CONTINUITY and CHANGE through TRANSFORMATION:
A mixed-use design in a Cape Cod harborBy
Peter Alastair Haig
B.S.A.D.,
B.S.C.E.,
Massachusetts Institute of Technology, 1981
Massachusetts Institute of Technology, 1981
Submitted in Partial Fulfillment of the Requirements for the Degree of:
MASTIER OF ARCHITECTURE
at the Massachusetts Institute of Technology, June 1983.
Q
Peter A. Haig
Signature of Author.
Certified by . .
The author hereby grants to M.I.T. permission
to reproduce and to distribute publicly copies
of this thesis document in whole or in part.
1983
. . . . . . . . . . . .
. . .
. . . .
, . -
o
Arch
t
u
Department of Architgture'
. . . .Jan Wampler,
Associate Profes
hesis Supe isor
of Archite ture
Accepted by. . . . . . . . . . . . . . . . . . . . . .
Jan Wampler, Associate Professor of Archite ture
Chairman, Departmental Committee for raduate Students
RotcF
MASSACHUSETTS INSTITUTE
OF TECHNOLOGY
MAY 2 6 IJ83
1.
2.
ABSTRACT
CONTINUITY and CHANGE through TRANSFORMATION:
Design of a mixed-use development in a
Cape Cod Harbor
By
Peter Alastair Haig
Submitted to the Department of Architecture
in June 1983 in partial fulfillment of the
requirements for the Degree of:
Change is an ongoing, unavoidable
process that may occur for many reasons
and in many ways.
In this world of uncertainty and often unwanted surprises
it is comforting to know that there are
some aspects of our physical and social
environment that remain constant while
others are changing.
This thesis examines various attitudes towards new and old, towards conIt then centers on
tinuity and change.
the idea of transformation which acknowledges the necessity of change while
still
respecting the positive aspects
of what exists.
This idea of transformation is
demonstrated in general through diagrams,
and specifically through a design of a
mixed-use development in the harbor at
Woods Hole on Cape Cod.
MASTER OF ARCHITECTURE
Thesis Supervisor:
Title:
Jan Wampler
Associate Professor of Architecture
3.
TO:
ACKNOWLEDGMENTS TO:
ACKNOWLEDGMENTS
Christy for her infinite patience
Jill and David for all their help
My parents and family for their
constant encouragement
M. Cay and M. Judy and my Community of
Jesus family for their support
The "Little Scooter" on the way who
makes me finish on time
Jan Wampler for his help, ideas, and
enthusiasm
Maurice Smith for being a great teacher
Rich Furman for being a good friend
4.
TABLE of CONTENTS
Title Pagea
...........
1.
Abstract . . . . . . . . . . . . . .
3.
Acknowledgements
.
4.
.
.
.
.
.
.
.
.
.
Table of Contents.. ..
..
.
5.
On Change. . . . . . . .
. . . . .
.
7.
. .
13.
New and Old. . . . . . . . . . . . .
17.
On Continuity.
. . . . .
. . . .
Transformation . . . . . . . . . . . 23.
On Cape Cod. . . . . . . . . . . . . 31.
The Site . . . . . . . . . . . . . . 49.
The Design . . . . . . . . . . . . - 61.
In Conclusion.
.
Bibliography
Illustrations.
.
.
.
.
.
.
.
.
..........
.
.
.
.
.
.
.
.
.
.
.101.
.
.103.
.
.105.
5.
6.
ON CHANGE
Change is
inevitable,
not be prevented,
promoted.
It
it
can-
and need not be
will happen.
Architecture has always been
an expression of the social, intellectual and spiritual state of a
culture manifested through available technology, in response to the
environmental forces and philosophical movements of the time. Past
intelligent cultures left pieces of
architectural form which chronicled
their spiritual and intellectual
consciousness and the environmental
conditions in which these cultures
developed.
The forms were appropriate at
the time but were not and are not
perfect.
At no time is an archi-
tectural form permanently or
ultimately sacred.
The continual
evolution of cultures and the everchanging environment demand a
continuous transformation in the
7.
as the populations rushed off
forms of architecture.
If
we could look at the
to rebuild Europe. In many places,
history of architecture from a
"starting from zero" was not hard.
great distance,
There was nothing left but the
architecture in
this century would appear as a
people themselves. So there was
disturbance in
war-torn Europe, with centuries of
the line of time.
Since we evolve from what has
architectural heritage in ruins,
preceded, a brief look back might
trying to disassociate itself
help to illuminate our present
from centuries of development -
way in
something akin to a cultural
architecture.
Between 1914 and 1945 occurred
Meanwhile several young
some of the greatest global
traumas of all time.
First, World
War I, second the Depression,
third the Second World War,
fourth, the first
"lobotomy."
and
Marxist Revolu-
architects of the leftist persuasions found some difficulty with
the architecturally proficient but
intellectually stagnant Beaux Arts
tradition of teaching.
tion.
LeCourbusier's "Dream of
An American city", 1925
They seized
One of the.goals of the new
"modern" architecture was to be
non-bourgeoise as possible. "Less
was More."
Everything of (what
the opportunity for a new and
had historically been called)
ravaged Europe left the popula--
totally "Modern Movement" in
beauty, which was synonomous with
tions eager to forget the past and
architecture. "Herewas the
the wealth and prestige of the
all that led up to these recent
Architect's"ultimate dream" "to
bourgeoise was stripped off. Any-
The wretched smell of war-
disasters.
"Let's wipe the slate
start from zero."
The recent
thing which smacked of decoration
rise of the machine age equipped
or elaboration would receive the
"let's start from zero," became
these architects with the tools
ultimate berailment: "how
the mottos of the post-war years
to do just that.
bourgeoise."
clean,"
8.
"let's begin again,"
In came the purely
f
functional-nonornamental glass
The great destruction of
boxes of all shapes and sizes for
Furope created a tremendous
any and all purposes.
need for architects.
To admit you didn't like the
An unpreci-
dented amount of control and re-
latest selection of architectural
sponsibility fell to these
boxes was to incriminate yourself
designers.
as bourgeoise. Many accepted the
handed out their boxes and many
new architecture with as much
were as eager to accept them
enthusiasm as a child taking
as the Emperor was his new
medicine. But the western govern-
clothes. A people without a past
ments and peoples quietly
were trusting in the hopefully
Atlantic the rather uncultured
endured as the young self-taught
competent and visionary modern
and materialistic Americans
architects.
seemed not to be as interested
architects set off in
search of
So Modern Architects
Housing by Aldo Rossi
Meanwhile, across the
in
their utopian architecture.
