Aesthetics In Transportation Guidelines for Incorporating Design, Art and Architecture Into Transportation Facilities Prepared by Moore~HooerArchitects 806 Massachusetts Avenue. Cambridge MA 02139 Principal Author Lajos Hcdcr, with Ellen Shoshkes Consultants SO Associates. Inc., Transportation Planners Carol R. Johnson & Associates, Landscape Architects Pamela Worden, Public Arts Consultant Mags Harries, Sculptor • Credits Contn\ct Office- Technical Representative Conlfacling Officer Project Team Project Director Projecl Coordinator Staff Consulting Personnel Production Department of Transportation Stud)' Re\'icYl' Team Cover Design U.S. Department of Transportation Office of the Secretary Office of Environment and Safety Washington. D.C. 205CXl Robert P. Thurber Dorcas V. Glascoe Lajos Hcdcr Ellen Shoshkes Victor Karen Anne Schmidt Jennifer Dowley Marvin Golenberg, sa Associates Mags Harries Thomas Kirvan. Carol R. Johnson & Associates Pamela Worden Preston Gralla. Edilor Michael Sand. Gmphic Design Consullant W. Booth Simpson. Typogmphical Consuhanl Gail Burwen. Layout Ken Anderson. Federal Highway Administration Donald Bowman. Federal Aviatton Administration Maureen Craig. Urban Mass Transportation Administration Carol Harbaugh. Ofricc of Environment and Safety Marilyn Johnson. Federal Highway Administmtion Marilyn Klein. Fcdeml Railroad Administration Kiyoshi Mano. Urban Mass Trnnsponmion Administration Luis Onega. U.S. Coast Guard Roben Propper. Ofrice of Installations & Logistics Martha Schwendeman, Federal Highway Administration Robert P. Thurber. Chairman Jerry Wachtel. Federal Highway Administration Konr:ld Kwok. f\'lomc-Hc.Jcr Acknowledgments Moorc-Hcder would like to gratefully ac- knowledge the support and assistance provided by a great many people in the development of this report. Although a simple listing cannot convey an adequate sense of their contribution. the effons of the following people, grouped geograph- ically, are deeply appreciated: Boston-Emily Lloyd, traffic planning: John Williams, mass transit design; Richard J. Ward, bikeway engineering. Montreal-Jean Dumontier. mass transit design: Roland Garand, community de- velopment; and Morley Smith. vehicle design. Philadelphia-Bill Bourke. Avrum Can- tor. Richard Huffman and Ken Kauf- man. milted use development: Don Kaiser. Mary Kilroy and Clarence Wood. public art: and AI Levy. urban design. ew York-Jennie Oilton and Alexia Lalli. public art, design: Mark Green- wald. urban design: Hugh Dunn. Jacque- line Rea and Shiela Smith. historic artifacts: and Lucy Fellows. subway photos. San Francisco Bay Area-Ruth Asawa and Peter Coyote, public 3rt; Jack Bar- ron. urban design: Donn Emmons. archi- tectural design: Robert Knight. transponation planning; Bo McCutcheon. A.P. Marinko. James Robinson and lor- raine Sandberg, mass transit design: Carol Rankin: Gene Rexnxle, enginecr- ing design: and the Stephen Wirtz Gal- lery. Seatlle-Jerry Allen, Richard Andrews and Buster Sim~on, public art: John AI- ley. Jo Anne Kirby and Evelyn Sun. community development: and Angela Danadjieva and Gerald Williams. archi- tecturdl desig~. Vermont-Arthur Aldrich. Bob Frazier and Loren Jones, highway engineering; Paul Aschenbach and Art Williams. pub- lic art; and Robert G. Home. historic preservation. Washington D.C.---Charles Athenon, Mark Akuns, Robert J. Kam, Sprague Thresher and Harold Wright. mass transit design; Wally Cohen, Art Halton and Bernard O'Donnell, transportation planning: Pat Fuller and AI Nodal, pub- lic art: and Larry Press. community de- velopment. We also would like to thank the many artists and design finns that generously contributed infonnation and illustrations for this report. An Individual Design Fellowship from the National Endowment for the Arts awarded to Lajos Heder in 1977 sup- ported a good deal of the background re- search on streets. parking, surface transit and joint development and thus helped to shape the ideas and conclusions of those sections. The NEA. however, is in no way responsible for the views expressed in this report. • Integration With The Built Environment 184 3. I Assessing Potential Impacts 3.2 Urban Highways and Guideways 3.3 Stalion Parking and Feeder Service 3.4 Joint Development 3.5 Common but Neglected Elements 3 - I / ~ "---1't~Ht!"- .........~.\ _ I • : Introduction 1 Art and 4 ModelTransportation 2 Procedures 230 1.1 Benefits of Sponsoring Art 4.1 Increasing Aesthetic Concern 1.2 Sites and Opportunities 4.2 High Priorities 1.3 Finding Suitable Art 4.3 Facility Owners' Needs 1.4 Choosing a Program 4.4 Funding Agencies' Procedures 1.5 Working With Artists and 4.5 Designer Selection Artworks 4.6 Planning and Preliminary Design 1.6 Sample Procedures 4.7 Final Design and Construction 4.8 Maintenance and Management 2 Facility 5 References 258Design 64 • 5.1 Funding Sources2.1 Streets, Pedestrians and Traffic 2.2 orr Street Parking 5.2 Annotated Bibliography 2.3 Highways 5.3 Case Study Contacts 2.4 Buses and Streetcars 5.4 Picture Credits 2.5 Rapid Transit 2.6 Railroads 2.7 Air Tenninals 2.8 Harbors and Water Transport 2.9 Bicycles Table of Contents •• • Introduction 10e Balinese. a people known for their richly dccoralcd artifacts. respond when asked by Westerners. that they have no an. lhey simply make everything as beautiful as they can. By contrast. in American society aesthetics have come [0 be regarded as a specialisfs concern. There is also. all 100 often. a view of aesthclics as a frill which can only re- ceive attention after alllhe important "functional" requirements have been met and which can always be added on afterwards like a coal of paint. Aesthetics, art and design arc concerned with beauty. defined by Webster as "3 quality thai delights the senses or exalts the mind." Some transportation facilities have accomplished this. Soaring bridges and sweeping curves of freeway struc- tures are among the maSI siriking fea- tures of the American landscape. The view of a large cily from an airplane al dusk is unforgeltable. Vehieles have been designed as symbols of stylc and personality for gencrations of Ameri- cans. Unfortunately. however. these ex- amples of aesthetic quality arc morc the exception than !he rule. The public environment in the United States seldom "dclights" or ··cxalts." Many transponation fablities arc un- sightly. Parking lots arc frequently bleak. highways overwhelming and divi- sive. anerial roads cluttered and bland. buses ill-smelling and noisy, and sub- ways desolate and disorienting. This lack of ~esthetic quality has a deep and per- vaSive effect on our collective lives, on !he sense we have of ourselves and on the way we are seen by the rest of the world. Visitors from abroad arc often genuinely pUZZled that a country with the wealth, power and accomplishments ~ Af~han tmd. or, rtation and arts communities to bring art's inspira- tion into ttansportation. There is an apparent paradox at work here. Art thrives in freedom-much of its excitement lies in the inventive and unpredictable ways artists respond to the environment-but transportation agencies need an established framework in order to function. That paradox, as this chapter will show, is easily resolved. Agencies, by concen- trating their efforts on shaping proce- dures rather than on deciding the shape of artwork, can give artists their required freedom and still manage a modem transportation system. This chapter is organized in sections which follow chronologically the deci- sions an agency will make at each stage of establishing an art program. It can be read in order, or used as a reference to answer specific questions. In any