closed. These structures were abandoned, fell into
decay and some were victims of arson. There are still areas,
though in Manayunk where infrastructure still exists, such as
coal drops from the rail lines and some mill buildings which
survived are still in use or reused.
Currently, the main issue of discussion in Manayunk is the
fig. 27: above left, Flat Rock, Large Rock Outcropping inthe river popular for fishing. Canal and
tip of island are also fishing sites.Schuylkill River
adjacent to Venice Island.
figs. 28,29: above,Typical Housing Stock,
Manayunk.
fig. 30: above left, Billboard on island which can
be seen from the Highway on opposite bank of
river advertising shops in Manayunk, and Manayunk loves Visa.
fig. 31, 32, 33: above, Main Street, Manayunk.
Street isvery busy, and expereriences heavy traffic, especially on weekends. Many shoppers are
unaware of island, which is popular with bicyclists, fishers, walkers andmaintains other recreation activities.
rate and type of development which has accelerated over the
last fifteen years. The focus has been on Main Street, and
mostly by businesses and restaurants whose owners live in
the affluent suburbs. These establishments tend to cater to
those outside the community, which is overwhelmed by the
influx of outsiders and question what benefit is gained. The
Main Street in Manayunk was depressed and uninhabited
through to the late seventies early eighties when there was a
'renaissance' of redevelopment first by artists and local
inhabitants and then followed by the outside commercial
interests. There has been explosions of hostility between the
'Yunkers,' or those who have been long time residents of the
area, and the 'Yuppies,' who have come in from the Main
Line. Many different types of people enjoy Manayunk, but
the economic and cultural difference are strong between the
conflicting groups.
In discussions with Art Verbrugghe, the Associate Director of
North Light Community Center, an institution that has maintained a strong presence since the depression, it was obvious
that the local residents are concerned about their future. The
"We all come to know each other by asking for accounts, by giving accounts, and by believing or disbelieving stories about each others' pasts and identities," Paul Connerton, How Soceities Remember, 1989, p.36.
"Place Memory... Itis stabilizing persistence of place as a container of experiences that contributes so powerfully to its intrinsic memorability.. We might even say that memory is naturally place oriented or at least place-supported." Edward S. Casey, Remembering:
A Phenomenological Study, 1987, p. 186-7.
.
fig. 34: Mural painted by the children at the Northlight Community Center, Manayunk. Highlights
the historical roots of the area including Native
Americans, early Settlers, the Cemetery, the
River, Mills Main Street and the people.
~ U--------
---
recreation facilities in the area are important to the residents,
according to Art. On Venice Island, these include a pool, ice
rink, play ground and basketball court. In warm weather,
they would often take the children, and walk down Main
Steet to the island, making themselves visible to the occupants of Main Street. "Look, here we are...we live here!" The
summer programs for children, run by the Community Center, have activities focusing on characteristics of this area and
how it relates to other areas surrounding them.
-El
40
fig. 35: Site Collage. Exploring ideas about how to
make a first move.
fig. 36: Site Collage. Exploring shape, and elements around site as related to potential use.
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1-0
fig. 37: above, detail of first collage. Highlights
idea of marker or tower and weaving as an approach to thinking how to make a move on the
site.
fig. 38: above right, detail of second collage.
Highlights ideas about site character and use.
I began to study the surrounding fabric of the city and to
record impressions of the site. I made a collage after a trip to
Philadelphia that focused on how the site related to its context, as well as its inherent qualities and projected what it
could become. To start was difficult, as the island was primarily a'blank slate' and very long. At the start, I focused on a
portion of the island closest to the beginning of Main Street.
It was only after a discussion with Imre that it was decided to
provide a cut in the island to give it more distinct boundaries
and separate it to make it more island-like in experience. This
may seem odd, but to make a strong connection to the city
and a passage to the water, I needed to create more of a difference and threshold.
I came upon the idea of making some mark or definition to
the site in one of the early collages, where I made a pivot or
joint with forms cascading down to the water. I featured
water on the site, which I later used as an element of continuity.
To further my understanding, and to give more material to
Cj
my site response, I studied the changes in steepness of slope
in the area surrounding Manayunk. This didn't push the
development further, but when later coupled with the studies of block patterns and sizes it emphasized a grid order
similar to downtown Philadelphia, but responding to the
natural topography.
fig. 39: facing top left, Block Study.
fig. 40: facing top right, Block Study.
fig. 41: facing lower left, Slope Study.
fig. 42: above right, Site Gesture exploring
physical edges and outdoor spaces.
The most helpful 'experiments' at this stage were the block
collages and a kayak ride around the island on the Schuylkill.
I took pieces of the nearby urban fabric, as a sense of continuity and scale, and played with positioning it on the island.