Post war European housing
buying wholesale into
"modern" architecture as their
European counterparts. After
all, there weren't any bombs
dropped on American cities. A
few glass box skyscrappers did
go up but most Americans either
didn't notice,
didn't care,
or
thought they were kind-ofinteresting.
The occasional flat
top cubic house met with curious
opposition.
After all, it
wasn't
9.
the image of the American dream
An occasional disgusted
home.
naked after all.
The world believes it
is
It
difficult to say, how,
and
can
manage without a strong direction
snear or curious glance seemed
where the fraud was discovered,
in the design of our environments.
to ask "why is it flat like
but the evidence that it has
There is currently very little
that?"
The Europeans might have
happened is clear.
There is now
answered..."antibourgeoisie,
an almost epidemic case of
isn't it obvious?"
historicism.
After several decades and
It is as though
this Emperor when shocked with
many glass boxes, people began
the reality of his nakedness has
to realize their dislike for
run full-speed back to his old
modern architecture was neither
familiar clothes, vowing never
unenlightened or unusual. They
to change them again'
couldn't seem to appreciate the
he sits clinging to the old
disassociative and faceless
familiar garments.
forms of the thin curtin walls
And there
People have lost faith in
no matter how hard they tried...
architects much as the emperor
at some point people realized and
lost faith in
his tailors.
admitted that the Emperor was
Port Grimaud, designed as an "instant" fishing village
in the French Riviera by Francois Spoerry, Architect.
A certain case of "epidemic historicism".
10.
emphasis on design in our cities.
Architects may have lost their
powerful visionary role and
credibility for some time to cone.
I do not suggest a counter
that which is
good and/or
or a counter-counter revolution-
appropriate about what exists and
God forbid.
transforming and changing that
Too many babies
have been thrown out with the
which is
bath water already.
current situation. This argument
We cannot
unsuitable
in
the
return to the quaint pre-war
has returned us to my second
village architecture.
paragraph about architecture.
The
recent historicism may serve to
"Architecture has always
return us to where architecture
been, and still
went "wrong".
expression of the spiritual and
But from there
it must continue on.
Change will occur but it
should be an
intellectual state of a culture
as manifested through available
must be by a continual prodding,
technology in response to the
bit by bit process that neither
environmental forces and
stagnates nor destabilizes the
philosophical movements of the
existing familiar organization.
time."
This requires a continuous
If
change is
let it
an inevitable
transformation process, of
process,
be onethat
building on the past in a
doesn't always start over again.
forward looking manner. Accepting
Let it
be "continuous."
11.
12.
ON CONTINUITY
Definition: The state or quality
.of being extended or prolonged;
without a breaking; an unbroken
series or succession;
Connection;
uninterrupted cohesion or close
union of parts.
Continuity is
more diffi-
cult to describe and explain
than change since it
is
not an
everyday concept as in changing
clothes, chairs, jobs and so on.
Continuity requires change
otherwise
it
would be constant.
Constancy requires that all
characteristics remain unchanged
whereas continuity requires that
only some of the essential
characteristics be maintained.
The continuity can be fierce
and obvious or subtle and questionable depending upon the
number and relative importance
of these essential overlapping
characteristics.
Constancy
13.
continuous:
constant:
-
II~ lllllllllllllllllllIMl
demands uniformity whereas
11110
--
Back Bay
...
-
IIII i lll II iIIIII
row houses,
Boston.
-
iiij
Spacial continuity is a
continuity allows for variation
similarity which is
and change.
through space.
This continuity may be an
4
evident
For example the
space at the same time.
continuity of Back Bay row
Spacial and temporal contin-
overlap of characteristics
houses is not only the line
through either time or space.
that they collectively define
uity may be physical or non-
For example, a temporal
but the similarity of form
physical,
continuity might be the suc--
which makes up that line.
cession of a family name or
second example of spacial
genetic traits, or the repeti-
continuity is
tion of cultural customs.
the accents among Scottish clans.
teristic accent of the Scottish
Both these examples of contin-
clans is not physical, although
uity are observed through
it
It's
similarity is
through time.
14.
evident
A
the similarity in
for example,
the Back
Bay row houses are actively
connected or physically
.
continuous whereas the charac-
is
observable.
I am not listing these types
of continuities in
a.
order to
"literally"
z
continuous by linear
begin to classify continuities
under these categories.
a line is
extension
This is
to show the range of meanings
for which this idea of "continuity" may be applied.
b.
All of
continuous by partial
these meanings are important,
from
a line may be "virtually"
definition
the continuity and over-
2
lap of indoor-outdoor space in
a building to the continuity
c.
a line may be "spacially"
continuous by overlap
of the design process which
reinforces the positive aspects
of that which exists and transforms or deletes the negative
Given the confusion that is
aspects.
Although the non-physical
generated by these categories,
continuity of Scottish accents may
and sub-categories of continuity,
be of interest to a designer
the following short definition
working in Scotland, physical
for continuity may be helpful.
continuities will be of most
importance to architects.
I
will show a few categories into
which physical continuities
may fall:
"When something changes (in
either space or time) then something must stay the same."
"When something remains
constant, other things may vary."
15.
17
"The Landmarks Commission caught them just in the
16.
NEW & OLD
Attitudes towards addition & change
In looking at the issue of
continuity and change in
architecture many different
attitudes toward the relationship of the new with the old
become obvious. Some of these
attitudes are similar while
some are very different, but
nonetheless they are distinguishable. They also represent
different degrees of continuity
and discontinuity in terms of
the physical connection of new
and old and the historical
(temporal) relationship of new
and old.
None of these attitudes
toward new and old is inherently
right or wrong. It depends on
many factors such as: 1. Conditions of the existing. 2. Does
the old leave clues or possibilities for later growth and
change? 3. How much exists and
17.
how much is
to be added. And
the list continues..There are
many good and bad examples of
each of these attitudes. Some
examples of these are shown to
more clearly demonstrate the
various attitudes:
EL.
Remove existing entirely
(and "start from zero")
18.
b. Pretend the precedent of
context doesn't exist.