case, the major questions the chapter answers are these: • What are the benefits of sponsoring art? (Section 1.1) • Which transportation sites are suited for artwork? (Section 1.2) • What type of art will be most appro- priate for the site? (Section 1.3) • What administrative and funding pro- grams need to be set up in order to ob- tain the artworks? (Section 1.4) How do you work with artists and care for their art once it is installed? (Sec- tion 1.5) The chapter provides guidance for these and other issues involved in setting up an art program. The case studies are brief examples intended to illustrate the main points of each section. Procedures are further addressed in Section 1.6, which presents some procedural models used in successful art programs. Keep in mind, when using this chapter, that the guidelines are general ones. Art has a way of constantly creating innova- tions. Any guidelines or procedures used should nurture artistic expression, not starve it. Section 1.1 Benefits of Sponsoring Art Public art in tranSpor1ation facilities does more than please lhc: eye or provide a few moments of respite from the worka- day world. It holds benefits that the transpor1ation agency, as well as the aes- thete or rider, can appreciate. Public art can improve the image of transportation facilities, bind communities together, and reduce vandalism. In this brief sec- tion, the benefits of public support for (he arts in general are discussed with a particular focus on art in transportation facilities. Contents Art and Public Benefits ·'The Calder" in Grand Rapids. Grand Rapids. Michigan: Case Study 1.1 a BENEFITS OF SPONSORING ART _ 4 Art and Public Benefits The principal reason for increasing gov- ernment invo!l'cmenf seems to be a deep recognition that art and cultural devel- opment Gre vital to the health of a na- tion and the vitalit), of its TOwns and cilies, A 1975 study, 'Americans and the Ar/s /1' by National Research for the Arts, Inc., measured people's willingness to pay taxes to support the arts. On a na- tional level it was discovered that 58% of those surveyed would be willing to pay an additional $5 a year fa support arts and culture. 5/% would pay $/0. 46% would pay $/5, and an amazing 4/% would agree to contribute $25. from % for Art (ref. 27) S - ART IN TRANSPORTATION Since the establishment of the National Endowment for the Arts (NEA) in 1965, government support for the arts has ex- panded considerably. The quote on the left reflects the basic rationale and the public interest that justify increased spending for the arts. It has also been found in a special study by the greater Philadelphia Arts Alliance in 1974 that public investment in the arts can gener- ate even larger private contributions and other economic benefits. Public dollars spent on art, it appears, are a wise in- vestment. Transportation facilities provide a variety of opportunities for enhancing the trav- eler's experience with art. From the transportation authority's point of view, these added attractions arc more than ex- tra gestures. They are important for at- tracting patronage, improving general public image, strengthening the interface with local communities and reducing op- position to specific projects. Community art projects have even succeeded in re- ducing the level of vandalism directed against transportation and other facilities. Different types of art programs bring somewhat different types of benefits to their sponsors. Participatory, community art projects arc likely to make an imme- diate change in community relations. Festivals and other major "happenings" may directly increase ridership. Monu- mental pieces have become symbols for the sponsoring agency. Truly great works of art can accomplish all of the above and more. They can bring government officials, business peo- ple and other members of the public to- gether in cooperation and enjoyment. In this regard, a September, 1977 New York Times editorial commented as fol- lows on a public sculpture installation in Chicago: Statu< <>f Libcny. Nnd Hob.d. R\II<. co: Spu: 1200 fhington: 1.3a Fountain. 5c3111e. Washmgton: 1.3b A,arolOn '76. Ho~ton. Massachusetts: 1.3<: Mission Murals. San Fnl.llcisco. California: 1.3d "'''OING SUITABLE AItT -26 ciat c n m I' pI' te t, or pI' ~ect tone of humor or riousness. rt an blend with it environment. nlrall with it OT rand on i own. AI' hit t and d igner ften prefer a blcnding. while many ani t w uld pt for mol' indcpendcnt expres ion. pre ion and ttitude hould al I re- f an am ork kill. and cncp he d 0 an Overview 27 RT C TRA SPORT 110 FINDING SUITABLE ART - 28 ing ite that are ontroll d and ccluded to ome e tcnt a in the Grey Portal (p. 14): or blending the work with thc architccture uch a in Viewland p. 48). The w rk shoul not block pa ageway and platfomls, compete with c. ential ignage and infornlation, or po afety hazards. The tructural material and fin- ish hould e durable and able to with- tand r preclude vandali m. Ithough arti t can adapt their work to rcsp nd t uch c neems, a predjsposi- tion on their part to thi ort f accom- modlltion is a reasonable clecn n criteri n. • Other exampl s f frc h responses ar : photographic, film and vidco work re- lated t overaU city spa and fa't m - tion: multipl piece geared to vari us p ed . fr m car to the strolling pe- de trian: reinterpretations of gate and entrances' decorative art' and mall urpri ing piece al ng pa ageway: graphic, . p try. or other intimate w rk in waiting areas and inside pub- lic tran port vehicles: fountains, light sculplUre', murals, decorative pave- ment r pecial .treet furniture for treet ; art r necting communit life; older monument givcn new life; gianl work recycling tran p ltati n 'truc- turcs or using the landscape. Physical Qualities and Site Constraints The ize. 'hape and material f the work will help determine its 'uitability ~ r particular ite because f it effcct on the architecture and land cape. AI 0 to be c nsidered are th potential im- pact. r the urrounding on th art work and a erie of functional compatibility. 'afety, and maintenance i sue . The cu - tomary ·tyle and material of artists hould be reviewed with the.e fa tors in mind durin th election pro e. ,al- th ugh with the proper technical as ist- ance many artists can Iv uch problems. ne of the m Sl comm n problems of public art in the city i that thc work i. overwhelmed by the complexity of the surrounding . Few works of sculpture can ucces. fully tand up t the visual scale of the city and of transp rtation fa- cilitie . Thi has destr yed the effect of many otll rwi. e good piece . The scale pr blem can be 'olved by ani ts in many way'. ome example include: working on an exceptionally largc cale with b Id forms: creating a special point f view that avoid any ompetiti n for attention, a in th Asaroton work (p. 3 I); choos- hort term art experiments at transpor- tation site, uch a the Wa hingt n WPA projects (p. 42). hanging exhibit of photos. graphic . and poetry. • Mural and other relatively inexpen ive in tallation' whi h are n t e peeted to la t f rever ( a'c tud 1.3d. • A f eus on th proee s of making art: orne public art pr gram u h a the Town Meeting Program for the State of alif mia (Casc Stud 1.6b) delib- erately et out t emphasize c mmu- nity involvement and educati n with the und !">tanding that the quality of the art produced in thi way may be m rc uneven. Chri.to's w rk (p. 23) is as much about the drama of getting peopl t gether as it i about the finlll results. If the proce s i to be cmpha- ized. it i extremely imp rtant that the right arti ts are cho en. Some are natu- ral how men and enjoy this sort of ex- po ure while other would be acut ly uncom rtable working out ide the pri- vacy of their tudi . Innovative and Underused Ideas The maj rity of art n w c mmis ioned for public places con i ts of large ab- stract ulpture. H \ ever, for many tran portation sites such work are not uitablc. Thi sugg ts that th spon or- ship 0 art by tran poltation clients f r u h ondition could be a major and ex- citing challenge t thc art community to e plore less cstahlished directions. A number of explorat ry work , though not well known, are included here to sh w that tran p rtati n fa ilitic: need not al- way repeat what i u ually done b public commissions [or formal plazas and building lobbies. These alternatives include: • Tempor sponsored by the outhwcst Ohlll Rcgional ran it uthorit ( as.: • tudy I Acl. "N",,, Views of New lI"cn," Tapltn and Wulfl. 