Showing posts with label waterfront. Show all posts
Showing posts with label waterfront. Show all posts

Tuesday, May 19, 2015

PROJECT FOR THE REGENERATION OF VLADIVOSTOK'S WATERFRONT

ESPAÑOL

The following is an excerpt from an article published in the specialized Russian magazine URBAN, about a project I had the honor to lead, in collaboration with my colleague Sergei Mostovoi and students from the Far Eastern Federal University in Vladivostok, Russia.


The Russian government has been paying special attention to Vladivostok in recent years. The APEC summit held in September 2012 gave a fresh impetus to the development of the city as a centre of business and innovative cooperation between Russia and Asia-Pacific countries.
Preparations for such a significant international event called for serious efforts to create and improve Vladivostok’s infrastructure with upwards of 50 projects around the city having been completed or restored. Among them, the Far Eastern Federal University, a medical centre, three bridges, a theatre of opera and ballet, international airport and etc.
Notable changes have occurred in the infrastructure of Russky Island, where the summit was held. The mighty bridge across the Eastern Bosporus Strait incorporated the island into the transport network of Vladivostok and made it part of the city.
The rich natural landscape of the island makes it a good place to create a unique tourist and recreational zone, which would have a positive impact on the socio-economic life of Vladivostok.
Today the city’s development is gravitating towards the model of sustainable development combining an effective economy, harmonious social space and a comfortable urban environment.




For all their effort to improve the urban environment, however, the city government has been unable to resolve long-standing problems which go back to the past. In the 1960-ies the prominent architect E. Vasiliev who studied the urban problems of Vladivostok criticized the city’s greening policy (1).
According to Vladivostok’s Master Plan, the key objective is preservation and restoration of the city’s historical centre, which includes Main Square, the embankments of Amur and the Golden Horn Bays (2).
The historical centre, an iconic signature of Vladivostok, reflects the evolution of the Russian Far East and plays a key role in the city’s tourist infrastructure.
Given this, the policy-makers should take into consideration the problem related to construction of new high-rise tower blocks in the old centre as they clash with the city’s architectural heritage.
The creation of public open spaces will improve the architectural image of Vladivostok and its environment.
Vladivostok is rich in urban heritage, however the urban space is mostly occupied by parking lots that block the view of the monumental area.


However, there are some obstacles to be cleared. One of them is the lack of a comprehensive systematic approach to formulating and developing urban spaces in central Vladivostok. Solution to this problem is a top priority of the comprehensive plan for the development of Vladivostok’s waterfront, which is conducted by Prof. Carlos Zeballos (from Peru) and Prof. Sergei Mostovoi from the Urban and Landscape Design Laboratory of Far Eastern Federal University.
Despite the potential that waterfront areas offer, Vladivostok, unlike many other port cities, has very few public spaces, where people can enjoy contact with water. Paradoxically, most waterfront areas with a unique natural landscape are  occupied by industrial estates, parking lots and disused beaches. Meanwhile, the existing public spaces, relatively small and scattered across the waterfront, have a weak connection with the city limiting the access of residents to the seaside.


Large waterfront areas with great potential for development are occupied by industry or neglected uses.

Proposal of a metro park, social housing and improvement of environmental conditions of industrial facilities. 


According to recent world trends, waterfront areas possess specific social and ecological resources. Architectural and spatial rearrangement of these areas could help the city to achieve a goal of harmonizing the urban environment in the context of sustainable development.
The development of open spaces in Vladivostok should be based on the  identification of urban interfaces – the areas of contact between ecosystems, through which multiple levels of interrelation as well as flows of materials, energy and information can converge. From the viewpoint of communication, interfaces can be positive when they allow and cause the transmission of information, or negative, when they do not. In addition, interfaces can be social or active when they have a unifying function, assuming the role of a node or institutional link, or they can be physical or passive when functioning at the edge or boundary between the active areas of the urban "tissue" they bind.


Analysis of interfaces. The darker red spots show the more feasible areas for intervention.