This caused me to relate to and begin to understand the scale,
and directions or 'forces' at play on the site, which included
the river, the city and the railroad bridge. The blocks have an
overall proportion and size and a subdividing smaller scale
order. This process helped me organize the site, and later was
influential in the spatial ideas that I applied.
When we talked, Imre would ask if I had been on the water
yet, and impressed upon me the importance of this experience. With the help and support of my good friends, Ruth
fig. 43: Site Photo from Kayak.
and Steve, who lived close to the site, and my parents, I was
able to rent a kayak and get it to the water where I made my
discoveries. The river was much stronger than I realized, and
much wider. In the kayak, I was very close to the water and
had to fight the current to get pictures. Moving up and down
the island, I realized the structure, or rivers edge consisted of
remnants from the mills, and that the walls were still there. I
was very excited, because although you could easily find
pieces of rock and brick on the island, I hadn't realized the
walls were there. For the mills to build up to the waters edge,
they had to build the edge as well. Walking the length of the
island with my friend, we also found other abandoned buildings and the old locks.
fig. 44, 45: River from Island, Author in Kayak.
Photo. S. and R. Palmisano
46
After discovering the wall reminants on the Island, I proceed
todo research into earlier plans determine where previous
structures had been located. In studying an insurance map
from 1923, 1 was struck that location of new structures on the
site, and the shape of the parking area was similar to the lay
out of the mills. Upon laying a current plan over the other I
found that the swimming pool, basket ball court, and other
facilities were located within the outlines of the previous
buildings. Based on where I saw walls along the river, and
making assumptions about how much wall structure was
still remaining, I decided to incorporate this existing trace or
order into the new form of the island. Revealing the walls
would be exposing an essential truth about the nature of the
site.
CD
fig. 46: City Ward Map, 1923. Univ. Penna.
Library.
fig. 47: Diagram of Existing walls. Exploring potential of using outlines of walls in relation to earlier studies of organizing the landscape.
£
0
0.
fig. 48: above left, first design ideas1"=400"
fig. 49, 50: above right, Point of view
studies1 "=400"
The other approach which was formative was to consider
how the island would be approached, and make a design
gesture from that point of view. These included what I considered to be typical or potential experiences on the waterfront, two of which were the canoer or boater and the
pedestrian. Using point of view, it gave me a means of
employing what I was starting to develop as built and natural landscape systems. It also gave me a means of considering
procession and experience as related to the character of a
place. For the'canoer' I considered visual access of the siteand how it would be viewed if you approached on a boat,
landed and proceeded up to the city. This involved gradual
terracing, a water area out of the current, variety of spatial
experience or water edge rooms as you move up and down
the island-river edge. For the pedestrian, I considered easy
access with a variety of choices for proceeding to the waters
edge, some of which would be more challenging than others.
I considered a rhythm of terrace widths, and stair typeswith
outdoor rooms along the journey allowing them to make a
complete loop through the island.
fig. 51: left, Design study, 'point of view - canoer'
1"=200'
0
0
5
fig. 52: above right, sectional study of city fabric on
site using vertical levels or terraces as a transforming device.1 "=32'.
From the block collages developed previously, I drew sections at a larger scale and incorporated the ideas about terracing and spaces from the canoer and pedestrian studies. These 49
sections revealed a new view of the density variety that
could exist on the island. I went on to further research river
islands in urban settings to understand the variety of form,
organization, and accessibility. I also began to develop ideas
and vocabulary rlating to the built and natural landscape
which informed my later transformation and design studies.
Some of the elements which were important for inspiration
follow.
|
50
Terrace maintains continuity along level
visual dominance
hillside or slope made habitable (cinque terre, italy)
Stair /Ramp vertical movement systems (Assisi)
orientation, slope, length and rhythm affects experience
Edge reciprocity or one form extending into another creating spatial definition
Landscapes are made up of many smaller elementsorganized by boundary, focus, direction or domain
Other waterfront precidents included:
The Espalanade, Boston
Penns Landing, Philadelphia
Philadelphia Waterworks, Fairmount Park, Philadelphia
Gas Works Park, Seattle
South Cove, Battery Park, New York City
0-
M-
0
0
CL
fig. 53:facing left, middle, Higuchi, Water as Environmental Art. Case Western University, Athena
Tacha, artist.
fig. 54: facing right top, Simonis, Italy: a lonely
planet guide. p225. Cinque Terre.
fig. 55: facing bottom right,Street in Assisi, Italy.
fig 56: above left, Carr, Public Space, p.47.