197 . New York --------=---~~-.., ... hi work i' a paJ1i ularly succcssul c - ample of int gratin ulptllrc with ur- chitcctllTC. Whil many uch collaboralion lak a ay significan 'C fr m the art\ rk. lhis on enhanc it cffeeL The colors and te ture of th granite reneet and ubtly amplify th materials of the buildin and the plaza. he overall f~ t is of greal vi ual unity and quiet but a1. () of con iderabl cxcitement. with The culpturc \ a' in'talled in 1975. /I wa commi 'j n'd thr ugh the ncr, I ervices Administration ,. Art-in-Archi- tecture program r if. 9. whi h pro- vides that on -11 If perc nt of n truction eo t must be allocated or fine arts (Case Study l.6a). redits culpture: Isanm Lessons uchi, 1975. 29 - RT IN TRA RTAll • orne ani t an reate war that TC- spond to, and mak u e of, archit c· tural features to inlensify the piece's overall effe t. I lion of lhe right artist and the arti.t'· rapport \ ith the architect are important facto in achieving ucce . redit ulpturc: T d J n n. 1972. II eem t agree that th re ult \ as worth waitin for. TIle Waler D part- m nl is v ry proud of Ihe culptur and u. c it a a ignalUrc image in its adver- Ii 'jng and rochure. The piece i flcn ph lograph d. osts Le on • Thi piece i a happ c mbinalion f directl sati fyin a c1ienl'!. pre d need for lileral arti 'lie re. pon. e and cremin a work of considerable ani Ii m ril in itself. The ke f r ae m- pH hin Ihj \ a Ihe ele Ii n of.the right. ni I. • In 131 r year . Ih Art Olnlms Ion found invitali naJ eompclili n or di- rect ani-! selecti n more manageable than pen eompctiti ns. p n competi. tions were used only on rar oc asion . The Arts ommi' ion budget was ,000 in J97 , provided til \ al r Depanm nl. I. b [rna nd g hington A 'G ITABLE R 31 - RT 1 RAN POR ATIO ' SE STUDY I. e Asaroton 76 Innovative rt in a omplex Site Boston Ma. sachusetts The ite i a bu . op n-air produc market that occupies Black tone treet during three day of the week. The piece. \ hich eon'i t· of bronze repli a' of e eryday I bris of the market embed- ded in concrete. i ituated in a .egment of the II' et forming a major era swalk 5 b 10 feet). Heav traffic, anu pe- destrian u in the "Freed m Trail'. which connect· Boston histori . ite.. ros here, The 'ite could not be more in the middle of transportation and urban acti ities. The sculpture suc eeds b inducin peo- pi to look do\ n, Thi allows one to view the piece in an intimat way ralher than in juxtapo ition \ ith the cha tic ur- ban land cap . The scattered elements, thou 'h each 'ma II, create a compl te en- vironment. Th carefull crafted, reali - tic detail provoke. curi . it and lose observation. on ·tant buffing and \ car- in of the bra' b ~ et and tire' i mak- ing the piece more brilliantl poli hed. abstract and m stif ing over the ear.. The piece usc,' time bits titl . allusion to buried fos. ils. The title is taken from a 2nd e 11lur Roman 0001' mosaic. d - picting the left-overs of a banquet. \ hich ha . ur i cd a' a pice of fo'sil- ized history. Respon to the \ ork confirm d that it is real' 'public aI1·'. People eli cover it \ ithout wamin '. often standing on it be- fore they notice it. They arc intrigued- Wh ? Who. What doc it mean? Their spontaneou delight and re ponse an be very different from the way the view art\ ork' in a formal . tting. h pi ce \ a' the result of a two-stage. juried competition for the Bo ton Bicen- tennial Sculpture. A large nlHllber of re- gional a11i 't' were invited to submit slide. and proposals. Eight finalists weI' elected and were given 500 each to dev lop dra\ ings and mod I . Th \ in- ner \ as unanimously selectcd e cn though none of the recomm nded . ite were u ed. The juror agreed that the ani 'I had invented an original can ept that va' b tter than any anticipated in 'ettin up the guideline. Due to the nature of the ite ch n, many agencie had jurisdiction: the Pu'hcart Merchant' A oeiati n. th Boston raffic and Publi ark 0 part- menu. the local Little ity Hall. and the Landmark ommi ion. The arti t v ark d directl with all of the. e group and through lh u of ale m del and photo montage' 'ucces full per uaded man skepti al part i -. r dit Sculpture: Mags Harries Costs he camilli ion wa 10.000 in 1976. from Bo'ton 200. II ite work and con- eI' te wa contributed free. The budget turned out (0 be unreali ticall I w ab ut \ hat the cit \ auld have paid f I' an ordinal' cobble-.tone ro walk). Lessons In commis i ning a \ rk of publi art, the client can ben fit b being open to prop a\ from lh artist whi h ehal- I nge prec nception about the -ite and type of art. • Direct involvement f the ani t in p 1'- suading admini ·trator and mmunit repre. enlali ve. may be nece ary. and can be fruit ul for all on emed. • III b "l hhO,;Utlrfl 3" lind dtull L on ue to their cal and drall1atj im- pact. murals ar an appruprial form 0 art for highwa s. Sir '1,1, and rarkin' lots . • Hi 'panic and other n ighborh lI)d mu- ral i, l. lend to b' siron r1 rooled ill their cOllllllunities. addressin local au- di 'nec and i' ue'. Su h art\ (lrk.'> ClIll help into..: rate Iran. p rtlllj n fa ililie \ ilh Ihe communit . nt Ilr inter I as artists i. to pili art do. t' to "'here il II eds 10 be. 10. ((J Ih children; c/o to Ihe old people; do. to I'eryQII "'ho ha.\ 10 walk or ride the bl/'e io I< I pia .\. We wam art either 0111 ill th Ir el or ill place IIIhere a lot ofpeople 0 '(1'h lay: Ihe II pital. heallh cemer.\, clinic. , re I£Il1rml/,f alld olher pl/bli pIa , . . . \I' if!el' .1'011 color. IVI" make. -- I. 'D!. '0 LI nou RT - Jl JJ - RT IN TRANSPOR An Section 1.4 Choosing A PrograDl Choosing the Program Artist Selection Funding Adm.inistration Highway Art Programs culpture ymp sia. Vermont: a e ludy IAa After a transportation agency has re- viewed the kind of art available, it will choose an art program. Since publi art program have ranged from the purcha e of a ingle piece to e tensiv corrunis- sions covering many project , that choice may not b a simple one. Thi section will help an agency choose a pr gram by examining a wide range of art program model . It will aloe ver artist selection and program administra- tion. More specific inf m1ation on se- lected program procedure can be found in eClion 1.6. Contents Subway Art Programs Ai.rport Art Programs SEA-TA Airport, cattle, Washington: ase Study lAb Community Art Temporary Art Angry Reactions Festivals ase tudie Queen ity Melro. incinnati. Ohio: 1.4c Driftwood culptures, Emeryville. alif mia: lAd o ARTISTS' PROPOSALS A ARCH~CTS DESIGNS a NQRTHW ST - HOOSING A PR GRAM - 34 tion Prore: ion:!1 Art Panel 1'OJ(IAI 10 l'I(OCEDlrRL~ 101< IN\ ITll':(, AND III< \ II'WING "' and a repre~enl,llive of the de~igner. '1l1C community members and de!