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Developing southeast False Creek, Vancouver Burgers, Cedric 1998

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J DEVELOPING SOUTHEAST FALSE CREEK VANCOUVER by CEDRIC BURGERS B.Arts, The University of British Columbia, 1994 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARCHITECTURE THE FACULTY OF GRADUATE STUDIES School of Architecture THE UNIVERSITY OF BRITISH COLUMBIA October 1998 @ Cedric Burgers, 1998 in In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of y^TC /^4T^Q-AAT^ The University of British Columbia Vancouver, Canada Date nd~ is/it. DE-6 (2/88) P R O J E C T 1.0 section page description 1.0 Introduction 1 2 . 0 Volume studies 6 several models comparing equivalent density of development 3 . 0 Painting 8 conceptual painting of site plan 4 . 0 Organizational studies 2 the principals uncovered in the painting are applied to the organization of the plan. 5 . 0 Models of building types 11 models illustrating the principals of layering of use on the site: convergences allow for interesting moments in plan-ninq. 6 . 0 Conceptual model 13 Showing general volumes of develop-ment, integration of green space and street patterns. Design is intended to show possible iteration of a program of slow growth in the area. 7 . 0 Sections and plans overlapping uses 8 . 0 Layers 1 -5 15 layers of use on site. 9 . 0 Final model of site 20 Projection at 1:500 I would like to thank my committee- Ante Lui, Patrick Condon, and Warren Techentin- for their valuable assistence, as well as my family for their patience and support. 1.0 P R O J E C T 1 abstract The DS began as an investigation of certain contemporary lines of thought in sci-ence which affect many different fields. This was of interest initially as an alterna-tive to the conventional deterministic theo-ries which have become today's standards. Concepts from this study were distilled to a set of terms which form the basis for an architectural language. All initial choices in the design project were based upon this language- from site selection to design criteria. Southeast False Creek, the last piece of city owned land in the area, was chosen as an area for the project for its size- 43 acres- which would allow for a scale of design not re-stricted to a single building. The site proved problematic because of its size and the in-tense political and social issues surround-ing it- precisely the reasons that made it interesting in the first place. Reports have been commissioned by the city at great ex-pense to determine a possible future use of this piece of land. Design proposals and economic studies have been written that alternatively point to turning the site into a park or developing it immediately to avoid the ever-increasing environmental pres-sures to clean it of its hazardous waste. Moving towards a design deadline, the city has taken as its mandate the creation of a "sustainable community", the very defini-tion ofwhich required the commissioning of the $60,000 Sheltaire report. Meanwhile the destruction of parts of it takes place under the nose (and presum-ably with the permission of) the City: the historic Canron Industries building which was used in the construction of the Lions Gate Bridge was demolished amidst pro-test in March 1998. It is evident now after 2 years of study that the city's notion of "sustainability" may take two forms: in the first case, the city may go for a wholesale development of the land. This would allow for a few people to speak for the many interested in the site. It would effectively and quickly absolve the city of the responsibilities, headache and expense of caring for this sick child. More optimistically, a second scenario would see the city engage in a parcelization of the land which would allow the many interested parties to have a say in its final form. Suc-cessful examples of similar schemes exist already in Amsterdam's Eastern Dockland Development, Berlin's IBA, and Florida's Seaside to name only a few. The idea of parcelization and develop-ing a set of rudimentary design guidelines is entirely consistent with concepts of natu-ralistic growth explored in this thesis. By allowing land to be developed slowly and around a infrastructural framework, a char-acter will emerge that will be an expres-sion of its many contributors and inhabit-ants. In addition, because the design of anything on the site would have to respond to both the historic structures and use ex-isting in the area, it will as a matter of course become an extension of the existing use in the area. Such an integration is not the result of general and falsely optimistic plan-ning principals based on outmoded and picturesque notions of how a city should be constructed: conversely, it is the result of many small design decisions acting in close proximity to each other. In the beginning of the design phase it became evident that for this project to have any meaning it would be necessary to en-gage in it initially as a planning excercise. As such, the final plans and models ex-hibit a focus on the broader aspects of de-sign: waterways, streets, height restrictions and public space has been examined with the decision that specific building decisions would take place in a subsequent phase of design. Consequently the project comes to no detailed design conclusions. Instead, it gives form to abstract planning principals in their most initial and untested state. It deals with the broader design issues of large-scale developments which are be-coming more and more prevalent, and, paradoxically, involve design professionals to a decreasing degree. 1.0 P R O J E C T 2 P R O J E C T 1.0 3 1. The site is conceived of as a se-ries of points (structures) each ini-tiating a type of growth. In this drawing (left to right): Mackay Creek Head, ferry landing, field, Canron Building, ferry landing, Domtar Salt Building, Site of Wor-ship, an institution for higher edu-cation. 2. Growth of these points is lim-ited to areas. The five areas in this diagram represent the five major programmatic elements sug-gested by these original points (left to right): conservation, recrea-tion, historical, religious and tech-1.0 P R O J E C T 4 THIRD A V E XI r i l l i rr P R O J E C T 1.0 5 1. Alternate arrangement of pro-grammatic zones, this one based on zones of water or land. This dis-tribution is less democratic but more responsive to different re-quirements for land or water. 2. Routes and modes of transpor-tation. The lines traced across the site by these various modes serve to physically as well as exponen-tially connect this long and narrow piece of land. They include: tram, bus, ferry, automobile and pedes-trian. The existing logic of the city grid is extended into the site. I* 1.0 P R O J E C T 6 P R O J E C T 1.0 10 P R O J E C T S 9 The Painting The painting was created from the neces-sity to give the abstract ideas explored in the DS a form. Acrylic painting was cho-sen as a medium because of the variety of textures and shapes it affords. It also seemed appropriate as a metaphor for the d iverse histor ical and phys ica l layers present on the site, as paint can be ap-plied and re-applied and retain a trace of the previous layer. As well, it was neces-sary at this point in the project to break from the traditional media of architecture in or-der to gain fresh. The painting is composed of two canvases, each six feet by six feet. This size was chosen as it would allow work in one area to proceed without being influenced by an-other area: it was important that the paint-ing not be a "composed" image, but rather a series of ideas each responding in turn to its neighbor. An image of the existing street pattern was projected onto the canvas using an opaque projector, and recorded in pencil. Initially, geomtric forms representing the various types of building suggested by the initial explorations were drawn onto the canvas using charcoal. This proved too literal an interpretation, and consequently a selec-tion of different media and mark-making tecniques were used to identify the differ-ent programmatic elements. For example, red oil pastel represents a series of public transport stations, while black charcoal is used for the existing areas of toxicity. These marks were then allowed to grow-either by extension of the original marks (accretion), repetition (budding), or trans-posit ion. The means of growth corre-sponded to the type of mark made and what it represented. As this process began to fill the canvas, areas of growth began to collide, necessi-tating overlapping and layering, and sub-sequent transformation. In this way the canvas took on the quality originally sought: simple marks are layered with meaning as a result of adjacent activities. Finally, scratches made throught the lay-ers reveal previous work in specific loca-tions. Text is used to clarify the identity of certain places. P R O J E C T 1.0 1 0 1.0 P R O J E C T 11 P R O J E C T 1.0 12 Building types: These models illustrate the combination of building with infra-structure investigated in the organizational schemes. A building type is established for each zone. The resulting overlap and convergences of types and zones results in the type of hybridi-zation which these models investigate. 1 5 

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