C.
Restore old to new look.
d.
Reshape old with similar to
new
e.
I
Make a more old looking or
authentically historical
building than the existing.
L
f.
r<
I3-
Direct use of historical
forms.
19.
g.
Contrast new with old by
total reversal.
i.
Formally respond to everything around it.
-A-
20.
h.
Pretend the new is
not there.
i.
Contest new with old with
some similarities.
k.
Transformation of the
available forms and
references.
j.
Recover old with new
1.
Treat old as museum piece in
the fabric of the new.
These are a few of perhaps
many more attitudes toward the
i
relationship of new and old
ranging from the total removal
of the old to a direct copy.
Some of these are more spacially
and historically (or temporally)
continuous than others.
The one
I find most interesting and of
greatest potential is
the one
which embodies the idea of
transformat ion.
21.
22.
ON
TRANSFORMATION
The term "transformation" in
architecture can be as wide ranging as "continuity" has been
shown to be.
Definition:
The process of
changing into another equivalent or similar; to become
changed.
In my earlier discussion
on change I described architecture as the expression of
the social, intellectual and
spiritual state of a culture
manifested through available
technology in response to curent environmental forces and
philosophical movements.
is
This
to say that there are many
factors acting together that
create our ever changing
environment.
An architec-
tural form developed in response to one combination of
these factors may be perfectly
23.
appropriate for a seemingly
central fireplace notion
long period of time.
remained and was in fact
However,
combination of factors
this
strengthened because the atti-
will eventually change requiring an alteration
in
tude toward the building edge
the
was reversed.
What was once a
form of the architecture.
continuous skin was transformed
This alteration whether small
into a penetrable screen.
or drastic is a transformaA drastic change in
tion.
predecessors, he set out to
I
Romeo and Juliet
Windmill tower,
the balance of these factors
design a form more suitable to
will require a drastic change
the isolation of suburbia and
Transformation of
in form whereas a small devia-
the vast open space in the
rural windmill.
tion may require only a mini-
American landscape.
mal transformation.
houses seemed to reach out in
This section will look at
His prairie
all directions to capture the
several types of architectural
continuous space.
transformations and show examples
central fireplace and inner core
of several masters of transforma-
took reference from the early
tions.
American homes, and were used
Frank Lloyd Wright set many
goals,
one of which was to design
The massive
as an anchor to tie the building to the ground. He "broke
homes that were distinctly
down the box" of the urban
American.
inward-looking skin, and
Starting from early
American houses,
which were
transformations of our European
24.
transformed it-into an outwardlooking "American" form. The
by F.L.Wright.
the traditional
Wright's later Usonian
houses were a transformation of
moving pulleys and fly wheels.
Wright's greatest known
another type. Rather than trans-
masterpiece, the "Falling Water"
forming the building form as in
house demonstrated a transforma-
the above example, he used the
tion of the landscape context.
distinctively North American
The indigenous masonry walls rose
Aztec Indian and the adobe build-
up from the ground mooring the
ing system for his references.
horizontal planes which float as
With these image references and
the water below them.
the current technology of custom
master of context transformations.
.-......
In Wright's work, the
block manufacturing he developed
context was not just the
a new housing type that was once
ephemeral visual images of that
again distinctly American.
which existed nearby. Those
The Johnson Wax building
Aldo van Eyck was another
forms were superficial. He
seems to be a literal translation
addressed the broader sense of
of a dynamic manufacturing
what the context meant. This
machine. The curving walls and
approach is vastly different
-circular forms look like the
from the current historicism.
25.
His subsidized housing for
old
The connection of new and
continuous surface masonry
structure where the walls appear
folks finds references in the
old in Van Eyck's Home for Unwed
existing forms but transfo rms
Mothers is
them and applies them to t he
ing transformation. The project
The new addition is clearly a
plan, or organization that he
involved the rehabing of an
frame structure where the open-
felt was appropriate to old
existing five-story townhouse
ings read more prominently than
structure and the design of an
the closed wall portions.
almost equal sized new building
Despite the contrast between the-
beside. The new portion accepted
new frame structure and the old
exchange memorabilia and s tories
and echoed various aspects of
continuous surface building
about their grandchildren.
the existing building such as
there is a clear unity between
Again, another transformat ion of
floor heights, and building
the two. They appear to belong
the individual urban windc w seat
massing while reversing other
together.
or apartment balcony in r esponse
characteristics. For example,
the existing building is a
The small covered
people.
porches closely face onear other
where residents can sit
to a particular use.
ard
an equally interest-
much stronger than the openings.
A
W1,OR
4
26.
Gian Carlo Di Carlo's work
discussed are different in
unwed mothers but reversed
in Urbino is another example of
approach and result. However,
building closure from the pre-
a transformation. His hill-top
each architect seemed to look
industrial masonry to a post-
dormitory is
for some aspects of the existing
war frame system.
balance of the machine age
form and organization that could
maintained the building's
repeatability of units and the
be used as a clue for where to
visual quality and typical
appearance of the neighboring
begin.
hillside village organization
Italian hill towns.
a sense of continuity with the
while changing the building
modern materials resemble the
old as well as a departure
method.
nearby stone and stucco struc-
point for the new. For example,
important about these designs is
tures. The overall appearance
Wright's prairie houses kept
the seeming "appropriateness" of
is clearly new yet recognizable
the central mass concept but
the buildings. They seem to fit
as a transformation of the old.
reversed the quality of the
in,
edge from continuous surfacetoa
in discerning the new from the
methods of transforming what
screen. Van Eyck kept the
old.
exists.
relative massing in his home for
a marvellous
The
There are no step-by-step
All the transformations
These aspects provided
What is
yet there is
Di Carlo
clear and most
no difficulty
The following diagrams describe abstract transformations of an object:
0 r4 I H (
El
1- f?,- CIw1.r- E_9:0
it,
TZ~4
27.
The rule in these three transformations is to keep the same amount or
area of line definition. The first transformation of opening the
corner abstractly demonstrates what Frank Lloyd Wright was trying
to do in his prarie houses.
[4A~NTA1kLiki~
(or~-.4'N4
1I±~
rN~- HIr4'Le)
6LWJ~ ~-R.0~
L~i
I
It is clear that opening the corners forces a much stronger connection
between inside and outside than does the transformation by maintaining
the corner.