>igner's rCl)re~enlalive~ could participatc in till re- ...iew~ and dbCU1>~ion. and advise the ju- ro~, but could not VulC. Any nf lhe~e individlwls or jury p:lnel~ can emplo)' any uf the proccdure~ h1>tcd Ull the chart: Open coml>t'litiuns lIre conducted through widely advcrtising Ihe .\oize lind requiremcnls for thc work and inviling propos.tls from any artist who clhM),e, hI ~ubmil. Seleclion i, made 0)' a Jury. No comlx:n1>ation i, paid for the inili:ll en- Inc,. Sometime~ :I ~et of linali'l~ i, 'e- 1cctc\1 and then p:1Id to funher develnp propo~ab for., second ~lage linal 1>elce· lion. The advantage \If this ~y~tem i, that il elleOUrJgc~ a wide rJngl' of arti.\ot, to gener,lle new ideas for thc specific sitcs. The disadvantage is thaI for thc in- itial entry a substantial amount of work is required from the artist for no pay- ment. This. combined with a small chance of winning. nmkes malLY artbt~. pm1icularly lhe more established ones. unwilling to compete. The current trend is 10 rely more nn limited compelilions and pre.selcction based on qualifications. Nevertheless, periodically holding open competitions is ,I useful deviec for lind- ing ncIV talent Ihat may be mi~sed in the other procedures. SEto.·TAC Airport (Cllse Study 1.4bl is " glJOd eX:trllplc of using open competition for part of un lU1 program and balancing it against uther seleclinn methods. Limited cOIllpt'tition involves a smaller number (three to live) of artiSlS who ure selecled by the jUl)' on the basis of slides and OIher (IUalilieatiuns. and arc inviled 10 submit proposals for a site. Thc artists are paid hI develop drllwings and sc:lle Illudels of their idea. and 0111.' is selected as lhe winner. H:trnld Paris's "Grey Ponal" (C:I'IC Sludy 1.2:1) :lnd m:my of tlK' olher wnrb described here have lx.'Cll seb:ted in this way. IJl"c_sclceted 1l1\'itulion is the choll.,ing by the jury of a single artist 10 develup Olle or more prol}l)~al1> fur the sitc. The artist is paid for hi~ or hcr work and nne of the propos:lls is M'kcted to be COtll- missioncd. Both this and the previous optii11l rely on Ihe jury lu review lhe Ilrt- ist's qualiticalions befure pre-sdc~·tion. Tn in~tJre :lCcess to this rcview for all (Iualified artists. :t comprehensi\"e .\olide regi~try and (IUillific:llinns rile mllSl be m:tinl;,incd by lhe adlllitli~tr,tlOr of lhe ,1l1 progr:t1l1. This regislry must hc con- tinually ulxlated. and :trti.~t~ must he en- clluraged through the pre's. artbl', l)rg'lI\illltilln~. lind :ll't ageneie~ til ,uhmit and 1I1x1llle their materiah. COnlllllltlit\' involvelllcnt in ,u1ist 1>clcc- lion raises -sevcr:tl iS~lIcs. Wh,lte\'\:r ,e- lection method is dlO~en. it b import alit to c1cllrly publicize huw the process will work. who will make the decisions lind why it is set up thut way. Public criti- cism often arises simply from percep- tions Uwt decisions arc being made secrelly. Communily desires about the artwork should be communicated to the jury through representatives on the p:mel. A more complex problem arises because good an often challenges established v:lI· lies and pereeplions and can raise initial hostility in the community. Thcre are many eX:lmples. some described here (Case Study 1.1 a. Case Study 1.3c, etc.) where pieces received with initial hostil- ity have in a short lime becomc the pride of lhe communily. While it is reasonaole to expect the artist to meet with lhe community and explilin lhe work. the agency and lhe selection panel should be prep,lred 10 bold: up the aOist in case of controvcrsy. The eXo11l1ples cited here uf late!' :teceptance of initially eontrovers1<11 projects may help in persuadin£ skeptical cOl1llllunilY members. SI.U,cTION :-1,'DI' In': I. Curator 2. An·hilt~t'l 01' UesiJ;IU'1' .\. I'rufessillual i\rt I'anl'l 4, COllllllunity Cnmmill('(' 5. COlUhinatinn I'rofes· sional and C4Ul1Inullit~' IJanel Some anists' style of .....ork includes a greal deal of involvcmenl on the part of local communities. even to the point of creating the work culleetively. If this type of involvement and the type of an il can produce is deetllcd dcsir,tble. art- ists who can and wall1 to work this way should be selected (Case Study 1.3d). C1tOOSIN(; " I'II.OGIIA.\I .lfI Il.h:ull •• this pro' 'durc a~~ure~::I lise imcgralioll of Ih' urt all I a 'hile ·lUre. In the wor~1 ~ilUUliOl ~. prol ' .., il l1i.1l J 'aloll- ~i and nflict~ l tw' 'n Ih~ ani't and th ar hit··t a crcali c illdi idu'.b ma aris . Wh n the anilol is treated as an -qu'li party on Ih' d'sign leal 1. lhj~ pro- cedure is m()~l like! [0 W rk ~ II. 'ot1ll1lullil n 'sta Iished local art, u I IIC ge;lcrally has more direct a 'ce~s to the cil a 'cncics and communil. gr ups lhall a stair I1Icmb r of a tram;- portatiun a 'ene \ ould have. 'ontl'~lC:t with architect 01' landscape arch it , 't, \ ho .\ 'IS a.. admini IralOr. Administra ion pas. i Jle b Ihe initial 'rant frOI1l the F • Privc 'lUd I._n. Raising pri ate malching fund usuall require Ihe \\ork of an a' 'rc' ivc ,1M" admlni lrator. dminislrators call b iavo! lied a~ follows: Hired by the agene)'. Thi' alhl\\ ~ Ih' admilli 'Iralor 10 \ ork in-hous' [lIld III ha e ea. y ac 'C' 10 all UepUrl111 '11\ wilhin Ihe agen y ror U 'olllpli:hin),t the p rJm. . an art n ultant. and th tation archil. I. •• Iccted location in each lation and developed guideline for mainlenance. "rely. durability and other technical mall r . Ani t were allowed om I eway in th ir interpretation of the e guidelin .. HOO G PR R M - 40 OQ been ill ludcd Lesson ccntrat th art"· impact. and give Ih \ aiting area. indi idual identiti '. Different cle Ii n procedures \ er combined: • One lounge wa •ct a'ide for an open competition 0 \ a.~hington State an- ist . 0 er 100 lU'ti t· entered \ ith ketche, aJ mod l and ample . The three \ inn r \ CI' a 9 b 46 oot- ing painting b Fran i Cel tan • a b 5 by 9 fOOl sculptur by John Wharton, and a sries of paintings b Christopher English, A limited compctiti n was hcld for a m num 'ntal . ulptur for thc cenlral interior plaza l>ite. our culptors \ crc in ited and paid ·2000 each to de '1 p model and kctchc. R ben Maki \ us Iceted. • Othcr coml11i. sion. were mad by di- reCI selcclion and included nationally knm n ani ts oui' cvelson, Frank tella and R b n Rau henberg, a ~ ell a a omputer driven, "kineticl e1e Ironic en ir nmenl." Addili nil] I. b irport rt rt with Terminal his airport ha a coli clion of morc Ihan a doz n high·qualit major work r an in tailed in th t n11inal. Th pi- n ering decision to et a ide 00,000 ~ r an art program \ as made in J969 ill tit ~uggcstion 0 The Richardson .. 