The interface method differs from traditional urban planning because it focuses on key, sensitive points where the city develops. Rather than investing a great amount of resources that standard urban plans generally involve, the efforts are focused on solving the interfaces, which are especially sensitive to the needs of people and their environment. Also, interfaces can serve a catalyst for urban change channeling positive and controlled impacts in their surrounding areas, which in turn affect others.
In order to identify the location of interfaces, several indicators or types of information related to the physical and socioeconomic characteristics of the area were used. Each indicator was mapped and values were assigned according to their positive or negative impact on the development of a public waterfront area. Prior to the analysis using Geographic Information Systems (specifically QGIS), these data were systematized, geo-referenced and rearranged in thematic layers according to the subject of research.
The layers were combined into a single map of interfaces. The darker areas correspond to the zones of major interfaces located on the waterfront and suitable for intervention.
Clearer tones correspond to either areas far from the waterfront or where intervention is neither feasible nor convenient.
The analysis of passive or physical interfaces identifies not only the location of the most sensitive areas, but also the characteristics of their environment. Additionally, active or social interfaces suggest the cultural features and the patterns of appropriation of public space. This study allows us to consider three main axes that structure the master plan for the development of the downtown and its waterfront.


The interfaces were arranged into three main axes: recreative, monumental and civic.

The first one is an axis connecting spaces located on the northern edge of the Golden Horn Bay, such as the Main Square, Korabelnaya Embankment, and  Tsesarevitch Embankment. This axis extends eastwards through Svetlankaya Street, which houses some of the most important examples of the city's architectural heritage. The second axis runs parallel to the coastline along the Amur Bay and contains sports, tourist and recreational facilities. The third axis runs perpendicular to the Golden Horn Bay, connecting Pokrovskiy Park with the Main Square along Okeanskiy Prospect.
These three axes articulate a multipolar structure that establishes a street circuit encompassing ecological and recreational activities, transportation, tourism and preservation of the urban heritage.
However, it is arguable whether the mere presence of these axes would ensure a fluent dialogue between the city and the sea.
Jane Jacobs emphasizes the importance of access to urban spaces in order to prevent them from becoming abandoned areas that promote vandalism and crime(3).
Based on this analysis a spatial model of Vladivostok City was proposed, including the location of key projects and their interconnectivity through spatial axes or corridors. The plan proposes a continuity of urban renewal activities as well as links between the downtown, the Golden Horn Bay and the Amur Bay.


Master plan of Vladivostok, based on a network of public spaces, linked around three main axis


The master plan comprises the following projects:
Waterfront Metropolitan Park, located on the coast of the Amur Bay in the central part of city, is to become the biggest single multifunctional green space of around 20 hectares, home to both recreational and cultural activities. Currently it is a heavily polluted area with parking lots, industrial warehouses and garbage dumps. It would have a connection with Pokrovskiy Park via the extension of Krasnogo Znameni Prospect through a succession of embankments and boulevards. Realization of this project would contribute to the development of the green infrastructure in downtown Vladivostok.
Waterfront public green areas. Creation of a system of green areas would involve tackling three tasks: the improvement of existing parks and embankments along the coastlines of the Amur and Golden Horn Bays, the creation of new public spaces with beaches, fishing piers, bikeways and the articulation of these by means of corridors or pedestrian malls.
Integration of Power Plant #1, situated on the coast of the Amur Bay, into a large recreational complex would help to transform its territory into an attractive landmark in the urban landscape.
However, it is first necessary to reduce the power plan’s emissions and pollution level.
Pedestrian precincts. A network of paths injects the flow of the pedestrian traffic away from the city and along the coast. Construction of a new plaza under an existing railway would connect recreational zones on the coast of the Amur and Golden Horn Bays. Creation of pedestrian paths would provide a system of corridors with waterfront zones promoting a better visualization of the historic heritage buildings.
While working on this plan its authors took due account of the latest trends in contemporary urban design. According to European experts, future cities will be energy-efficient and green. New buildings will not burn fossil fuels and generate their own electricity.
The use of asphalt and concrete will be minimized. An abundance of urban greenery makes people feel more comfortable (4).



Two proposals for the pedestrianization and recovery of urban space for the people and its connection with the sea through new urban spaces. 