Boston Esplanade.
fig. 57: above night, Canal near floating market,
outside Bangkok, Thailand.
fig.: 58: left, Thames waterfront, London.
r-
51
52
fig. 59:left, Ile de la Cite, Dennis, Court and Garden. Turgot Plan detail.1734-39, pl. 67.
fig. 60: facing top, Boucher, Le PontNeuf,1577.plate 17
fig. 61: facing bottom, Boucher, Le PontNeuf,1530.plate 17
(L)
-0
U)
C53
These images highlight the development of a still
partly natural island in an urban setting into what
would be a great urban space, Place Dauphine.
This example is easly accessible, again at the
same level as the city, and has other levels closer
to the river. The island isa primarily built entity,
and very urban in its built density. It gives me inpout as to potential density or means of builting
next to the water. The setting of Venice island is
not urban on the same scale, and has a strong
natural element which will be incorporated.
-
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54
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a)
0LM
fig. 62: facing, above left, Borelli, Una Citta..., fig.
399. Progetto Donatelli, ca. 1899. Isolo has been
connected to city.
fig. 63: facing left, Borelli, Una Citta..., plate XXIV,
ca. 1882.
fig. 64: above right, Borelli, Una Citta...,
construction at isolo.
fig. 65: left, Borelli, Una Citta..., regional plan.
This precident was interesting because it documents the disapearance of
an island, and the straightening of a river. It highlights how many urban islands have been manipulated to acertain point that there is nothing natural
about them. I my exploration, I do not intend any such major manipulation
of the island, but the principal of the nature of the urban island is gain,
which would be combined with a healthy respect for natural forces
56
fig. 66: above, Insel, view from water. Mittag,
InseL.., Topos, 1995 Dec, p 42..
fig. 67: left, Boardwalk at water's edge. Mittag,
Insel..., Topos, 1995 Dec, p 45.
fig. 68: facing top, Island plan. Mittag, Insel...,
Topos, 1995 Dec, p 42-43.
fig. 69: facing bottom, main axis. Mittag, Insel...,
Topos, 1995 Dec, p 45.
V
57
G 0
.-DC
Island was part of Treptow Park and designed in
1877. Recently renovated in 1994 by Gast + Mittas, Landscape Arch., they opened up the island
more to the water, used dense vegitation to divide
central lawn area and added seating areas and
low walls. The precident was interesting because
it was a contemporary example, and was more
natural and recreation oriented.
58
fig. 70: above left, Tip of Isola Tibertina, Pucci, All
Rome.
fig. 71: left, Aerial view. Rossi, Rome from the Air.
fig. 72: facing right, aerial view, tip of isola. Rossi,
Rome from the Air.
fig. 73: facing left, sketch analysis of Isola identifying spatial relationships, and physical elements
which have potential organizations and effects for
experience of entry, passage and reorientation.
59
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Eu
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O~
I was familar with this precident and its context. It
was a very urban example, and the access from
the city was easy and direct. The Island was primarily a built entity which also involved different
vertical zones
60
TRANSFORMATION - DESIGN EXPLORATION
61
62
'
I was developing my process as I went but I made overall
decisions on a methodology or reasoning that I would apply
to the design exploration. As before, I have begun to formulate a built and natural vocabulary, and organization to apply
to the island to try to make my ideas architectural. The most
important points that I continually balanced were:
JOURNEY AND LANDSCAPE EXPERIENCE
- built and natural forces on the physical site
PUBLIC SPACE AND CONNECTIONS TO THE WATERFRONT
- accessibility and use
MEMORY AS RELATED TO THE HISTORY AND FUTURE OF
THE SITE
fig. 74: facing top, conceptual plan of spatial/experiential boundaries and nodes 1"=200'
fig. 75: facing bottom, Plan which explores physical edge definition of existing and proposed built
form. 1"=200'
- making cycles and passage of time experiential
- learning about environment relating to rhythms of place
ten~iwa~*vt
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P, lle6rk
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a..
fig. 76: facing top, first pass design, plan 1"=200'
fig. 77: section introduced to city block fabric and
scale to island 1"=32'
The first attempts at layout of the whole island were rough. I
had not yet solidified my spatial ideas as a concept that I
could apply. This came after a committee meeting when our 65
discussions focused on this problem I decided at this point to
consider previous scale experiments and apply a spine, or
later called promenade which would occur at the same level
as the city. It was also at this point that with Imre's recommendation, I developed a rigid vertical zoning idea of levels
which would relate to major elements on the site. These
included the City, the Canal, the Island, and the River level.
These zones helped me to apply the ideas an allow some continuity with existing surroundings as well as simplify what I
was doing.