PI~fr~-TV~AH 0125JI 6-T (w{~ro ',
..
...
for later design decisions will
those that exist in
book steps to good transforma-
reinforce the continuity of what
places, the patterns of growth,
tions here are some fundamental
existed before with that which
existing materials or local
attitudes that transformations
may follow.
require.
in many forms, the direction of
Although there are no cook-
Finding and using clues
These clues may be
at every scale and stage of de-
circulation or building systems,
sign as well as leaving clues
the organization that exists or
28.
similar
technologies, as well as micro
and macro climate forces.
understandability - a reason for
formation of form.
know why a building type or
taking place. People are
ever, is a playful manipulation
system was developed in an area
generally interested in figuring
of forms that are purely
before that system is reused or
out how and
surface ornamentation done in an
ignored. Sometimes the forces
different.
that contributed to their de-
chopping up an understandable
The purpose for which the form
velopment may no longer be in
form for the sake of interest or
is altered and used is obscure
force, consequently the old
novelty is an egocentric and
and I gather that is part of the
form may not be appropriate. At
immature rational for design.
"fun" of it.
other times designers have been
Vernacular architecture has
sadistic attempt to have form
unaware of the dynamics that,
evolved for some tangible
not relate to people by obscur--
take place which are critical to
reason, be it environmental,
ing the meaning of the forms. It
that environment's stability.
social,
is an architecture that is not
For instance, the low-income
People often made small varia-
developed by the environment -
families who were moved from
tions in their architecture to
it comes from the exclusive
their urban walkup townhouses
show individuality,
world of academia.
into the Pruit-Igoe projects in
color,
St. Louis were removed from the
but these variations were with-
requires a willingness to builO
physical organization that had
in the family of vernacular
positively on whatever is
been necessary for stability to
orders. The natural transforma-
ing rather than continually
these people. The architects in
tion of this overall vernacular
starting over again.
their eagerness to modernize the
order takes place through
not mean that everything existing
environment neglected the basic
greater outside forces.
is sacred and must remain. Those
It
is often important to
organization of the neighborhood.
Transformations require an
why something is
Distorting and
political or even visual.
texture,
such as
trim and so on
The post-modern movement is
indeed interested in the trans-
Their's how-
almost tongue-in-cheek manner.
It
is almost a
The transformation process
exist-
This does
pieces, concepts, or existing
organizations that can function
29.
The "starting from zero"
as clues should be kept and
intensified while other portions
mentality would imply that when-
may have to be removed.
ever the
The transformation process
or
designer had a new idea
"xperienced some difficulty
mistakes. The designer may think
of,precedents or references of
similar situations whose
solutions may be applicable in
is not unlike the design process
with the problem at hand he or
the case at hand. Lessons learned
itself. The layering design
she would begin again. Consider-
from references must also be
process requires a linear
ing the number of possible ideas
transformed for the specific case
available and the number of
at hand.
chess player who evaluates
problems confronted in any
thevisual image of the reference
certain moves by imagining the
design process, it would be
but may totally miss the quality
sequence of moves that would
impossible to ever finish the
for which the reference was cited.
sequence of decisions.
follow,
Like a
a designer weighs differ-
ent alternatives while not
actually executing all of them.
design using this "start from
zero' mentality.
But how about starting the
Literal copies may have
The very concept of starting
from zero runs totally contrary
to the process of learning that
The inability of a designer or
design? How and why do you make
all are constantly engaged in it.
chess player to pursue all
the first line? Do you draw a
Whether we are aware or not we
possible alternatives to their
favorite place and work from that
have been and continue to be
conclusions makes the early
or do you spill your coffee on
affected by that which is
organizational and/or large scale
the clean paper and trace the
us and the experiences we have-
decisions critical. Having made
outline? Again, the designers
endured.
the initial decisions the
must work positively with what
designers then encounter a
exists, reinforcing earlier
second series of alternatives
decisions that are considered
not unlike the first.
good and transforming former
30.
around
ON CAPE COD
The Cape Cod vernacular is one
of the most recognizable and
popular styles in North America.
Its
historical development
illustrates a process of transformation as discussed earlier.
A brief look at its development
may help to determine where it
is
now evolving.
Like most American archi-
tecture, its vernacular roots
are in Europe, yet its
early
buildings show the clear effect
of the raw New England climate.
Cold winters and the expense of
glass made small windows and.
central fireplaces common practices.
Available materials
and the skills of the builders
dictated the quality of construction yet there was a
consistent effort or impulse to
use forms, materials and techniques from the old world as a
31.
Elihu Coleman house,
Nantucket.
Jethro Coffin house,
Nantucket.
wanted association with the
past.
As times passed, and the
constant change.
The basic
box house is expected to be
colonies became more stable,
added to with one addition
ornamentation that was parti-
added to the last one.
cular to Cape Cod began to
grace the formerly stark conservative forms.
Cape Cod
"Telesooping Additions"
Typical
method of addition on New England
buildings.
developed a look of its own with 8 in
12 roof pitches,
central fireplaces and picket
fences.
The "Cape Cod" is
particularly notable for its
32.
$1317
Evolution of the Cape Cod Building Shape.
Old English
it-story gable
Added Lean-to
Integral Lean-to
"Salt Box"
21-story gable
1i-story gable
Addition to and Evolution of the Siasconset fishing hut on Nantucket.
Initial simple fishing hut.
Enlarged hut by added "warts".
Expansion, adaptation.
Highly individual incremental variation.
33.
Pieces of a context:
Cap. Cod
Like much of American
architecture,
the Cape Cod form
survived the assaults of the
modern movement.
The recent wave of historicism has hit Cape Cod with a
violent fury.
The vernacular
has become fixed and frozen at
a period in
its evolution as
though this were sacred.
I appreciate and support
the historical design review
boards and their efforts for
the "Cause" of Cape Cod architecture.
I am also aware of the
financial reasons for the maintenance of the Cape Cod look.
But at no time can architecture
be frozen, no type is sacred.
The existing forms were developed from forces and associations that were in effect and to
which the forms needed to be
appropriate.
Times change and
so must the forms.
34.
Then the questions are:
How have the times changed and
how would these changes effect
the forms?
the first
I'll try to answer
question in these
next paragraphs and begin to
suggest some possibilities for
the second question in the
design part of this thesis.
