del mar revitalization project

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Acknowledgments

I am thankful to my professor, Barry Williams, whose encouragement, guidance, and support from the initial to the final stages enabled me to develop a great understand-ing of the thesis project.

I am also indebted to many of my colleagues without whom this project’s completion would not have been as successful.

Lastly, I offer my thanks and blessings to all of those who have supported me in any re-spect during the completion of this thesis.

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Table of Contents

The Project 9 Treatise 13 Thesis Statement 15 Abstract 17 Narrative 19 Project Statement

Investigation 23 Case Studies 27 Conceptual Studies 31 Skin Study 35 Site

Site 36 Project Location 37 Demographics 39 Del Mar Fairgrounds History 41 City Diagrams 43 The Problem

Master Plan Design 47 Preliminary Process 56 Final Design

Theater Design 65 Preliminary Process 78 Final Design

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The Project

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Architectural Treatise

Architecture can be beautiful, powerful, enticing and inspiring. These are the kind of emotions that architecture should evoke in users and passersby alike. By incorporating a ‘human scale,’ reconnecting the inside and the outside, using natural materials that are appropriate for the surrounding context, and capturing light can create a wholesome experi-ence for both the project’s creator and inhabited, this experience can be achieved. One element of design is to use the human scale. A human being is the main source of interaction within buildings. Thus, spaces should be proportionate to the human figure. Spaces should be felt and experienced on a personal level, and as architects, we should try to see and anticipate what a space could be. Le Corbusier placed systems of harmony and proportion at the centre of his design philosophy. He saw that “rhythms [are] apparent to the eye and [are] clear in their relations with one another. And these rhythms are at the very root of human activities. They resound in Man by an organic inevitability, the same fine inevitability which causes the tracing out of the Golden Section by children, old men, savages, and the learned.” These “rhythms” place the human form at the center of a space and so these spaces should react accordingly. This places architects at the heart of creating personal and social interaction. Carlo Scarpa’s drawings portray his interaction within a specific space in order to honoring the interaction needed. Promoting participation with a building allows for a more pleasing experience that can be treasured and remembered for years. A project is not experienced as an exclusive entity, but as an overall experience that begins the moment a person sees the building and continues even after reaching his or her destination. There has become an increasing fascination and attraction to technologically complex facades and sometimes consequently minimizing the functionality and interac-tion that occurs between a building and its context. We, as architects, should listen to Tadao Ando when he says that “the aim of design is to impart rich meaning to spaces through natural elements and the many aspects of daily life. In other words, I try to relate the fixed form and compositional method to the kind of life that will be lived in the given space and to local regional society.” Bridging the gap between inside and outside, buildings and context, space and per-sonal interaction is crucial for the development and progression of societies and the communities living within them.

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The aesthetics of a building is another element of architecture helpful in creating a lasting impression. Buildings them-selves should be created to last, and according to Tom Kundig, “they are intended to age and move and weather.” Not only are they permanent structures meant to be used and abused, but they should also be able to change and adapt beautifully over time. The best means of achieving such an idea is to use materials how they are meant to be used, in their natural state. This is a principle that architect Tom Kundig believes in. He says that “maybe it’s just something that’s important to me, being frugal and efficient by nature. Leaving them as-is makes them beautiful as-is. And it’s humble, it’s modest, and it’s not indulgent.” The variety of materials, the surrounding context and the location of a project should influence and affect the decision on what materials should be used to create a lasting impression. Every building is surrounded by a community and by nature, and no project can sustain itself without the support of its con-text. Lasting impressions can be best expressed through the use of material because materials can be interacted with. They can be seen and touched and should be the finishing thrill in a person’s experience through a project. As materi-als change over time, this interaction is also changed. The beauty in allowing a building’s natural material to weather lies in the inherent fact that the underlying materials are broken down and exposed. This allows for various markings and layers of a surface to record and allow one to recollect earlier stages in the history of a building and the human life associated with it. It becomes an integral part of a society’s life and culture.