66
fig. 78:left, study of island connection to main
street. Both involve resolution of directions, ideas
of threshold, and view. 1"=200'
fig. 79: right, highlights a stronger connection with
bridge.
o
0
fig. 80: above left, study of connection 1"=200'
fig. 81: above right, sketch by imre explaining
idea of joint and transformation between
directions 1"=400'
I spent quite sometime wrestling with how to connect the
island back to the Main Street. Working mostly in plan, I con- 67
sidered how to draw people in by what you could see, and
and
water
as
revealed
the
island
how the space turned and
you progressed over the canal. How does one connect so
many elements at the same time? My early attempts involved
trying to bring people directly from the bridge and the island
to the 'plaza' at the Main Street together. I knew two equal
elements couldn't 'win' and tried variations based on one
being more dominate than the other. After committee feedback, the resolution was to simplify, and allow connection to
the island which would then connect to other elements such
as the Promenade, the Bridge and Water.
68
7
fig. 82: right, original building diagram. Emphasizing outside/inside spatial definition in similar manner.
fig. 83: left, Passage through, in sketch, ideas
about compression and release. Recall plaza, urban definitions from Rome.
figs. 84, 85: right and left, Visualization of intent
for built form to act as threshold inspatial progression. Shadow, framing of view, paving textures
and trees create a passage which links you spatially and visually with the water.
In developing the connection to the city, I considered ideas of
threshold, and what is the experience of moving onto the
island? Is it another world? Early, I considered developing
some recreational facilities on the island which included
meeting areas, exhibit facilities, a restore or cafe and arts and
crafts, and classroom facilities. I only peripherally addressed
the design of the building as to how it affected the passage
onto the island, and the spatial relationships it helped to
solidify. I was starting to respond differently to the two long
sides of the island, one being predominately natural and the
other relating to the built edge of the city along the canal. I
also proposed building in addition to the recreational facilities as the connection and experimented as to what forms
they might have and the spaces that they would create
around them. I applied physical fabric patterns from the city
again and later transformed them to a more appropriate scale
with the existing mill buildings across the canal.
site inhabitation How does one inhabit the waters edge and
how does one move from the City to the River? These questions helped to develop whatever aspect I was working on.
7
70
fig. 86: left, sketches exploring site organization
and connection to city.
fig. 87: above, diagram connecting those ideas
with existing walls.
level A':city/island (45')
level B:island (36'
level A: city (45')
level C: Canal (32')
level D: river (12')
0
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0.
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0
fig. 88: right, diagram of vertical zoning of island in
relation to its natural and built context. These
basic levels remained the same for most of the
project, but intermediate levels were introduced
that would relate more closely to it's reference level and not stand independently on its own.
At the same time as I was developing ideas of journey and
pavilion, I was developing the form of the island which went
through many permutations addressing, levels, views spatial
outdoor rooms. Eventually, I had to develop a methodology
of bringing all the elements. During this exploration, I
involved aspects of visualization in drawing, which is the
designers tool which is most linked to my thought process
and ability. This involved perspective sketches, combined
with conceptual and physical plans, sections and diagrams.
How do you organize a landscape? I researched different
landscapes for their scale and how you occupied the space.
These included Boston's Esplanade, Versailles, Penns Landing, How do you define an outdoor space and develop different scales at once? Further development of built and natural
vocabulary. Precedents
What are the elements do you work with? What are the variety of experiences at the waters edge and how do you get
there? How do you relate to the urban setting, and ideas of
memory and passage of time?
72
T
E &
A
fig. 89: top left, exploration of terraces and associated levels as related to a linear organization.
fig. 90: bottom left, plaza outside Church of St.
Teresa, Trustier, Rome. Ideas of the progression
through this space, its asymmetry and placement
of the fountain work to define passage and other
spaces.
fig. 91: above right, Gastil, Versailles, The King's
Itinerary. I referenced this grand scale garden for
ideas about visual axis, which could be related but
different from actual procession through space.
Although the main axis is grand, and dominate,
the kings procession crosses it but does not necessarily proceed down it's length. The path moves
through smaller more intimate spaces to return to
the larger visual corridor. The main axis or promenade on the island was very direct, but allowed
many ways to cross it, and leave its path, but acts
as continuity.
73
VD
fig. 92: top right, intermediate development of
island plan.1"=200"
fig. 93: bottom right, fragment of Philadelphia urban fabric (Society Hill) whose external spatial
generation and organization ispositive and active.
IV
MEN
74
fig. 94: Perspective sketch to aid invisualization of
design. Promenade walking north.
fig. 95: Gardens, existing walls. Early conceptual
sketch.
0.
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fig. 96: Terraces looking down to river. Early conceptual sketch.
The idea of journey, specifically a landscape experience,
became my way of moving to the water and between water
and city. For physical inhabitation, upon learning of the risks
of flooding, I did move most permanent physical structure
away from the waters edge. As far as spatial inhabitations, I
began to look at ideas presented in previous island studies,
also relating to what I considered a strong natural presence.