Cape Cod is experiencing a
need and interest in increasing
density.
The exclusive con-
dominiums and time-sharing
developments that are sprinkling
the Cape tend to isolate themselves and detract from the
village-like sense of community
which is
"Cape Cod".
The Cape
needs to respond to this problem by either stopping this
type of exclusive development
or provide opportunity for more
dense developments in the town
in a way that can increase the
characteristic village sense.
35.
Below are shown the typical plans of the three common Cape Cod houses.
It in believed that the Half Cape was the original cape house.
This
was later added-to to first form the three-quarter Cape and finally
the Full Cape. Notice the rectangular object-like form and the strong
"continuous surface" edge.
This form defines only the interior space.
This strong edge eliminates the possibility of overlap of interior
and exterior space.
dk..r-6.e,_~WA,'
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cdr4 (1)'.~
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PUL4W'
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traditional continuous surface
whatever is existing and on new
developed through the centuries
Cape Cod home that was developed
intellectual developments, it
for a population of people who
through the harsh New England
Ls necessary to build on the
were year-round residents of
winters is
lessons that the modern move-
this isolated spit of land.
the martini-sipping sunbather in
ment taught us as well.
Recent years have seen an in-
August.
was a profound reversal in the
crease in tourism and seasonal
place the closed quality of the
thinking of architecture as the
development, bringing in other
Cape house with the more open
space defined by the architec-
ideas about architecture,
quality of a seasonal building.
tural form and not the form
The Cape Cod house was
and
a need for more open and seasonal building forms.
36.
The
not appreciated by
There is- a need to re-
Since the process of transformation builds positively on
itself.
There
There began a feverish
interest in the designing of
2
architecture of continous
that displayed the old unen-
architectural thinking if its
space rather than the desig-
lightened way of thinking.
recent gain in
popularity through
ning of that which defined
Cape Cod forms must address
historicism is
to be any more
the space.
this profound reversal of
than a fad.
Consequently orna-
mentation was an extra frill
Abstract transformation of
the Half Cape houses
1
LL
- -.
L
These transformations attempt to disassemble the object-like forms
into form which define interior and exterior space simultaneously,
and to substitute some of the continuous surface edge with a more open
screen-like edge.
Abstract transformation of
the Three-quarter Cape houses
lhi
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Salt Box
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The site on Cape Cod
.1.
I,.
must be there to be in con-
with its strong architectural
tinuity with and to transform
vocabulary provides a catalyst
from.
for examining ways of buil-
text, the greater the number
ding continuities through tran-
of clues, and the easier the
sformations.
task of building continuities.
First of all, a
The stronger the con-
site is necessary as a means
Cape Cod's strong form voca-
of demonstration, something
bulary can provide an ideal
Salt Box
Vocabulary of Cape Cod roof form:
I
Gable
Shed
Hip
39.
Pieces of a context:
V
..
continuous surface vocabulary
4
-
4
'4.Ad
nature of the individual buildings by their distance from
one another.
Since the total
buildable land area is
limited,
the parcelling of land into
one-fourth and one-half acre
lots has begun to deplete the
land supply.
Consequently,
land prices have gone up forcing
a displacement of the local resdeparture point for the trans-
idents by the wealthier summer
formation into twentieth cen-
folks.
tury architectural forms while
attempts to integrate a more
still
dense housing pattern with the
maintaining contextural
continuity.
Current zoning regula-
40.
This thesis design
transformed vernacular forms of
Cape Cod in a more village-like
tions forcing low densities
alternative to the exclusive
have reinforced the object
condominium developments.
A harbor village site was
these buildings.
Clapboards,
chosen for several reasons.
shakes, shingles, brick, ship
First, the strong landscape
lap, stones, and masonry are
forms that occur at the transi-
all part of the historical
tion between water and land can
continuous surface vocabulary.
give powerful clues for design
There are few references for
decisions.
framework or screen-structures
Second,
most Cape
Cod architecture is object-like
that are larger than picket
partly by the distances from
fences, stair ballisters, or
one form to the next and partly
widow's walk - most of these
by the continuous surface
are territory dividers and not
material that wraps most of
inhabitable themselves.
The
41.
best and perhaps the only ver-
piers and the old sailing
nacular framework references
vessels themselves.
on Cape Cod are the old fishing
Pieces of a Context:
42.
screen vocabulary
....
...
24-
43.
Nantucket:
Pieces of a precedent
a reference for Cape Cod forms and site organization.
44.
Finally, Wood's Hole was
chosen for its own set of
reasons.
It
is
not only a
streets and public space in the
town.
Yet Woods
Hole provides
something more... one of the
Cape Cod harbor town with a
difficulties in building con-
strong natural and built land-
tinuities at larger than the
scape, it
has a variety of
building size on Cape Cod is
attributes that make it
easier
that the existing buildings
for this intervention.
First,
themselves are so small.
it
is
a mixed-use town which
A
strong landscape may help rein-
boasts a large tourist industry
force as overall continuity bet-
- justifying an interest in
ween these small object-like
the public territory.
buildings.
there is
Second,
a scarcity of buil-
The only man-made
form large enough to tie these
dable land and a notable
small structures together are
housing shortage -
the fishing piers.
suggesting
Prgerbud WHrerences.
But here,
a precedent of greater density.
Woods Hole has something more
Third, there is an active com-
to offer - a precedent for
g
Former U.S. Fisheries Commision buildings destroyed by hurricane
larger buildings. in 1938. Building was later replaced by a locally despised "shoebox" building shown on page 54.
munity group interested in
suggestions for improving the
45.
Although they
pitch, materials, window size
quo in design.
the Cape has been kept in check
and type, and shutter color.
keep out the occasional steel
by historical design review com-
Although I understand and sup-
building and the Miami Beach-
mittees.
port their purpose in general,
type hotel, they tend to freeze
enforce the continuity with the
their tight reigned method of
the architecture at a popular
Cape Cod context by dictating
limiting shutter color (for
period in
external qualities such as roof
example) maintains the status
Much of the architecture on
The historical boards
its development.
Typical Cape Cod window vocabulary.
LLL--:i
C,1401 4A e4- T-
Ljlep- AIPOA'
46.