0- cia! .. airport ar hit '1'. ite and arti tel' 'lion \Va turned er t a nine-member mminee in order I , void critici m r th Ie tjon and 10 ben fit rom expert. balanced d ci ions. The commill e m mbcrship included art 011 to ,ans pro~ s. ionals amI two members of the archilectural finn. The t.:licnCs staff informally attended meeling.. Site were all \ ithin lit waiting ar as of the terminal. in ord r I bring art to wh re peoplc spelll the mo t lime. on- n airport art irport rt rogram 41 ART I TRAN RT Tl , Communit rt I'R R ~l ~2 mporar rt Angr Reaction E ample' in Jude the mural m the F to IB RT tatian Pla7.a at 2 th and Mi ion es Iva S in an Franci c (page 2). This pailll- ing expresses somc anger ar rhe impacl r B RT conSlruction on th ommullity bUI i al 0 rh mo. I mem rable i ual fe3turc of \hi' tali 11 arc'. h Commu- nity murals n Ihe freeway olumn in San Diego express II sim.i1ar sentimenl. Th >raffiti on th outside of c\ York su \ a ca i' the omewhm frighlenin as crti n of te 11, ge group again t more thun jusl the. uh\ ay. but i . on occa- sion, striking graphic art. R1 11 • Le on Prior to implementation. the p ~eel \ ad erti. ed on th buse and Ihrough I . eal media. ant ad licit d ~ riHen pT po al from pcrfomling and i ual arti t . Since man people were int r- t d but did nOI kno h \ t fil into the project, individualized coun lin es ion were held wilh ani l. to help them explore idea' and devel p pr p s- also 0 avoid thi. time-consuming pr • cs for the econd year' pr gram, guideline' for proposals wcr develop d. Artists for the first year were selected by th artist-in-residence wh wa advised by the Program Panels, consisting of community and arts leaders. r the 'cc- ond year, thc 'election pr ce \ a placed entirel in the hand of th panel . Once elected. arti. t undcf\ nt a formal orientation pr educe which in- troduced them to uppLi and a quaint d for th ,I m PR ~1-44 lAd Driftwood culptur pontaneous Art b lh Highw8l' EDler vllJ, ali~ rnia Les on 4S - ART I TRA fRAT! --- -Ii n 1. Wo k-ng with Artists and Artwork YWCA WG.u p~jn'lni\, RiC'h:ml AnU51.Ir:i~wiC'1_, 1912. New YCllk. ont nt WORKI \ ml RTI TS DARn OR - "6 more formcnding V,lst Slilns towards mate· n'lls. fabrication. transportation and in- stalbtion costs, These costs should be carefully itemized before the artist's con- tract is signed. and the artist should be treated 11S .my other major contractor on the job. and [laid for his/her services at appropriate rates. ill addition 10 his/her expenses. The artist should carefully es- timatc ,Ill co.'>ls including materials, stu- dio expenscs. 1:1bor ,Uld assistants to insure that the size of thc commission is commensurate with the scope of the work, Costs of architcctural accommoda- tion and sile installation such ,lS found,l- tions. lighting. rails. Clc. should nonnally be covered separatcly in the construction budget. Artists can almost never work on a reim· bursement b,lSis.........i\s most other subcon- tractors can, It is critical to give advancc monies (ten l>crcent lU twenty percent) to allow for initial purchase of materials, Furthcr paymenls can be made on a stage-completion basis. A small rct,liner fcc (live percent) might be kept until the work is completcd and installed. Compensation For Purchased Works Gcnenilly. a purchased work is simply one purchased for a fcc established by the artist. In some cases. an agency might want to hire the artist as a can· sultant to oversee inSlalhltion ,md nwke recommendations on siting. A consulting fce should be agrced upon for this. - There i n Ihing m re Im\lrming th,lIl Itl 'cc a n~ n- un tioning rnllntain or a 111 te lis rat hcd/gratlili 'd ~clllplllre. Once an .lt1' ork is allll\ cd to beeomc shabb . vandalism ill inerca,e and thc work'~ li~'~pan will ClJrlllll lltmini!>h. ~ ith good malntenan··. I 'nllan nt artl ork an la,t for man' decade. or n C 11111 i .~. markin' our aC!>lheti . e pre. sion for future 1~Il\,:rati( ns.rl, ommission inloped a sOl histi- h King OUIll a~hingt In has d Ownership and Maintenance fund. arc olllmiltcd remi n of all an- ck. the agen I ill I ant in~ucan to cr Ih fl. lo~!> and llama 'c. Liability in uran e foc th ts Illa find it impossible to g.el su h in, unln' . Th' agenc or nlraet c 'hould '(lnsider In luding the artisl in it eompan polic if lhal i, at all i I . T chnical I sue \\ORKIN '\t rtl.\RTI . \ f) \IH\\ORK. 5 51 - ART I TRANSPQRTA1l0 I. a I. I. r a. 1.6d eanle. iPLE PROCED R - 52 ection 1.6 Salllple Procedures CASE STUDY 1.6a The Art·in-An:hitcctllrc Program SllOnsnrinj.\ I\rl in t'cdt'ral lIuildinAs GCllt'ral Scnin's Administration The General Services Administrlltiun i~ the federal agen<:y with the 100l!!~.~1 n;,c· ord of sponsoring publi~ art a~ a regular part of construction prugrams. The fol· luwing program dest'ription is qUOIed di· rectly from the ,lgency's tvbrch, 1979 publication ("tf, J9). 53 ~ ART tN TR,\NSI'ORTATtON "The General Services Adminislration (GSA). the agency that oversees the de- sign and construction of feder,ll huild- inI;S :KroSS the ('ountry. is alsl) one of the government's most active pJl1nms l \Ial> don' b 'hO\I ing a IO-minul' Ion '. 1\ 0 projeelo slidc-sh w I rouuccd b Ihe Pr gram and designed I fllilliliariz tho'c who were not art profc. ional wilh possible media and \ a . )f II' aling differelll spaces in puh- Ii' art: an I b ha ing lhe l3uilding an- ag'r lake Ihe group on a tour of Ih building.) Ha in participal1l.-u ually in small gil up ----. hond i,~uc\. Slate and federal fl,.venUCl>. 1111': c1il;ihll. ily of projecls musl be delermined ca~ by case. Yearly. a mernonmdum of underslandlng between the Arts COllllnil eligiblc 1)f'O;Cct\. Once lhe eligibilily of a project i~ deter- mined. the depanment and lhe Arl!. Commission have two oplions; the art funds may be spent on artlolo1'>O. for that proJCCt. or sct aside for artworks at an- other Sill.' al some Iiller time. The An In Publk Places Commillec must recom· mend where 3nd how lhe fund"i wIll be: spent in the annual Muntcipal An Illan Through public meelings each year. sug- gestions from ani"ils and inlere"ited elli, Lcns are hearn. and pnorilies idcnllfled The COlllmiucc lhen (1c:\'e1ops II plan 10 allocate each dcpartmenl'l> Ifk. funds for works of an al specific l>ites. Once lhe Arts Conunisl>ion has reviewed lhe plan. il is presented 10 the Ma)'UT for approval. Projecls undertaken in lhe prt)gram's firM years werc cvalualed. and procL'tIurcs for artist seleclion. jury sclel·tion. artisb' participalion and adminislralion were re' vis;.-d. Long-rJ.nge gOllls 10 guide Ihe planning process were adoplcd ..rel.rlting thc Municipal Art Plan 10 lhe ellY s overall planning effort. In<:reasingl)'. Ihe Municiplll Art Plan is becoming II long- range art plan for lhe City which identi, fies needs and priorities for lhe futuf~. and conside~ gifts lmd dormlions as well as publicly-funded works of art. Artists' Regislry Diseussion with anisls and ans groups has led 10 Ihc creation of lhe Regi~lry of Northwest Artists localed at Ihe Henry Gullery of lhe Univcrsil)' of Washint!lOn. '111is Regi~lry maintains currenl filel> fir llrtil>Il>' bi0J::rJ.phie~ lind pholOgraph~ nr slides of lheir work for usc in !>electing llrtwork. It is rcquired lhat juries lIIllking selections for I% purchases lllld 1lI()~1 commission~ consull the Rcgi~lry. Thil> allows for fair reprcsentalion of ilny art· i~t who wishes to be: considered for a comlmSSlon or pllrt'hase Ihrough the progrdlll. The purchase of artworks by lhe Cil)' has also led to the OC\"cI0PIIlCnl of the Arts CommissJ(:lfI'~ artisl contract. Thi~ conlract IS considered a landmart slep in protecting artiSU' nghls in the sale of lhelr loloOt". II ealls for the Cil)' 10 malo- lain the loloOf"~ In II profcsstonal manner. 10 ~hare the apprecialed value of the work..\ lolo ilh the anist in lhe C\'ent of theIr being rclJOld. and to protect the ani~f~ nghts related to TCI>roouction and di..-pla) of lhe loloork. Selel'lion Process The scleclion process lInd jury composi- lion for each 1% for Art projcct in lhe unnllal 1\'\unicipal Art Plan is relatcd 10 lhe !>Cope :nul complex ill' of the project. lhe con~lructinn limetable matching grnlll guidelincs. and whelher il in\'ol\'es a cOllunbl>ion or purt'hasc. The three methods used for seleclion lIre described below: A prru.peClUs deseribing lhe site. budget and nalure of Ihe artwork 10 be cornmis~ioned i~ published. calling for propos:tb from llr1isIS. Artists arc not pllid for proposals. which are rclUnled following jury re\'iew. The jury recom- mends Ihe arlbl for the l'Ommission. An announcemem of the project and commission is published: "rtisls ;Ire re- lry of Northwest ArtislS and re- turn a It:ller of inlerest in lhe projeci 10 the Sellllic Arts Commission. The JUT)' rcvicwlt ~lidc~ and millerial at lhe Reg. iSlI)' ...hhoogh they arc not limited w 1lI1i\l\ regl\lered III Inclr con~lder:lllOn. Three 10 fi\'c ;il1l'I' :tre \Cleclcd by lhe jury 10 prepare PTlJIXNII\. AI1I\I~ arc paid fur ~ubrni\ltion of pmIM)\al\, which arc r.:t;lined by lhe Cll)'. The jury lhcll revicw~ lhe "ropm.al~ and recommend\ an llrlbl 10 be comlm~~lOned. Thi\ is handled In lhe \ame lololf)' a~;t Ihmled cntry. CI(CCpl lhal lhe JUry chol)~, only IInc artl\l. lolollo lhen ..