The ideas of journey and wondering about how this waterfront could help people learn about the environment, I began
to connect some of Kevin Lynch's ideas about passage of time
to my thinking. I knew this was a site where water dominated, and forces were very powerful and came upon the
idea of maybe introducing 'discoveries' or elements that you
would find in your journey into the landscape that would
make architectural or experiential some aspects of the surrounding environment. From the very first pass at the island,
I had introduced 'pavilions' or some type of built structure
which shaped space around it. In the development of these
ideas the 'pavilions' developed from something that shaped
what was around it to something intimately connected to its
T'N
yci4
tt
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N
fig. 97: left. development of ideas about a pavilion
which intensifies the experience of rain.
fig. 98: above, further studies for rain pavilion.
41
L
A
surroundings and that you could interact with as well. Forces
that were powerful in this region were:
RIVER
ice freshets or flows down the river in spring thaw
floods, very active river
ICE AND SNOW
ice storms due to regional location as well as snow
RAIN
summer experiences dramatic heavy rain storms which
are a relief to humidity and heat. (A good time to go out
and play in the rain!)
fig. 99: development of ideas for tower, which
would be the marker of the site, and the means by
which people could get up above the site and gain
a better understanding of their built and natural
environment.
I also considered Wind and Sun/Shadow, but these elements
did not seem as closely related to this place as the others. At
this point charretted as many ways of making these elements
experiential and spatial as possible, eventually developing
the pavilions as they are. As inspiration, I looked into landscape are, poetry gardens and sculptural installations.
element
snow
rain
ice
wind
sun
floods
visual
movement
water
flow - splash
sheeting
screen
soft
velvet
smooth
sparkle
sheen
bright
jagged
movement
spinning
fluttering
shadow
reflection
texture
waves of heat
height of water
up/down level
tactile
wet
splash
cool
cold
soft
cold
hard
pressure
cooling
warmth
force
power
aural
gurgle
drumming
splash
trickle
crunch
quietness
snap
whistling
rustling
howling
spatial
pools
channels
spouts
contours
rounded
smooth
texture
screens
passage
current
dynamic
shadows
land/water
boundaries
change
psychological
growth
renewal healing
cooling
calm
slumber
purity
stillness
lightness
awareness
wonder
action
passage
clearing away
warmth
growth
passage of
time
change
instability
vulnerability
rushing
materials
fig. 100:site forces, or pavilion development matrix. I developed a means of enriching, and giving
substance to the design of the pavilions by considering various physical and mental experiences.
-1
1--
1
-
--
-
I--
"One is always aware of one's environment. If a segment is particularly pleasing, such as a landscape is, that is
fine. At times an individual is forced to exploit the environment for all the succor it can give. This has happened
to me at times of great crisis: I have stared out at whatever was around me as if to ask my environment for some
sign that life will go on. I have always in such instances sought to run away to a bit of natural environment, to
take a walk, to go somewhere with a view where I could reflect and collect myself. I have scoured the landscape
for symbols of support. This is "reading the landscape" in a very special way, at a time of great personal need."
Calvin W. Stillman, Learningfrom Landscape and Nature, Landscape in America, p. 51.
79
per
80
center
grasses/marsh
woodland
retreat
floods
wildlife
sky
joint
fig. 101: landscape experience matrix. I combined
ideas from Peter Walker's essay Minimal gardens
without walls, Meaning of Gardens, with the idea
of regional Landscape types or themes. I then
used these combinations in the landscape depending on procession through space.
CL
4)
X
a)
0.
CL
(I)
fig. 102: above, Idea of the Cultural Hearth. The
Northeast and the making of American geographical habits.Emphasizes idea that landscape is
regional and linked to identity.
fig. 103: above, right. Landscape diagram. Linear
with cross axis on which pavilions are found.
Eventually, a turning point was reading The Meaning of Gardens and looking closely at the design and process related to
the Landscape experience. Regional Landscapes. Peter
Walker, Minimal Gardens without walls. Resolved into a
matrix of potential landscape experiences for site and their
physical, organizational and experiential qualities. I also
returned to the pavilion ideas and applied this methodology
to identify how they related to the same qualities. This
allowed to the exploration to finally begin to take on some
coherent meaning and I was able to communicate what I was
doing much more effectively after this point.
I developed a diagram or concept which communicated the
transformation of the island. This involved the cutting away
at the island, and separating it from the rest of the land,
revealing the walls and spatially defining the site axis. The
cross axis allowed the positioning of the Pavilions in the
landscape and cross axial views between canal and river.
At this point, I began to research landscape material and textures of paving which could further flesh out the design and
allow variety of experience.
82
f g. 104, 105: Landscape and paving textures.
Nam
83
fig. 106: landscape experience laid out on plan.
fig. 107: paths and procession relating to experience above.
84
fig. 108: island model looking north across tip.