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rH1*4
INe
ow,~ ic4~
-~!~ZOI4T
~FZAd4~O H
$c2H~'ikiA11O~4
Typical Cape Cod handrail and/or fence vocabulary:
Jr
F4
F
~ tjtt~
-
Typical Cape Cod Bay window vocabularys
ole
kvI 4--1VAY
47.
Typical Cape Cod Dormer vocabulary'
K
Shod dormer
Hip Dormer
Gable or "Dog House" dormer
This thesis attempts to design what I am calling "recognizable transformations of
existing forms".
in
"Recognizable"
order to build continuity
"Eye Brow" dormer
with the past and "transformaIt
is understandable that
like Cape Cod,
skeptical of
tion" in order to deal with the
needs of twentieth century
the recent transformation of
change and development.
Cape Cod from a quaint out-of-
is
the-way place into a tourist
tain the Cape Cod look.
center has prompted many old
ism, the Cape's largest industry,
will attempt to illustrate
time locals to try to assure
demands this "quaintness",
transformations of the verna-
themselves that some of the
character of the Cape will survive.
And the all-to-recent
also great pressure to main-
change is
what is
inevitable.
urban renewal brought on by the
plan for the future.
people in out of the way places
48.
Limiting
considered negative
change is
has left the
Tour-
But as I said earlier,
memory of the destruction of
modern movement
There
not a comprehensive
It is also
buildings.
The design in
this thesis
cular Cape Cod form into one
which responds the current
environmental, political and
intellectual forces of the
1980's while maintaining a
necessary to encourage some pos-
recognizable continuity with
itive directions as well.
the context.
THE SITE
49.
Woods Hole is a small harbor town on the southern tip of
Cape Cod, near the mouth of the
Cape Cod Canal.
Despite its
small size and population it
is world famous for its marine
research centers:
The Woods Hole Oceanographic Institute
pp HOLZ
The Marine Biological
Institute and
The U.S. Department of
Fisheries
Woods Hole has boasted many
industries throughout its long
life, from fishing to candles,
but its current industry is
primarily the support of the
research facilities and secondarily,
tourism.
The village center of
Woods Hole stretches about
300 yards along Water Street
from the first few stores to
the aquarium near the town pier.
50.
Q, 0oos
WOOD
HOLE SOLf
COURSE
0,0
0N QG
tCo
r
U7
FACILIT
C.)
CSite
site
-
DOCKL
-
"UPC"
'EumL
11"stemsM
C
onQ
DU
T
51.
At present there is a smattering of quaint stores and restaurants, fishing and boating
facilities,
museums,
a ferry
dock, an old elegant but run
down inn, water-side eating
places, and several research
laboratory buildings.
The research institutions
involve or employ most of the
local residents with the exception of a few commercial
fisherman and a number of
owners and employers from the
restaurants and other small
businesses.
Tourist traffic
is alleged to be very great the small aquarium operated
by the Department of Fisheries
boasts a turnstile tally of
over 200,000 persons per year.
Most of the seasonal tourist
traffic is
fostered by the
Steamship Authority ferries
that travel to and from Martha's
52.
Vineyard and Nantucket dumping
hundreds of thousands of tourists per year into the streets
of Woods Hole.
Local resi-
dents complain about the lack
of public space, parking, and
places to house and feed the
hoards of demanding foreigners.
Their streets are reportedly
used as trash cans and their
meagre Department of Public
Works which has only enough
money to replace ten feet of
sidewalk per year is no match
for the thousands of paper
dropping travellers.
*#
53.
Pieces of a Context:
Woods Hole
A
54.
The site for the design
portion of this thesis is
pri..........
marily on a neglected main-
.....
tenance pier which currently
belongs to the Woods Hole
Oceanographic Institute.
This site includes the area
bounded by Water Street to the
Fishionger Restaurant
Wood H1e Pharmacy
retained
Back-side of Woods Hole Inn
retained
destroyed
destroyed
destroyed
north, Tuscombe Avenue to the
east, and the Eel Pond Channel
to the west.
The Fishmonger
Restaurant, the Woods Hole
Pharmacy and the old Woods Hole
Inn are kept to become part of
the design whereas the other
existing structures are assumed
to have been destroyed by a
hurricane.
i
Shed
cntenence
detroyed
55.
56.
i
W.H.0.I. buildings
existing pier
pharMacy and Inn in background
The view above is a 90 degree panoramic view of the "cove" looking
from the end of the ferry pier.
Although the primary
proposed to connect the parking
emphasis of the design was in
area with this new dock side
the vicinity of the old main-
development and the Steam Ship
tenance pier,
a larger scale
Authority building next door.
site plan was completed in order
This parking area will relieve
to set the context for the new
the intense parking problems
public pier. The larger site
near the Steam Ship Authority
plan addresses the problem of
building, and lead to increased
parking by proposing that a
parking revenues. The linear
large parking area be built
pedestrian street could cater to
about 500 feet up School Street
tourists during the summer
across from the old abandoned
months and to the research
Woods Hole School. A linear
institution folk and "locals"
pedestrian street complete with
during the off-season.
shops, housing, boat facilities
present most of the existing
and community buildings is
tourist traffic is concentrated
Steamship Authority Building
At
Woods Hole School
57.
Proposed Site plan.
/1 //
This site plan was assumed as the context for
the subsequent design.
)
)
in one neglected and unsightly
area near the Steamship
Authority dock.
This singular
concentration serves to protect
the surrounding areas from the
over running of tourists. However,
this concentration also
means that most of the revenue
from the Ferry traffic is taken
by the Steam Ship Authority
itself. Very little is received
by Woods Hole.
This proposal
would not only solve the parking
problem, it would generate the
revenue to pay for itself as
well.
The streets and traffic
patterns in the area West of
Crane Street, south of Water
Street and East of the Eel Pond
draw bridge are changed to
relieve traffic congestion and
to intensify the village-like
quality near the water.
58.
The "sea"
in an er !lier phase of the
design. At no stage in
the
design process is any "existing"
feature (either existing or
previously proposed) ultimately
fixed or permanent, however
efforts are made to work with
what is there. Consequently
"Sea of parking", The first view of
Is Hole for the incoming motorist.
each stage in the design
accepts earlier stages as if
they were a new context to be
worked with and altered if
of parking next to the Steamship
Authority building is
to become
underground parking with housing
for elderly on top.