By paying close attention to detail, a sense of wonderment can be achieved allowed for a deeper rooting and con-nection to the people and the environment. The smallest detail can have the greatest importance to the community because it allows for them to manifest their pride into a project. One of the best ways to do this is to make sure that everyone from the architect to the builders to understand how the material works in its natural and controlled state so that the importance of creating a lasting image can be achieved. The architect Tadao Ando uses particularly meticu-lous methods when creating his reinforced concrete structures. He explains that “the quality of construction does not depend on the mix itself, but rather on the form of work into which the concrete is cast.” By exhibiting a material in its most beautiful form, a building is able to produce thought-provoking ideas that can become a daily conversation for the people interacting and remembering it. Putting such care into a building shows a high appreciation for the building and also the emotion it can evoke in people.

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Another architect I admire for his attention to detail and use of material is Carlo Scarpa. Scarpa “prefer[s] to elaborate a decorative system [that is] derived from the materials of modern architecture used in a craft tradition. Carlo Scarpa was in constant touch with his artisans, and his drawings were revised almost daily to reflect a preindustrial attention to old methods of construction.” The care that both these architects put into their projects allows for everyone to see and cherish what it is they have in front of them. By knowing what is possible and breaking those boundaries, a proj-ect that exceeds all expectations and induces further development of one idea can be produced. By knowing all the specifics about a project from the surrounding context, the materiality, the buildings layout, a deep connection can be forged and not easily forgotten.

While researching Ando’s work, I realized that another key element of architecture is light. People interact with the sun on a daily basis, so why shouldn’t their buildings reflect that? The sun is not the enemy, and if used correctly, can liven up a space beautifully. Ando “do[es] not believe architecture should speak too much. It should remain silent and let nature in the guise of sunlight and wind speak.” This element can be difficult to integrate, but I believe that it can re-store the unity between building and nature, which is something that has been lost over the years. It is not something I have very readily incorporated into my projects, but I have come to the realization of the beauty that light and nature can produce. By taking into consideration all these aspects of architecture, a successful vision and lasting experience can be achieved.

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Thesis Statement

Towns have become dependent on a personal mode of transportation creating a decen-tralized environment in constant motion. This has caused towns to become stuck in an unknown fluctuation between home and work with no chance of community growth. For the advancement of these towns, there must be a return to community self-reliance and local empowerment, by creating a communal public space that represents their unique assets.

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Abstract Statement

A project that could spur the development and restoration of a town’s independence needs to be developed through a process that looks into a town’s history, its culture and festivities, and its future developments.

Looking into a town’s history and past involves researching its beginning and its development over the years through the use of old maps and records. Researching a town’s social standing and demographic breakdown allows for a large understanding of what the community’s needs and wants are. Other aspects to look into are a town’s lifestyle, its attractions and festivals, and what happens during the non-peak time periods. Another key element in this process is to examine future development proposals (built or un-built) that focus on key social, ecological and technological advancements.

The site selection process is crucial in determining the amount of interaction between the project and the community. The site should be a place that is easily accessible and is known to all members of the community. It could be placed in the heart of a city, an area in town particularly loved by all or in an area filled with past history and memories, but it should have some vital rooting in the surrounding context.

By going through this process, a better sense and understanding of a community can be obtained. This process will lead to a development of a project that is not only fitting into the surrounding context but into its surrounding com-munity as well. This project will spur a town’s return to self reliance.

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Narrative

For all those days that have been wasted, there is a place now where I remain enliv-ened by past memories and future promises.

There lurks a building in the shadows of the fair, which manages to hold its ground and gathers us all together where there was nothing there before. The streets were once va-cant, being used only by commuters and pedestrians walking to their parked cars. It was a dead boardwalk everyone tried to ignore. The fair had become unappealing after years of participation, but this new building is exhilarating and enriching. It allows for me to be there undistributed in the open garden center overlooking the garden contemplating my thoughts, in a group yelling loudly over each other in the café and watching passersby, or on a date checking out a local show put on by the community in the theater. No longer do I remain hidden in my house longing for a place to go.

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A viable case for this problem can be seen in the independent towns of Del Mar and Solana Beach which uses to flour-ish around their beach life and entertainment. With the development of the automobile, these towns lost their com-munity footprint. Each town on their own has remained some of their individualistic qualities that make them unique through festivals and some small community gathering events, but what they lack are public civic spaces that are avail-able and used all year round.