0
E
(U
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C
"-
fig. 109, 110: sketch of outlook area with tree
screen
These are the final reiterations of the design exploration and
incorporating the site sketches, model, plan and sections.
There are also drawings of the final pavilions.
As I have been putting together the book, I realize only how
slightly I have scratched the surface on these issues. I keep
thinking of ways to develop ideas about regional landscape
types, landscape experiences reintegrated into my architectural design and ideas about learning from ones environment. The thesis has given me a chance to devote myself to
these issues, but it has been difficult without a very direct
focus. Any one of the elements here could have been a thesis
by itself. It has been an exhausting and rewarding experience.
The final jury was tough, but constructive. Issues discussed
included the variety of experiences on the site, and whether
there needed to be simplification. The very waters edge was
not developed to the variety of other areas, and stair movementr were too similar. Issues about limited handicapped
accessibilty were touched upon, but overall there was strong
interest in the proposal and pavilions structures.
86
fig. 111: left, island model, ampitheater, looking
south.
fig. 112, 113: above, perspective sketch, falls at
ampitheater, and ampitheater.
fig. 114: facing, island model, center garden area.
N
00
88T
fig. 115: left, island model, terraces down to water.
fig. 116: above, persp. sketch, view across entry
plaza to bridge.
89
fig. 117: right, island model, street park with view
across to water..
fig. 118, 119: above, persp. sketch, view from
street to entry park.
i-urn'
3rn
- - -~
-
,.
-
-
90
fig. 120: left, island model,promenade.
fig. 121: above,gardens with existing walls.
fig. 122: facing, final island plan.
N
I
17
I
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-
fig. 123: above and facing, rain pavilion
raTin
sound
pouring
sheeting
dripping
metal roof
wooden floor
puddle jumping
94
N
fi.14
bv
n
acnfodpvlo
flood river
force
spring
ice flows
water rise
life boat
buttress
..
CA
04)
96
1
-4kI1H
fig. 125: above and facing, snow and ice pavilion
m9m
-
s-now ice
icicles
drifts
wall-seat
ice screen
stepping stones
snow hills
mmzmggmm
-
-
-
.
IjNtriWZ
we
fig. 126: above and facing, site section trough island connection down through terraces. 1"=32'.
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100
fig. 127: above and facing, site section through
canal and falls. 1"=32'.
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V&
101
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V 1
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102
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I
4..
1~*"*
-
.
V
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1
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fig. 128: above and facing,site section through canal, between buildings and through center of
gardens. 1"=32'.
rfl
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103
104
fig. 129: above and facing, site section through canal, buildings and garden. 1"=32'.
105
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x
41
106
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Boucher, Francois. Le Pont-Neuf. Illus. Jean-Jules DuFour.
Paris: Chez Le Goupy, 1925.
Carr, S. M. Francis, L.G. Rivlin and A.M. Stone. Environment
and Behavior Series: Public Space. Gen. Eds. D Stokols and I.
Altman. New York: Cambridge University Press, 1992.
Clark, Roger H. and Michael Pause. Precedents in Architecture. New York: Van Nostrand Reinhold, 1996.
Cooper-Marcus, Clare and Carolyn Francis. People Places:
Design Guidelines for Urban Open Space. New York: Van
Nostrand Reinhold, 1990.
Courtright, Gordon. Trees and Shrubs for Temperate Climates. 3rd Rev. Ed. Portland, Oregon: Timber Press, 1979.
Dennis, Michael. Court and Garden: From the French Hotel
to the City of Modern Architecture. Cambridge, MA: MIT
Press, 1986, 4th printing 1992.
Francis, Mark and Randolph T. Hester, Jr. The Meaning of
Gardens: Idea, Place, and Action. Cambridge, MA: The MIT
Press, 1990, 3rd printing, 1992.
Haslam, S.M. The Historic River: rivers and culture down the
ages. Illus. Y. Bower. Cambridge, UK: Cobden of Cambridge
Press, 1991.
Hester, Randy. "Labours of Love in the Public Landscape."
Places Fall 1983, v. 1 n.1, p. 18-27.(Gas WOrks Park, Seattle,
WA)
Higuchi, Shoichiro. Water as Environmental Art: Creating
Amenity Space. Trans. Shig Fujita. Tokyo: Kashiwashobo
Pub. Co. Ltd., 1991.
Lablaude, Pierre-Andre. The Gardens of Versailles. London:
Zwemmer Pub., 1995.
Messervy, Julie Moir. Contemplative Gardens. Photo. Sam
Abell. Singapore: Howell Press, 1991.
Mittag, Thilo C. "Insel de Jugend, Berlin = The Island of
Youth, Berlin." Topos: European Landscape Magazine Dec
1995, n. 13, p. 41-45.