Recently in Europe, non-car mobility has gained popularity and public transport is now accessible throughout the city. The new Vladivostok master plan should reflect such trends.
The development of public spaces and formation of a single recreational zone in Vladivostok tailored to the unique characteristics of the Amur and Golden Horn Bays represents a well-balanced dialogue between the city and the sea. The realization of this project will substantially improve the social and environmental situation in the Vladivostok.

Recovery of the waterfront area and its link with the upper urban spaces through vertical accessibility


1 Vasiliev, E.A., Orlova, M.V., Sukhova, V.I. Problems of greenery in Vladivostok. Vladivostok, 1962. PP. 3-14.
2 The Master Plan of Vladivostok Metropolitan Area. Regulations on regional planning. 1028-PЗ1. Vol. 1. 2011. P. 13.
3 Jacobs, J. The Death and Life of Great American Cities / translated from English. Moscow. 2011. 460 p.
4 Cities of tomorrow – Challenges, visions, ways forward / European Commission – Directorate General for Regional Policy.
Luxembourg: Publications Office of the European Union, 2011. P. 43–46.

 I would like to thank my dear students for their support and enthusiasm during the field work and proposals.

Thursday, February 14, 2013

WESTMINSTER PIER PARK, CANADA


ESPAÑOL

New Westminster, the oldest city in the urban conglomerate that forms Metro-Vancouver in Western Canada, has recently opened a linear park on the banks of the Fraser River. The project promotes social and environmental rehabilitation and has become a catalyst for the public life and economic development of the entire surrounding area. The project has received general acclaim, wining the National Award for Sustainable Communities, the annual prize from the Federation of Canadian Municipalities of Canada and  the national Brownie Award from the Canadian Urban Institute for sustainable remediation technologies.


BACKGROUND

The park was built on the old pier that originated the city of New Westminster; subsequently, as in many riverfront areas in the world, it became an industrial area. Nearby, the Lytton Square was located (where a  local market was built), designed by Colonel Moody and the Royal Engineers in 1893, becoming the heart of the city.


Before the park was constructed, the city was cut off from the riverfront. The railway divided the urban area from the abandoned industrial brownfield located by the river and a bulky three-story parking lot, built over the coastal road, blocked physical access to the riverfront. This situation made this city, once a major regional port, turn its back to the Fraser River.


THE PROJECT

In 2009, the New Westminster City Hall acquired a 3.8 hectares abandoned industrial area by the river, at a cost of 8 million CAD. In addition, another $25 million from the federal and central government were required for the implementation of the park.


The 600 meters long  park is developed between Sixth and Elliot Street, and includes walking areas, playgrounds, lawns, seating areas, picnic tables, basketball courts, public art areas, services and a large parking lot.



One of the most valued aspects of the design is its flexibility to provide different experiences to different kinds of people: those who want to run, those who want to walk, those who want to stop and look, those who want to sit or want to lie... all these activities are mixed in a cultural and allegorical framework that allows the park, in spite of its diversity, to be perceived as an integrated whole and not as a series of disjointed spaces.


The project is the work of landscape architect Bruce Hemstock, who is also a resident of New Westminster, and who conceived the park on three themes: "The river, the past, the people".



Hence, the park uses elements reminiscent from the past. For example, in the so-called Lytton Square within the park, a stylized pergola evokes the original market building, erected in 1893 not far from this place.


Another recurring allegory are the piers on which the park is supported and which, at times, protrude from the surface to form "forests". There are a total of 3015 wooden poles and 176 steel pilings .


Approximately 55% of the park area was built on water, reinforcing its  aquatic nature and its pier character.


In addition, photographic prints on metal plates as well as a metal strip that records the most important historical events of the city, highlight the commitment of the design to be rooted in the history of the place, without loosing its contemporary character.


The vegetation it is also an important factor in the design as it occupies 30% of the park area. In addition to the 3240 m2 of grass, several native species have been included, a gesture that evokes the Yorkville park in Toronto . There are a total of 19 tree species, 39 types of shrubs and three species of grass.


In the short time since the opening of the park, it has become a catalyst for the surrounding areas. For example, the old facades facing the river are beginning to be recycled as terraces and restaurants open to the public and, as seen in these pictures. The positive impact will also affect the value of surrounding properties as well as the economic and social recovery of the city.