These towns will forever be linked by the Del Mar Racetrack, an underutilized area. Placing a project that will be a focal point and community center for the area will spark a re-growth and bridge to what used to be the highlight of these towns. Tall tales and fantastic stores have been associated with the Fair since its opening in 1936. Everyone knows it; everyone has been to it and screamed on the rides, eaten all the fried food possible and competed in some exhibition contest. It once unified these areas during the wars and during times of disasters and it can do so again. Now it has become a social gathering for young people and for families with children, but it should be so much more. All kinds of people should be able to enjoy the majestic that can be found in this place. It is in the center of residential areas, retail areas and commercial areas.

This building will act as an extrovert since its main focus will be to provide a place for the community to socialize and interact. The accessibility to the site is not a convenient and easy one since there is only one way in and out of the complex through Jimmy Durante Road. It will emphasize the intersection that connects both sides of the racetracks land to its entrance. This project will spark the development of a future transportation shuttle that will be used to bring people in from farther away areas so they would not have to drive. It would connect each town’s main commercial districts with the new complex.

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This project is going to be the bridge between the two towns and a new connection their history and pride in their community. It will become prominent in the sense of its program and layout bridging an unused area to a once impor-tant area. Bigger/larger multiple story building will be on the east side allowing for an elevated view of the ocean and lagoon and to minimize the views of the freeway. Smaller buildings to be placed in and around the Del Mar racetracks to provide for connection with the small mission building already located there.

The new complex and additions will include: o Hotel, performance art center, restaurant, plaza garden, mixed use time-share condominium, permanent public exhibition space o Constant interaction between the theater and the new exhibition space that will be created and the exhibi tion space already in existence in the mission tower building. Constant flow between the two while the restaurant will be a place to meet and rest from all the activities o The largest spaces will be the theater and the restaurant. The theater will be a multi-level building to accommodate its program while the restaurant while be on one plane to help designate and separate areas of the restaurant.

It will merge what is currently at the fair with a new complexes scattered systematically throughout the racetrack over-all land with some kind of connection like bridges so that the pedestrian plane is separated from the traffic. There will be a directed path the will be easily accessible from all main points on the site. It will become rooted in the town with material that will be durable to withstand the constant ocean breeze producing salt and the constant sun that will try to deteriorate it.

The complex will best operate at the peak seasons that occur because of festivals at the fairgrounds just because there will be a lot of interaction between visitors and residents alike. This does not mean that during the off-season the complex will seem massive and isolated. It should be able to maintain itself during these off seasons by creating new seasons and flexible program that allows for it to be used the majority of the year.

Project Statement

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Investigation

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The New Royal Playhouse. Theater.Copenhagen, Denmark.2008The playhouse being firmly rooted in the context of its historic allows for allows for it to embrace and complete the surrounding urban structure. The playhouse acts as an anchor for this meeting of city and sea, revealing and reinforcing the existing urban spatial qualities. The building complex consists of three compositional elements: the foyer, a broad 'sidewalk' floating on thin columns over the water, the auditorium and scene tower, clad in copper, and the service area, placed in an expansive and unifying roof level, clad in glass.

meeting of public and spectacle

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Case Study #1

These three building elements are united in a harmonious geometric compo-sition, crowned by the copper-clad scene tower. The primary organizational concept of the playhouse imparts compactness and minimizes the spread of the building, thereby reducing the distances between the many functions and providing an easily understood spatial layout.

At the heart of the playhouse is a circular, grotto-like auditorium, seemingly carved out of the masonry mass of the scene building. The auditorium is constructed of striking, staggered masonry walls, providing the necessary acoustic environment with a reverberation time of 1 second. The specially designed red velour chairs follow the room’s geometry, creating an intimate relationship between actor and spectator, where every sight, sound, and breath is shared.