-ub- milS a propoo.ul pnll\" to final alolo ard of lhe ConulIl!o\K>n. lbc Art in Public Placc~ Comrniucc names an ad hoc JUry. ulouall) of from Ihrec to fi\'C~ people. for each proJCC1.. O\'er the )'<"3f'$ mort" than 50 people of dl\'ersc b.lckground~. ,"dOOmg artists. archlll..."("!lt, COmmulIll) reprc~nlall\t'S. clly emplo)"cc'i. collect~ and art hl~to­ nan~ ha\'e partIClpatcd In lhe <;clecllOO pn:K'Clcn for the special \klll\. knowledge or concerns lolohich lhey can bring lu lhe f.:ompleJ( de- cision making. Ellience and dedication. and lhe Ievct of pmfc!o\ional- i~m rCt1Oll bellCh. Wilh.m Kej>o>nm: fof Do.,-;, Sqwoe SUI.,.. Sm> GIIlWll_ 61- ART IN TRANSPORTATION Harvard Square Two meetings with the advisory group and a walking (Our of the future sites ini- tiated the art panel for Harvard Square. Several meetings followed to review the Artbank. A list of three sites and six art- ists resulted. A 535.000 budget was set aside for each site; the artists were paid S831 to develop proposals for either site. Before the Art Committee had been se- lected, the architects asked Gyorgy Kepes, a Cambridge artist, (0 work in the station's central mezzanine. His work was also reviewed by the panel who made recommendations. An additional $30,000 was raised from the National Endowment for the Arts (Art in Public Places) for the Gyorgy Kepes piece. A fund of $20,000 was kept in reserve for funding any cost overruns by the four artists. Porter Square Before Arts On The Line was started, the architects hired seven artists as de- sign consultants to develop proposals for the station. The arehitects wanted to work in close collaboration with the art- ists. Some artists werc asked to work in particular sites, others were given carte blanche. No budgets were suggested. to see what each artist might do if the "sky was the limit." Each artist was paid $2,500 for a four-month period. They developed proposals which if funded in full would have cost 5200.000. The art- ists and architects negotiatcd thc location and extent of each piecc until the final budget of $125.000 was reached. A committee of arts professionals and community residents was convened by Arts On The Line (0 review the propos- als and to make recommendations for the final negotiations. For thc most part. those recommcndations were followed. Davis Square The City of Somerville requested that Arts On The Line coordinate the artist selection process for the Davis Square station. The selection process was com- pleted in January. 1980. Thc community reprcsentatives felt that more connection between artist and the community was necessary within the Art Committee. Two additional steps were then added to the process: I. Photographs of the artists' proposals will be displayed in a store front. People will be asked to submit their comments to the community representative who will make them known to the art panel before final decisions are reachcd. 2. The selected artist(s) will be asked to make presentations to Davis Square community groups. Alewife All seven artists were selected by "invi- tation'" Each artist was asked to de- velop a proposal for a different sile in this large stalion. This station's art will represent the most "environmenlal"' ap- proach. and also slrongly reflects lhe sta- tion's seuing which is a wildlife resourcc area. Two artists have been asked to make comprehensive slatements: Richard fleischncr will nor. only create a piece in the landscape. but will design placement of trees. gravel. paths. lights. etc. Ste- phen Antonakos. who works in neon. has been asked 10 work in the lrainroom on a ZOO-fOOl long wall as well as up a stairway. inlO lhe large mezzanine and up the escalator. An unusual element in this station is the involvement of William Keyser. a wood- worker. Part of the funds for his project come from the station's bench budget. This is supplemented with funds from the an allowance. 10e result will be a series of beautiful handcrafted benches supplying lhe required amount of seatin~ and made of lhe same material usually employed by the MBTA. Lessons • The complicated artist selection proce- dure was necessary for both political and aesthetic reasons. The resuhing proposals show a great deal of promise for enhancin~ the new subway envi- ronment. To repeat the process. or.hcr projects would have to ha\'e available comparable resources of administrative and professional lalent and community interest. • 1be process resulted in the selection of a broad range of artists and did nor. seem to favor any particular type of "'.Integration with the architectural dc- sign could have been improved if the program had started earlier in the de- sign process. SAMPLE PROCEDURES - 62 6J - FAOUTY DESIGN Contents Chapter Two 2. J: Streets. Pedestrians and Traffic 2.2: Ofr Street Parking 2.3: Highways 2.4: Buses and Streetcars 2.5: Rapid Transit 2.6: Railroads 2.7: Airports 2.8: Harbors and Water Transportation 2.9: Bicycles 2Facility Design Introduction Chapter Two This chapter examines the aesthellc is- sues and design opportunilies for a wide range of travel modes--frorn the bicycle to the jet plane. It focuses on the experi- ence of the traveler: what he or she sees. hears. smells and feels during the trip and how this shapes his or her overall reaction to the experience. The aesthetic condilions of a transporta- tion facility will either attract people to a mode of travel or repel them from it. This is particularly important for public transIXJrtation agencies that are investing large sums of public funds in efforts 10 attraci people away from theiT automo- biles. This chapter discusses the relation- ship between the aesthetic attractiveness of facilities and the attraction of clien- tele. Important concepts relating to aes- thetics are discussed not as abstract qualities but as concrete elements which affect the quality of the traveler's experience. Some transportation modes arc accom- modated in elaborate. special-purpose fa- cilities, such as airports and subway stations. When these are constructed, complex design teams are retained which usually represent several design profes- sions and a host of technical experts. The designers on such teams address the relationship between technical require- ments and aesthetic design in great detail. This book is too generalized to act as a complete guiding document for facility designers. However. for those embarking on major facility design, this chapter points out the important aesthetic issues involved. and illustrates good design ex- amples. Specific lessons from these proj- ects are provided in lieu of guidelines. 65 _ FACILITY DESIGN Facilities sueh as streets, off street park- ing, and bus stops rarely receive lavish attention from design teams. They are often not even recognized as problems for aesthetic design, thus diminishing their attraction to the public. These types of structures are less distinct from the surrounding community than the more elaborate facilities. They are embedded within the urban fabric and lack clear boundaries. For this reason, their decline strongly affects the city as a whole and poses a serious problem, not only for the traveler. but for the whole community. Thus the design issues and case studies consider "facility design" and "integra- tion with the built environment". 