Moudon, Anne Vernez. Public Streets for Public Use. New
York: Van Nostrand Reinhold Co., 1987.
Rossi, Guido Alberto. Rome from the Air. Trans. Franco Le
fevre. New York: Rizzoli, 1989.
Olin, Laurie. Transforming the Common Place: Selections
from Laurie Olin's Sketchbooks. Harvard Graduate School of
Design. New York: Princeton Architectural Press, 1996.
Ollier, Brigitte. Doisneau Paris. Trans. Johanna Woll. Corte
Madera, CA: Ginkgo Press, 1996.
111
Rudolphsky. Streets for People: A Primer for Americans. Garden City, New York: Doubleday, 1969.
Whyte, William H. City: Rediscovering the Center. New
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Zion, Robert L. Trees for Architecture and the Landscape.
Photo. Maude Dorr and Peter Lieberstein and others. New
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112
the study at home during thesis book production.
inhabiting the landscape.
List of Figures
Fig. 1: Doisneau Ile des Cygnes, Paris, Oct 1972................. . 12
.14
Fig. 2: Paley Park, NYC Public Space, p 101.................
14
126
.....
p.
Space
Public
Seattle,
Park,
Fig. 3: R. Haag at Gasworks
16
453
......................
Fig. 4: March 1952 Doisneau Paris p.
17
Fig. 5: March 1950 Doisneau Paris p. 454 .......................
18
Cities............
Fig. 6:"Philadelphia" Urban Atlas: 20 American
Fig. 7:"Philadelphia" Urban Atlas: 20 American Cities............ 18
Fig. 8: Fairmount Park. Philadelphia: A 300 year History. p 377 .... 19
Fig. 9: Fairmount Waterworks. Photo E. McHugh ................ 19
Fig. 10: Piccadilly Square London, UK Photo E. McHugh ......... 20
20
Fig. 11:Quai de l'Horlage, July 1966. Doisneau Paris p 454 .........
23
...
p
455
Fig. 12: Near the Pont Neuf February 1951. Doisneau Paris
Valley
Fig. 13: Aerial Photo., Manayunk, Phila., Venice Island, Delaware
26
Planning Commission .......................................
4
27
p.
..
Fig. 14: Key Map. Manayunk, Phila., Workshop of the world,
28
......
Fig. 15: Venice Island from Railroad Bridge. Photo. M. Ward
Fig. 16:View of Island across canal. Photo. E. McHugh............ 29
Fig. 17: View from farther up river (north) back toward Island and
29
Green Bridge ...............................................
of
Pennsylvania,
Fig. 18: City Ward Map, Venice Island, 1895. Univ.
30
L ibrary . ....................................................
30
Fig. 19: View along canal at Rector Street .......................
Fig. 20: Building on Main Street, Manayunk..................... 31
31
Fig. 21: Soap Factory, Venice Island ............................
31
................
Island
Venice
Fig. 22: Metal Bridge, Watertower,
32
...............
p.
66-7
Worksights,
Fig. 23: Hist. Panaramic, 1912,
33
1987................
updated
USGS,
Fig. 24: Topographical Map,
34
...............
66-7
p.
Worksights,
Fig. 25: Hist. Panaramic, 1912,
35
Phila.........
Street,
Garden
Spring
Fig. 26: Woolens Mill Interior.
36
..........
Island
to
Venice
adj.
River,
Fig. 27: Flat Rock, Schuylkill
36
.................
in
Manayunk
Fig. 28, 29: Typical Housing Stock
37
Fig. 30: Venice Island, Billboard ...............................
37
.............
Philadelphia
Fig. 31, 32, 33: Main Street, Manayunk,
39
...
Center
Comm.
Northlight
at
Fig. 34: Mural Painted by Children
40
Fig. 35, 36: Site Collage ......................................
41
Fig. 37, 38: Detail of Collage ..................................
42
Fig. 39, 40: Block Study. Original 1:40 ..........................
42
Fig. 41: Slope Study. Original 1:200 ............................
43
Fig. 42: Site Gesture ........................................
113
44
Fig. 43: Tip of Island. Photo from Kayak........................
45
Fig. 44,45: River from Island. Author in Kayak ..................
46
Fig. 46: City Ward Map, Ward 21, 1923 .........................
46
...........
island
on
mills
from
walls
existing
of
Diagram
47:
Fig.
47
ideas.....................................
design
First
48:
Fig.
47
.......................
studies
design
of
view'
'point
50:
Fig. 49,
48
...................
1"=200'
canoer,
study,
of
view'
'point
51:
Fig.
49
................................
1"=32'
study
sectional
52:
Fig.
50
Fig. 53: Tacha Athena, artist. Case Western Res..................
50
...............
Guide
Plant
Lonely
A
Italy:
Terre.