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Westminster Rose Center. Performing Arts and Entertainment Complex.Westminster,CA.2006

The challenge was to create a simple and affordable performance and banquet hall that could flexibly cater to diverse cultural and civic functions. Cladding differentiates the performance and banquet volumes and provides a rnage of transparencies and patterns that creates a visual interest.

a community center

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Case Study #2Case Study #1

The center established its presence through the innovative use of glazing on the front façade. At eye level, clear glass creates sightlines and transparency, while clear glass with a fritted pattern combines with translucent sandblasted glass to create visual interest above. This 33.840 sq-ft performing arts and entertainment complex consists of a 420 seat per-formance hall with a 40 foot wide proscenium stage, a 500 seat conference/banquet center with connecting foyers that accommodate a variety of cultural civic functions and a catering kitchen and administrative offices. There are also outdoor courtyards and a 600 foot long entry plaza that provides additional venues for functions.

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Conceptual Studies

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Elevating the Ground PlaneBridging the gap in both the metaphorical sense and also in the physical sense. I want to rebridge the two communities by creating a place for them to socialize and interact in. This can only be done by linking the fairgrounds with the proposed site so that there be-comes a sense of unification. To do this the ground plane used for interaction would have to be raised off the street level because the busy street is not conducive to interaction, its breaks up the flow.

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Conceptual Studies

Merging FlowsTo connect two disconnected halves. The site is cur-rently broken up with a major road running through it, and to create an appealing social and interactive place these two pieces of land have to reunited through pe-destrain flow as represented by the piano wire

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Building Skin: Context Familiarity

To initiate social interaction in a town trapped without a strong central rooting, a new project must be identifiable to the community through familiar characteristics exhibited throughout their own town. The beauty of these coastal indepen-dent towns is the compilation of unique, individualistic lifestyles. To change the individualistic nature of their lifestyle, people in the community must feel comfortable in a community center. By combining specific aspects of the community such as building scale, materiality, natural surroundings and important festivals, a high level of comfort is achieved al-lowing the community to enjoy and interact in a new environment. By using things that are familiar to the people and manipulating them to fit the program and site conditions a sense of belonging is created while still being able to create something new. Understanding the context of a town allows for a project to create something new while preserving the importance of that community.

Skin Studies

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Building Skin: Weathering Beautifies

Buildings must endure the test of time. Over time, the natural environment acts upon the outer surface of a building in such a way that it’s underlying materials are broken down. This building skin is situated in a very temperate climate; however it is heavily affected by the ocean breeze which contains salt. Materials hence should be chosen accordingly, and it seems that stone and wood are the most sustainable and durable for this climate. The beauty that lies in allowing a building to weather is that those various markings and layers of a surface record and allow one to recollect earlier stages in the history of a building and the human life associated with it. It becomes absorbed into a society’s life and culture.

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Building Skin: Distorting Views

A building meant for community gatherings and interactions needs to be pleasant for both the viewer and the users. Preventing unwanted noises and views is one way to create a pleasant environment for social interaction. The location is surrounded by a beautiful lagoon with views and scents emanating from the vast ocean wanting to be remembered. However it is intermingled with a whizzing major interstate and a chaotic road. To prevent letting in the noise from the interstate a thick sound resistant material is needed while for the chaotic road a staggering wall system is needed in order to let some of the playful noises from the fair be heard over the traffic congestion while not seeing it. The views towards the chaotic road also need to be distorted in order for the views to be incomprehensible for the users so that they feel and hear the outside world, but are able to enjoy their present activities. These views will be framed by sliding windows that allow for a change in scenery when the time is right.

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Site

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The Fairgrounds project site is approximate-ly 300 ac and is located in the Cities of Del Mar and San Diego in northern San Diego County. The City of Solana Beach borders the Fairgrounds site to the north. The site is bound by Highway 101 and railroad tracks to the west; the San Dieguito River to the south; I-5, a major transportation corridor connecting the metropolitan areas of San Diego and Orange/Los Angeles Counties to the east; and Via de la Valle, a two-lane, un-divided roadway that converts to four lanes as it nears Jimmy Durante Boulevard, to the north.

The Fairgrounds project site east of Jimmy Durante Boulevard is located in the City of San Diego; the portion of the Fairgrounds located west of Jimmy Durante Boulevard is located in the City of Del Mar.