2.la 2.lb 2.lc Section 2.) Streets, Pedestrians and Traffic This section focuses on the problems and opponunities for pedestrians on urban streelS. Since automobile use in dense urban areas causes basic aesthetic pr0b- lems for Q(her uses in the city. the aes- thetic qualities or driving on city streets are only considered here in a limited way. Contents: Decline or Streets Aesthetic Problems Fragmented Responsibilities Public Values and Political Decisions Streets ror People Divening Traffic Pedestrian Malls Transit Malls Improvements Within Existing Traffic Pattems Incentives for Improving Building Frontage Maintenance and Space Management Design Elements Implementation Case Studies Downtown Crossing. Boston. Massachusetts: Chelsea City Center. Chelsea. Massachusells: Old City. Munich. Gennany: STREETS. PEDESTRIANS Al'D TRAFFIC _ 66 Decline of Streets If )'011. go ;mo the city. regardless of how you frovd. at some pain! you t!nd up walking on the strutS. While going to work or QUI to lunch. the sidewalks are cro....ded. fUople are jostling, squet'zing logerhu at the croS.Jwolh. But if Jail. are r>'er around downtown after six in the t'wming )'011. will su the struU de· serted. The traffic and the crowds art! gone. It is an eery. desolate feding. Looking around. )'011. willllotice the crackl!d sidewalks spotted with chewing gum, fitttr slowly drifting as the wind n-,'ups around corners. You ma)' also notice how much the asphalt has come to dominau the streetscape: the narrow sid~'alks and buildings are lilt: islands in the continuous sea of asphalt. 67 _ FACILITY DESIGN Aesthetic Problems City streets have traditionally been the vital focus of urban aClivity. The quality of their environment strongly affects the functions of the city and defines its pub- lic image. In the United States most city streets have serious aesthetic problems: Noise. fumes and visual intrusion of traffic on major pedestrian activities such as shopping or lunchtime recreation. • Conflict and confusion between auto and pedestrian movement. Pedestrian flow congestion during peak hours. physical obstacles such as signs and trafflC signals. and lack of suffi- cient sidewalk space. Lack of activity and a desolate. unsafe feeling during evenings and weekends. Lack of space for pedestrian related street activities: such as vendors and places for sitting and conversation. Poor upkeep and maintenance of streets and sidewalks. Unsympathetic fronlages of adjacent buildings: blank walls. inactive lobbies or parting lots. Lack of protection from extremes of climate (wind. rain. excessive cold or hot sun). Ovcrscaled streets: excessive overall width and lack of physical aniculation which discourage pedestrian use. espe- cially in cities with low levels of street activity. Fragmented Responsibilities In most cities no single agency takes re- sponsibility for the quality of street envi- ronments. Departments of Public Works are in charge of day·to-day rttonstrue- tion and maintenance. but their mandate. budget and style of operation tend to deal only with limited technical issues. not with design or activity management. Traffic Depanments tend to have a simi- larly narrow scope. Redevelopment and Community Development Agencies can sometimes coordinate the various opera- tions within a limited area but cannot ex- tend these concerns city-wide. Slate and regional authorities can provtdc re- sources but cannot effectively coordinate the local bodies. Zoning and other regu- lations governing the design of private buildings adjacent to the street are rarely written or administered in a way to in- sure lively and attractive streets. No one agency can effectively design or manage the street environment or can insure suf- ficient funding for these lasks. Public Values and Political Decisions The underlying causes of such neglect are found in the way people value the urban public environment and in the way political decision-makers respond to these values. In most U.S. cities. people have had so Iittltr experience with an at- tractive street environment that they do not regard it as either an essential need or a realistic possibility. By contrast. in European cities strongly-held traditions force public bodies to care for public places. 1lIc few successful examples of revived street environment in this coun- try have had strong impacts on the alti- tude to public places in those cities. This points to the critical importance of estab- lishing working prototypes of attractive streets in every city as an environmental leaching device. b \\'logna give these cities a fine. uni- fied quality and provide a protected walking environment. American cities have pieces of interesling arcades and shellers such as hisloric Pioneer Squan:. Seaule (see photo below): the reccnt Washington Slreet canopies in Boston: and arcades in Eugene. Oregon. None of these have yet been developed far cnough to tie together a whole district. Arcades and shelters can be of particular value in cities with excessive sun or rain and where the existing architecture is not strong enough to provide continuity. Unique Local Features Traditional elements such as stalues and fountains. activities like Streel fairs or festivals. or special features of local in· dustry and commerce can be emphasized 10 insure Ihat a special place is erealed. Refurbishing an old fountain and a clock in Chelsea. Massachusclls. the sculpted ccntcrpiece of Fountain Square in Cin- cinnali. and the continuing pushcart \'en- dars in Boston's Haymarkct serve this essential function. Implementation Resources for street improvements usu- ally come from a combination of fedeml and local programs. On occasion. the U.S. Departments of Transportation. Housing and Urban Development. and Commerce have been able to provide major resources for aspects of such proj- ects. Sce Chapter 5 for II full lisling of such funding programs. Critical actions for implementation in- clude: Integrating streel and pedcslrian plans with transponation policies. traffic management. and transil improvement programs. Selling up participatory mechanisms for continuous review with merchants. propeny owners and other community groul"'. • Selecting the firsl phase of improve- ments at a critical location which has a high probability of success and can gain further public support. COOrdinating with private development plans and schedules to insure that proj- ects can reinforee each other. Setting up managcment. organization and funding for operations prior 10 completion of capital improvements. STltEETS. PEDESllUASS ASD TRAFAC ~ 1~ CASE STlJDY 2. I a Downtown Crossing Restoring Bus}' Str~CS to People Boston, Massachusetts' Shopping in Boston's downtown retail district used to be a fruslraling chore: congesled. nearly impassable sidewalks and Slreets often forced pedestrians and drivers into a contest for Ihe link free space len in the area. Today the districi has almosl a leisurely air of elegancc. You can stroll down Washington Slreel. the hcan of the dis- IIict, lurning your attenlion to the ornatc, hisloric facades of the buildings. You can sil on a convenient bench (0 watch the slowly passing parade of cilY life. The change has been made by Down- town Crossing, a "StreelS for People" project in the center of BosIOfl's Down- lown Retail District. 