Cinque
54:
Fig.
50
Italy....................................
Assisi,
Street.
Fig. 55:
51
...................
Space
Public
Carr,
Esplanade.
Fig. 56: Boston
51
.......................
Thailand
Market,
Floating
Fig. 57: Canal,
51
...........................
London
Waterfront,
Fig. 58: Thames
52
Court............
Dennis,
detail.
Plan
Turgot
Fig. 59: Ile de la Cite,
.
.
.52-3
Pont....
Boucher,
plans.
and
1530
1577
la
Cite.
Ile
de
60,
61:
Fig.
Fig. 62, 63: Isolo Plan, Verona, Italy, 1899, 1882. Borrelli, Una Citta 54
Fig. 64: view of construction, Isolo, Verona. Borrelli, Una Citta ....
114
55
Fig. 65: Regional Plan Verona, Italy. Borrelli, Una Citta ........... 55
Fig. 66: Insel de Jugend, Berlin. View from water. Topos, 12/95 .... 56
Fig. 67: Boardwalk, Insel de Jugend, Mittag, Topos, 12/95 ........ 56
57
Fig. 68: Island Plan. Mittag, Topos, 12/95.......................
57
...................
12/95
Topos,
Mittag,
collonade/axis,
Fig. 69:
Fig. 70: Tip of Isola Tibertina, Rome. Pucci, All Rome ............ 58
Fig. 71, 72:Aerial views, Isola Tibertina, Rossi, Rome fr.the Air .... 59
59
Fig. 73: Sketch analysis, Isola Tibertina, Rome ...................
62
Fig. 74: conceptual plan (circles) 1"=200' .......................
1"=200'.......................62
site.
study,
edge
75:
physical
Fig.
64
Fig. 76: first pass design 1"=200' .. ............................
64
.......................
1"=32'
fabric
city
study,
Fig. 77: sectional
66
connection....................
island
sketches,
Fig. 78, 79: study
67
connection.........................
Fig. 80: study sketch, island
67
.........................
'joint'
explaining
Fig. 81:Imre's sketch
68
Fig. 82, 83: building diagrams.................................
69
........
threshold
building-island
Fig. 84, 85: visualization sketch,
70
Fig. 86: site organization sketch ...............................
70
Fig. 87: diagram of existing walls..............................
71
Fig. 88: vertical zoning .......................................
72
Fig. 89: exploration of levels on site ............................
"And that is really the end of the
story, and I an very tired after
that last sentence, I think I shall
stop there." Milne, A.A. Winnie The-Pooh. Illus. Ernest H.
Shepard. New York: Dutton,
1926, reprint 1961.
Fig. 90: Photo. Plaza at St. Teresa inTrastevere, Rome ... .. .. .. . ..72
Fig. 91: King's Itinerary, Gastil, Versailles .......................
Fig. 92: Intermediate plan 1"=200' .............................
Fig. 93: Phila. urban fabric, Society Hill .........................
Fig. 94: Persp. sketch, promenade..............................
Fig. 95: Persp. sketch w/ gardens and existing walls .............
Fig. 96: Conceptual sketch, terraces ..........................
Fig. 97, 98: Rain pavilion development sketches .................
Fig. 99: tower development sketches ...........................
Fig. 100: site forces - pavilion ideas matrix ......................
Fig. 101: landscape experience ideas matrix .....................
Fig. 102: Penna. Cultural Hearth, Making of the American... .. . . . .
Fig. 103: Landscape organization diagram ......................
Fig. 104, 105: Landscape and paving textures....................
Fig. 106: Landscape exp. on island.............................
Fig. 107: diagram of paths - procession .........................
Fig. 108: island m odel, outlook ................................
Fig. 109, 110: development sketches, bridge screen ...............
86
Fig. 111: island model, ampitheater end. . ......................
Fig. 112, 113: development sketches, falls and ampitheater ........ 86
Fig. 114: island model, center gardens..........................87
88
Fig. 115: island model, terraces ...............................
88
....
Fig. 116: development sketch, view across entry park to bridge
89
Fig. 117: island model, from street side .........................
89
park............
Fig. 118, 119: persp. sketches, view from street to
90
Fig. 120: island model, promenade.............................
90
walls.................
Fig. 121: island model, garden w/ existing
91
......................
.
Fig. 122: final island plan ...........
92-93
Fig. 123: rain pavilion ....................................
94-95
Fig. 124: flood pavilion ...................................
96-97
Fig. 125: snow ice pavilion ................................
98-99
Fig. 126: Site section 1"=32' ................................
100-101
Fig. 127: Site section 1"=32' ..............................
102-103
Fig. 128: Site section 1"=32' ..............................
104-105
Fig. 129: Site section 1"=32' ..............................
115