From this
point, the elderly residents
revenue as well as remove the
necessary. The attitude towards
unsightly view of parked cars
the design problem at hand is
that presently confronts the
similar regardless of the size
incoming visitor or resident.
of the project. The designer
All phases of the design
attempts to improve those areas
will have close access to the
seek to emphasize and intensify
over which he has control at
town's shops and activities,
positive aspects of that which
any one time.- Those aspects
and a spectacular view of Eel
exists while removing,
Pond, the Great Harbor, the
or ignoring negative features.
been fixed by outside forces or
Little Harbor and the surround-
At each stage these "existing"
even his own earlier large
ing area. Several layers of
aspects may be either the
scale design.
underground parking will
currently existing physical
process is
increase the amount of parking
features, or those proposed
always "start from zero."
altering
beyond his control may have
In short, the
one that does not
59.
60.
THE
DESIGN
In beginning a design that is
concerned with continuity and
context it is necessary to examine the site for clues and to
look for precedents or references where a similar problem
has been confronted.
The general pattern of
growth of Woods Hole and many
other Harbor towns is clear.
Given a harbor condition which
is protected from the sea, the
61.
object is
to maximize the edge.
This principle of maximizing
1 J........the
edge was the first
clue in
this design.
A Japanese Villages
notice the direction
of the buildings at
the water's edge
compared to those
inland.
62.
The Evolution of a Harbor.
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63.
The second clue came from
the larger surrounding landscape.
The form of the "cove".
The pier was not only going
to increase the edge,
it
was to
define a protected cove for
public activities.
AO00, 7 Ht0L-e
cov~
64.
Pieces of a Context:
direction and acces
The nearby landscape
provided other references:
the
general direction of the land;
the access (including streets,
paths, and open space); and
.the existing maintenance pier.
These provided clues for the
direction of the path and the
proposed buildings.
65.
Given a program for a
mixed use development,
the
will the buildings be like?":
their size, their direction,
"dog bone" principle was
their relationship to one
borrowed
in
another and to the path.
visitors
to move out to the
end.
order to get
This public end will
Precedents were gathered from
existing building forms, organEarly post and bean structure
include several restaurants,
izations, and patterns of
a small convention facility,
growth and access.
an open viewing area and a
reference the question is not
new light house tower.
how to use this precedent dir-
Having made several basic
ectly but how can it
For each
be trans-
decisions at the site size the
formed for use at this time
next major issue became "what
and in this place.
66.
I
67.
One major aspect of the
Cape Cod form that is
priate is
Object diagrams
S
'
Transformed diagrams
-
inappro-
the closed objectpa(d.|||
a.:/
K
like nature of the continuous
surface building.
Row House diagrams
A clear precedent for
this type of building that
pier and to form a strong
defines outside as well as
continuity along the path.
inside space is the row house.
The hard-linear fronts define
<.W~dE.e...*.*...ee.
.- l)
the public street while their
backs define the private
space.
This notion of a hard
Transformed diagrams
linear edge along the path and a
soft reciprocal
back edge was
borrowed in this design at a
larger scale to differentiate
the public path from the private place.
Peri r
At
AM+
A linear spine form of
circulation was used to inten-
68.
sify the directionality of the
In many old European towns
the access is
the slack be-
tween the building.
both the buildings and the
In "grid-
.the shift in buildings
iron" America the roads were
access simultaneously.
laid-down first
fore each can and should define
and the buil-
There-
dings were controlled by the
the other such that it is un-
roads.
In the design of this
clear as to which came first.
pier it
was possible to design
Notice in
path.
.the shift in
the path
defines the placement of the building.
A2-4KmH
1-I"
The toughest issue of all
the diagram that:
defines a shift in the
There seems to be two
some measure of continuity
manages to get put off till
already exists between the con-
intellectually different posi-
the end.
text and the proposed fishing
tions that can be taken con-
"What does it look
pier.
like?"
The most difficult
cerning this issue of continu-
and perhaps most subjective
ity change and transformation.
corporating various aspects of
issue is
Given that current trends
the context such as building
should there be.
dimensions,
too much,
By looking for and in-
directions,
zation and access
organi-
patterns
how much continuity
How much is
how much does it
to be copying.
take
require more open, spaciallycontinuous building on Cape
Cod we could:
1)
Transform
69.
the building form to make it
more spacial or 2)
Design a
closure form that is
to transform both the building
form and the form vocabulary
more spacially continuous
building and later "hang"
It seems to be necessary
the
parti-
according to uses and environmental forces.
The transforma-
cular to Cape Cod on this
tions should allow some aspects
building.
of the building form and the
The first
method is an
vocabulary to be similar
"intellectual rehab", whereas
enough to the old to provide
the second seems dangerously
some continuity, while the
similar to the current Post
distinctively new aspects will
Modernist Method of hanging
allow the new development to
unrelated and often mutilated
be distinguished from the old.-
classical form on their buil-
A recognizable transformation.
dings.
70.
Mid-term Site Plan
/
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71.
72
Mid-term Roof Plan
73.
74
Three-quarter Term Site Plan
75.
76
Final Site Pl
0
K
4
77.
78
I
79.
80.
81.
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COLUMN detail,
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scale.
transformed pier
xi
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86.
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thru pier
88.
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IN
CONCLUSION
I hope that this discussion
has demonstrated the wealth of
opportunities available through
the design of transformations.
It seems to be an alternative
to the frantic unending search
for the new and novel and the
fixed bonds of historicism.
This thesis is not intended
to be a closed proof -
it is not
a final discussion of the subject
of transformations.
Hopefully,
this can be another starting
point or clue from which I and
maybe someone else may continue
to build in an ongoing positive
way.
Peter Alastair Haig
101.
102.
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2.
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ILLUSTRATIONS
page.
2.
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5.
7.
1.
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3.
4.
5.
page
8.
6.
page
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page
page
page
page
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10..
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16a.
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17a.
17b.
18.
19.
page 20.
20.
21.
22.
Provincetown Harbor, Cape Cod and The Islands.
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Nantucket Beach, Building with Nantucket in Mind.
Back Bay, Boston, PAH photo
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PAH photo..
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Kariotis Hall, Northeastern University, Boston Mass.,
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105.
23.
page 21.
24.
25.
26.
27.
page 23.
28.
page 24.
29.
30.
page 25.
31.
32.