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Demographics

The seaside community of Solana Beach: Area - 3.6 square milesPopulation - 13,000 Population Density - 3,678.7/sq miHousehold Income - $71,744Persons per Household - 2.39Demographic Breakdown 77% White non-hispanic 16% Hispanic 4% Asian <1% Other

The seaside city of Del Mar - Area - 1.8 square milesPopulation - 4,660 Population Density - 2566.7/sq miHousehold Income - $120,001Persons per Household - 2.15Demographic Breakdown 91% White non-hispanic 4% Hispanic 3% Asian <1% Other

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Existing Facilities:Six exhibit halls totalling 219,380 sq ft of space. Pat O’Brien Hall - 68,680 sq ft of space - 6,800 seating Exhibit Hall - 55,200 sq ft of space - 5,550 people capacity Bing Crosby Hall - 31,900 sq ft of space - 3,500 people capacity Wyland Center - 30,800 sq ft of space - 3,000 people capacity Activity Center - 19,800 sq ft of space - 2,200 people capacity Mission Tower - 13,000 sq ft of space - 1,200 people capacity

Chevrolet Del Mar Arena - a 3,500-seat arena used for sporting events, concerts and other special events

The one-mile Racetrack and a seven furlong turf course and a Grandstand that has the capability to hold up to 40,000 people.

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Del Mar Fairgrounds

In 1933, a search for a permanent location for the San Diego County Fair began. Ed Fletcher suggested that the 184 acre site in the San Dieguito Valley - just off the main highways and the Santa Fe Railroad - would be easily accessible and a perfect setting for a fairground.

The Works Progress Administration (WPA) provided initial funding and the “Del Mar” Fair opened to a great fanfare on October 8, 1936. Fifty thousand people came to enjoy the exhibits and entertainment. Selection of a queen - the Fairest of the Fair - soon became a highlight of this annual event. The final touch on the fairgrounds was the mile-long oval racetrack.

Bing Crosby took the leadership role in making the Del Mar Turf Club a reality, and Pat O’Brien became the Vice Presi-dent. On opening day of the race track (July 3, 1937), a new era began in Del Mar. The track was hailed as Bing’s Baby or Movieland’s Own Track. In 1938, Bing recorded the song that would open and close everyday of racing since those early days - Where the Turf Meets the Surf.

For decades racing season has brought crowds to Del Mar, and Hollywood celebrities, such as Pat O’Brien, Jimmy and Marge Durante, Lucy and Desi Arnaz and their children, as well as Burt Bachrach and Angie Dickenson, decided to ac-quire residences in Del Mar. The physician who included many celebrities in his practice, Marcus Rabwin and his wife Marcella, also decided to make Del Mar their home.

Architects Joe Hamill and Sam W. Hamill designed each building to represent one of the missions in California’s string along El Camino Real. All of the buildings were made of native adobe, which was mixed and dried on site. Construc-tion employed an average of 380 men daily, many of them locals from the village of Del Mar and Eden Gardens.

Many facilities have been added to the Fairgrounds over the years, including additional exhibit halls, livestock and thoroughbred racing barns, a new horse arena, and a satellite wagering facility. The most recent major additions are the two multipurpose livestock barns, and the addition of the roof over the arena.

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The void created by the large underutilized space of the Del Mar Fairgrounds is an ideal site for the development of a com-munity center that will main-tain the town’s love for open space, festivals and minimize the traffic jams caused by the minimal road access through the area.

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City Diagrams

A perfect convergence of town ideals and com-munity life that reunites two disconnected communities. The many residences surround-ing the area will bring a constant flux of perma-nent visitors while developing in a way to allow for an increase of tourists and visitors.

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There lies a discontinuity within the site itself and with the site and the surrounding cities. There are massive amounts of empty lands on the east side of the site and large parking lots filling the west side. Everything is hidden from the community it makes it difficult for the Del Mar Fairgrounds area to become the jewel and community center it once was.