SEE ALSO

- Waterfront Development
Along with our friend James Diaz

Friday, December 21, 2012

TULUM AND WHAT WILL REALLY HAPPEN ON 21-12-12




According to Mayan astronomical calculations, something extraordinary will happen this 12/12/21. However, it will have nothing to do with the crazy story about an apocalyptic end of the world, but with alignment of various architectural monuments in the Mayan cities with the position of the sun on that day. One of such cases, less known than Chichen Itza, is Tulum, a city built in the Late Post-classic period (1200-1521 AD) which stands dominant, over a stunning Caribbean seascape of turquoise waters and white sand beaches.



At dawn on the winter solstice, the sun is "framed" on a small window in the building called the Castle, showing the connection of the city not only with its surrounding seascape but with its cosmological environment.


Similar alignments also occur during the equinoxes, when the sunlight passes through an opening and it is projected over a specific building. Such astronomical calculations allowed Mayan rulers to control the population, which must have looked stunned as the sun god was confined and trapped in a building opening following the "orders" of their kings and priests.


For this reason the city was originally known by the Mayans as Zama, meaning "Dawn" and highlights the impact that this phenomenon had on the local collective memory (using astronomical calculations in architecture is not unique to the Mayans, although these had a very advanced calendar system. In this blog we have discussed similar cases such as the Neolithic monuments of Stonehenge in England and Newgrange in Ireland , as well as the sun temples in Ollantaytambo and Machu Picchu in Peru).


However, the current name comes from an urban feature: Tulum means wall or fence and refers to the 380 x 170 meters rectangular wall  which protects the city from three sides (the short ones to the  north and south and the long one to the west).





The east side was protected naturally by the cliff that overlooks the sea, and that gives the city a privileged visibility over the seascape. The gates on the wall are linked in a unique urban pattern based on the existence of paved avenues that connected the entrances with the main temple.



The Castle, front view (from the west)

El Castillo, rear views (from the east)

On the architecture of its buildings, historian Gustavo J. Gutiérrez León writes (quote translated from Spanish) :

"The use of broad bottleneck-shaped vaulted ceiling , typical of the Maya culture, stand along with flat roofs constructed of logs supported on the walls. Internal spaces are rectangular and sometimes extended by the use of central columns which supported a wooden lock -Palace and House of Columns. Occasionally buildings have a columned portico, which in the Castle took shape of snakes, as in the analog building in Chichén Itzá. Internally the structures have two or more rooms, in the deepest one there is a small shrine: Temple of the Frescoes, House of Columns- as in the case of Palenque. Equally common is the use of shrines: small independent structures that do not exceed one meter high.


In general, the buildings are low with facades divided by moldings, thus emphasizing their horizontality. Friezes usually have boards in which a character is represented upside down -Temples of the Descending God and frescoes. The walls of the temples are intentionally tilted outwards, giving a peculiar effect. To counteract the load, the door openings are narrow at the top. The lintels are recessed with respect to the facade beyond the edge of the accesses.


Temple of the Frescoes
But there are also unique architectural features of the place. Stucco masks on the corners of some buildings, such as the Temple of the Frescoes, hence the character is identified as Itzamna, the most important deity in the Mayan Post-classic period. Another feature of the Maya culture in general, linked to architecture, appears in Tulum: mural painting. As elsewhere in the Post-classic period, the characters are gods and not humans anymore -Temple of the Frescoes and the Descending God. "


In 2006 Arquine conducted an academic competition for a museum (never built, by the way) whose winners were the team 5NOVE/Alessandro Consol. The proposal was entirely underground to avoid interfering with the surrounding monuments, but it was connected to the outside by means of light wells in the form of truncated pyramids.



Due to its location, Tulum must have had an important role in regional trade. While the scale of the buildings is not as monumental as in other Mayan cities, nor its building have very special finishings, we were  enormously impressed by its spectacular location in the landscape and their profound astronomical knowledge in the service of architecture .


SEE ALSO
- ANCIENT ARCHITECTURE AND ASTRONOMY