33.
34.
page 26.
35.
36.
page 31.
page 32.
37.
38.
39.
page 33,
40.
page 34.
41.
42.
page 35.
43.
44.
45.
106.
Addition to Museam of Fine Arts, Boston Mass., by I.M.Pei,
from Architectural Record, volune 162, Oct.-Dec. 1977.
Addition to Boston Public Library by Phillip Johnson
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Imperial Hotel, Tokyo Japan by Frank Lloyd Wright, from
The Architecture of Frank Lloyd Wright.
Science Center, Wellesley College, Wellesley Mass.,
by Perry, Dean, Rogers, & Partners, from Additions to...
Renovation of John B. Hynes Veterans Auditorium, Boston
Mass., by Kallman, McKinnell & Wood, from Additions to...
Portland Head Lighthouse, Maine, from New England, A
Picture Book to Remember Her By.
Robie House by F.L. Wright, Chicago by F.L.W. from
From Bauhaus To Our House.
Romeo and Juliet Tower, Spring Green Wisconsin, by F.L.W.,
from The Architecture of Frank...
House of Mrs. George Madison Millard, Pasedina California,
by F.L.W., from The Architecture of Frank...
Johnson Wax and Son Administration building, by FL.W.,
from The Architecture of Frank...
Kaufman Hause, by F.L.W. from The Architecture of Frank...
Subsidized Housing by Aldo van Eyck and Assoc. from
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Home For Single Parent Families, by Aldo van Eyck, from
Progressive Architecture, March 1982 p.7 4 .
Dormitory in Urbino by Gian Carlo Di Carlo
Provincetown on Cape Cod, from Cape Cod and the Islands.
Jethro Coffin House, Nantucket Mass., from Building with...
Elihu Coleman House, Nantucket Mass., from Building with...
Evolution of Siasconser Fishing Hut. addapted from Building
with ...
Portland Head Lighthouse, Maine, from New England, A Picture..
Nauset Lighthouse, Eastham Mass., from Cape Cod and the,..
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Diamond light casement window from article in Cape Cod
Compass Magazine.
page 40.
46.
47.
48.
49.
50.
51.
52.
53.
page 41.
54.
55.
56.
page 42.
57.
58.
59.
page 43.
page 44.
page 45.
6o.
61.
62.
63.
64.
65.
66.
67.
68.
69.
70.
71.
72.
Woods Hole, PAH photo.
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Woods Hole, PAH photo.
Nantupgcet, PAH photo.
*
*1
"l
76.
77.
78.
"i
"I
"
"f
i
s
"f
"f
"f
Chatham Lighthouse, Chatham Mass., from New England,
A Picture Book...
Traditional doublehung windows, from Cape Cod Compass Magazine.
"
"
"
Additive form building on the Cape, " "
Menemsha Harbor, Chilimark, from Cape Cod~and the Islands....
Mystic Seaport, Conneticut, from New England, A Picture...
Woods Hole, PAH photo.
I"
"
"
"
f
o"
"f
"
o
"f
"
"f
"o
of
"f
I"
"f
I
"t
IN
Rhode Island fishing port, New England, A Picture...
Woods Hole, PAH photo
Nantucket, PAH photo.
f
it
"f
"f
of
"f
tS
i
"
73.
74.
75.
"
of
to
U.S. Fisheries Commission Library, Woods Hole, from
Woods Hole Reflections.
U.S. Fisheries Commission, Woods Hole, from Woods Hole
Reflections.
Woods Hole, PAH. photo.
"
"
"
"
107.
page 49b
page 51.
page 52.
page 53.
page 54.
79.
80.
81.
82.
83.
84.
85.
86.
87.
88.
89.
90.
91.
92.
93.
94.
Woods Hole, PAH photo.
Woods Hole Map Courtesy of Woods Hole Oceanographic
Institute.
Aerial photogragh, Courtesy of David
"f
"s
i
"f
"o
"f
Woods Hole, PAH photo.
i
"f
i
Aerial view of Woods Hole from Woods Hole Reflections.
Woods Hole, PAH photo.
"o
I
"f
"f
*
"I
"I
"
"o
of
"o
to
"o
it
"f
It
It
WI
II
o
95.
96.
page 55.
page 56.
page 5?,
page 59.
page 61.
108.
97.
98.
99.
100.
101.
102.
103.
104.
105.
1o6.
107.
108.
109.
110.
111.
112,
113.
Sit
to
Map
WIrts
It
ofJmsWI
ewl
omay
l
oWf1
Woite Map, Courey oIsamdesr.
Woods Hole, PAM photo.
feawam
Codopny
Oeldcios
Aerial Perspective of Old Provincetowi by George Do,
Bryant, Courtesy of William Warner.
114.
page 62.
page 65.
115.
116.
117.
118.
119.
120.
121.
122.
123.
124.
page 66.
125.
126.
127.
page 67.
128.
129.
130.
131.
132.
133.
134.
135.
page 68.
136.
137.
138.
139.
140.
141.
Woods Hole, PAH photo.
Nantucket,
PAH photo.
Woods Hole, PAH photo.
f
I
PAH photo.
Ngntgc~ee
Japanese Village plan drawing from Kenchiku Bunka, June 1979.
Woods Hole,
PAH photo.
i"
of
"f
"o
I
i
i
"f
of
it
"f
"f
"
"f
"f
"f
View from Eel Pond, from Woods Hole Reflections.
Typical Post and Beam Structural drawing, from advertisement in Cape Cod Compass Magazine.
Highland Lighthouse, Truro Mass., Cape Cod And The Islands.
Eel Pond Canal, From Woods Hole Reflections.
Woods Hole, PAH photo.
of
If
ot
to
of
I
of
it
It
it
of
of
Street in Regensburg, from Umbarten Renovierung.
photo.
PAH
model,
Design
t
t "
"
" f
i"
"
"i
"
"i
"
"i
"
i"
"i
"
"
"S
"
"
142.
it
143.
144.
"
145.
"t
"t
"
"i
146.
page 16.
page 25.
147.
148.
page 26.
150.
"t
t
of
"I
Cartoon from Architectural Record, March 1983.
Falling Water photo from Architectural Record.
March 1983.
Urbino Dormitory by Giancarlo de Carlo, from
Modern Architecture in Color, by Hofmann and
Kultermann.
109.