The Problem

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Preliminary Design

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The Master Plan includes the continued use of the project site for these activities in addi-tion to new planned uses on-site. Planned new uses on the Fairgrounds site the operation of a few hotel and conference facilities, administration buildings, art galleries, museums, cultural centers, theaters, restaurants and commercial retail spaces. The theater, com-bined with the new exhibit spaces and the hotel, will attract business groups for confer-ences and trade shows that would increase non weekend use of the site, when the facili-ties are typically under utilized except for the time periods when the five major events are occurring.

By creating more density into this area, a ‘mini-city’ will be created that will not only serve as the community center for Del Mar and Solana Beach, but also a cultural hub to display all that North County has to offer.

A developed focus on a performance arts center as the anchoring and beacon of the new community center will help spark the creation of this ‘place to be’ for visitors and resi-dents alike.

The Proposal - Master Plan

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Master Plan Proposal Scheme 1

This Revitalization Plan focuses on bring-ing commercial shopping and eateries to the area, as well as improve the con-ditions of the buildings currently on site that are in poor condition. It will include constructions of new exhibit buildings, restaurants and other commercial build-ings to promote social interaction in and around the site and a performing arts center to promote community interaction and interest.

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To create a community center,the area needs to become filled with people, making it habitable both with residents and visitors alike. The introduction of a condominium hotel linked to the performing arts center will bring about interaction between the exhibitions on the fairgrounds and the center and the commercial area. Bridges will connect the areas to avoid creating traffic jams by elevating the sidewalks. This will create visual interest for the vehicular passen-gers making them more keen to stop in this stop next time they are in the area.


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theater studies

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Further densification of the area to pro-mote a livable street with the perform-ing arts center and the exhibition spaces. However this scheme leaves the parking lot untouched, and although the per-forming arts center is anchored well on the site, it is isolated from gathering activ-ities. Promote more residential with ho-tels and a larger cultural anchoring center including a nature center and historical museum to inform all that come about the area. Also promote more activities for all ages to do from art galleries to bars to arcades to even bowling lanes to book-stores to cafes, bakeries and the like.

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theater studies

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This Revitalization Plan focuses on draw-ing more people from the community and around into an area that is both livable and inhabitable and a social scene. This included the addition of residential, con-dominium hotels, cultural centers, exhibit buildings, art galleries, restaurants, the-ater, offices. This area will turn into its own mini-city where all can come to hang out and enjoy the beauty of Del Mar and the coast.

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theater studies

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Final Design

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Master Plan Perspective

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Master Plan Program Diagram59

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Master Plan Perspective

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Theater Design Process

These towns will forever be linked by the Del Mar Racetrack, an under utilized area. Placing a project that will be a fo-cal point and community center for the area will spark a re-growth and bridge to what used to be the highlight of these towns. Tall tales and fantastic stores have been associated with the Fair since its opening in 1936. Everyone knows it; everyone has been to it and screamed on the rides, eaten all the fried food possible and competed in some exhibition contest. It once unified these areas during the wars and during times of disasters and it can do so again. Now it has become a social gathering for young people and for families with children, but it should be so much more. All kinds of people should be able to enjoy the majestic that can be found in this place. It is in the center of residential areas, retail areas and commercial areas. This project is going to be the bridge between the two towns and a new connection their history and pride in their community. It will become prominent in the sense of its program and layout bridging an unused area to a once important area. This building will act as an extrovert since its main focus will be to provide a place for the community to socialize and interact. The accessibility to the site is not a convenient and easy one since there is only one way in and out of the complex through Jimmy Durante Road. It will emphasize the intersection that connects both sides of the racetracks land to its entrance. This project is going to be the bridge between the two towns and a new connection their history and pride in their community. It will become prominent in the sense of its program and layout bridging an unused area to a once important area. It will merge what is currently at the fair with a new complexes scattered system-atically throughout the racetrack overall land with some kind of connection like bridges so that the pedestrian plane is separated from the traffic. There will be a directed path the will be easily accessible from all main points on the site. It will become rooted in the town with material that will be durable to withstand the constant ocean breeze producing salt and the constant sun that will try to deteriorate it. The complex will best operate at the peak seasons that occur because of festivals at the fairgrounds just because there will be a lot of interaction between visitors and residents alike. This does not mean that during the off-season the complex will seem massive and isolated. It should be able to maintain itself dur-ing these off seasons by creating new seasons and flexible program that allows for it to be used the majority of the year.

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theater overlays

Broad StageTheater

Santa Monica,CA

WestminsterRose Center

Westminster, CA

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Case Studies Overlays island anchor

watershed overlays

Royal Playhouse

Copenhagen, Denmark

Philip Merrill EnvironmentalCenter

Annapolis, MD

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theater overlays

Broad StageTheater

Santa Monica,CA

WestminsterRose Center

Westminster, CA

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Case Studies Overlays living street anchor

watershed overlays

Royal Playhouse

Copenhagen, Denmark

Philip Merrill EnvironmentalCenter

Annapolis, MD

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Program Layout

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Program Diagram71

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Code AnAlysis

Performing Arts Center, Del Mar W+W# Job NumberToTal (SF): March 14, 2011Sprinkled: Yes 8583445698

Allowable Area and Height CalculationsGroup Description Const.

TypeAllowable area Allowable Height Area (SF) Actual

A-1 Theater I unlimited unlimited 50,000A-2 Assembly uses for food

(restaurant)II 9,500 sq ft 2 stories 12,150

B Offices/Administration II 37,500 sq ft 5 stories 3,000Total 47,000 sq ft + unlimited 65,150

Area ModificationsSeparation Modification For theater can have an additional 4% frontage increase I= [240/840 - 0.25]30/30 = 0.04

Sprinkler Modification A-2: Additional 20 ft height increase and an additional story with a 200% area increaseB: additional 300% area increase

Total Allowable Area unlimited + 57,000 sq ft + 562,500 sq ftTotal Actual Area

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Code Analysis

Egress & Occupancy Function of Space

Description Floor Area per Occ. Actual SF OccupantLoad

Exit Width (in.)

Exits req’d

Assembly with fixed seats

Auditorium / 50,000 800 160 inches 3 exits

Assembly without fixed

seats

Concentrated in Black Box 7 net 2,150 300 60 inches 2 exits

Assembly without fixed

seats

Unconcentrated in Restaurant 15 net 12, 150 810 162 inches 3 exits

Business Areas Offices 100 gross 3,000 30 6 inches 1 exit

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Section Studies

Spatial Relations

Traveling through a building should be an experience, a journey. It should not feel like some mundane undertaking needed to reach point B from point A. For this to exist there must be a clear circulation path that can be seen and found from anywhere. This circulation path would act as the main bridge between programs allowing for a cohesive journey throughout the building. The main path should be wide enough to accommodate large parties walking together, while at the same time offering areas to congregate and socialize without interfering with the pedestrian flow. In conjunction with an open floor plan that allows for plenty of gathering areas also allows for people to maintain a good visual allowing the senses to be able to take in everything around allowing for a more holistic experience.

Although this circulation path will be the main focus, there will be secondary and tertiary paths allowing for easy access and direct routes for users with daily interaction

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Blurring Boundaries

Adaptability is a key element for the surviv-al of a building as an important community stronghold. Although there are permanent areas to a building, the temporary areas must be able to transform into the unexpected. This un-expectancy can best be achieved through the creation of penetrable spaces such as large window openings or even move-able walls that allows for blurring of boundar-ies between inside and outside. Walls create barriers between people and their surround-ings. Buildings must be conscience of their surroundings and take into consideration their incorporation. Whether it’s by empha-sizing views or just literally bringing nature in, this would allow for a physical interaction be-tween building, user and nature.

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Focal Point

Civic centers should leave a mark on their community allowing for a sense of pride and commitment to an area to develop. This can be done by expressing visually that it is there as a permanent focal point of the community. The main area for congregation will be the lobby which will use glass to create dramatic views of the outdoors while allowing natural light to enter the space. On approach from the freeway or the road, the tall transparent curtain wall will project the energy and vitality of the performance. This space will need to have an overhang protecting the lobby from glare and heat gain

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A Community - Performing Arts Center

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Physical Section Model

del mar revitalization project

Documents