1be projecl consiSls of the closing of slreets to traffic wilhin a six-block area. rationalizing auto and service delivery circulalion throughOUt the dislIict. eXlending bus roules inlo the area. and a phased improving of the streets wilh brick paving and pedeslrian amenities. This projecl was initialed in response to the congestion. conflici and confusion Ihat had made the hean of Ihe relail dis~ IIict lose its anraction. Other pans of downtown BOSlon have either retained Iheir historic attractiveness or created new attractions such as the Fanueil Hall MarkelS and the Waterfront. The grow- ing competition made the merchants realize the need for aeslhetic improve- menlS. The restoration of the Markets proved that an attractive environment would draw new clientele and convinced the retailers of the benefits of this project. The closing of WaShington Streel has been debated by the city for the last 15 years. Traffic engineers argued Ihat it could not be done without the building of a major relief road al considerable 15 - FAClUTY DESlOl'I cost and disruption. Finally, a compre- hensive study was conductcd on rc-bal- ancing the circulation elements within the existing street paltern. The analysis concluded that the impacls would be ac- ceptable and lhe project could proceed. At prcsenl. Winter Streel and plmions of Washinglon. Summer and Franklin Streels have been closed 10 lraffic and lurned over 10 pedeslrians. The new framework would actually per- mil Ihe development of a complele pe. destrian system from Government Center to the lbealer DislIicl and from Boslon Common to South Slation. Howcver. il was decKied to phase lhe plan and limit the initial two phases 10 a six block sec- tion in the hean of the shopping dislIict. This was ffiOR prnctical with funds im- medialely available and allowed the downtown community to sample the benefits. 1be aesthetic effecls are striking. On a summer afternoon crowds of shoppers stroll. where pushing and crowding had been the rule. 1lJe rraffic impacls are lighter Ihan predicled: people seem happy to avoid these previously con- gesled streets. Delivery vehicles arc still allowed at limited hours. Shops on Win- ler and Washinglon Streets are doing better. Repaving and other streel im- provements are proceeding gradually. The conslruction creales a few problems but people are able 10 work around them. Buses were originally routed down Washington Street but have now been moved to the next parallel street [0 leave Washinglon Street free for the large number of pedestrians. The projecl has had a good press and no serious critics. .8 million $1 million $ 1.2 million Lessons If a street has strong pedestrian activi- ties and architectural character. re- moval of traffic alone can be a major improvement, This has been proven in many European cities but would not apply to all U.S. downtowns, • Conventional assumptions about traffic and business needs can be challenged by careful study. • Leadership from the office of a long- time mayor was critical in insuring the implementation of a project that could have bogged down among the many agencies and interests. If the activity base of the city is rela- tively healthy, an incremental approach to improvements seems workablc. o Examples were required to convince merchants and building owners. The success of Boston's Fanueil Hall Mar- kets and the Chestnut Street Transit Mall in Philadelphia were major fac- tors. o The unusually high ratio of operational. to capital funds (about two 10 three) is a result of major operational changes with only a modest construction pro- gram. The demonSlration funds for non-capilal improvements were very much instrumental in the success of the project. .7 million $1.9 million $1.5 million $3,3 million Downtown Crossing was planned and sponsored under the U.S. DOT-UMTA Service and Methods Demonstration Pro- gram. The local lead agency was the Mayor's Office of Transportation with staff from the Boston Redevelopment Authority. The Massachu~tls Bay Transportation Authority and the State Department of Public Works actcd as implementing agencies for parts of the project. UMTA's consultants for the original planning were A.M. Voorhees. Cambridge Systematics Inc .. and Moore- Heder Urban Designers (ref. 117). Costs Funds commiucd to the project through 1979 include: Phase I (completed): Construction -UMTA Section 3 with 20% local match -FHWA Urban Systems Operation including transit subsidy, traffic enforcement. mounted police. pro- motion and project administration for I "~ -UMTA S«:tion 6. 100% demonstration funds Total Phase I Phase II (under construction) City funds for construction Amendment to dem- onstration grant for operation Total Phase 11 Credits o. Von;lors _lifo 10 lIN: ..om,,_ STREETS, PEDESTRI ....NS ....ND TRAFFIC - 16 CASE STUDY 2, I b Chelsea City Center Aiding Economic Development Chelsea, MassachuseUs A three-quarter mile section of Broad- way (Chelsea's main street) and two of its main squares were re,landscaped as pan of this program, which was com- pleled in 1979. The project included new brick sidewalu and cross-walks_ tree planting. streel fumilUrc. improvement 10 parking lots and store fronts. a group of shelter structures in Bellingham Square and several public an projects. II involved no major change of traffic pat- terns or street right+()f-way use. Chelsea is an old (Own near Boston with a largely .....orking class population. Its town center has some handsome build- ings but has experienced severe eco- nomic decline. This project was sponsored by the U.S. Department of Commerce. Economic Development Administration (EDA) in order to aid economic development both by provid- ing construclion jobs to locals and by at- tracting business into a more pleasing environment. The interesting aspect of this area. espe- cially of Bellingham Square. is that peo- ple use it a great deal. There are many older people as well as unemployed younger ones who seem to spend their lives in those streets. The construction process itself (lasting two years) was a major event in these people's lives. Using the completed structures quickly became pan of people's daily activity. The structures are generally liked. Vandalism has so far been modest considering some of the problems facing the city, The more at- tractive image of this previously forgot- ten area is beginning to receive attention from the media and from housing devel- opers. So far the shops have not been appreciably helped by the change. 77 - FACILITY DESIGI'" The use of brick pavement with granite curbs and accent strips. shade trees. cast iron and wood benches. and black- painted steel structures for tree guards. trash receptacles and the shelter struc- tures created an elegant. traditional New England town centcr image. This might be somewhat incongruous with the local culture but was desired by the city. Credits Client: City of Chelsea Landscape Architccts: Carol R. Johnson and Associates Architccts: Moore-Heder Storefronts: Vision. Inc. Cosls Total project cost was just oyer S3 mil· lion funded 100% by EDA. Lessons o Improvements carried out within the existing rights-of-way and traffic pat- terns can have an impact on the image of the city center. o Using local labor for such construction projecls can aid in the economic re- vival of the city. o Without complementary development cffons and a strong maintenance pro- gram, physical improvements can haw: only marginal economic benefits. .. .su-~k ..._.CASE STUDY 2.lc Munich-Q1d City Pedestrianization With a New Subway Munich, Germany The Old Cily of Munich is one of the most attractive and comprehensive "Streets for People" programs any- where. There is a total experience of freedom. visual charm and varied street life throughout the district. an area three- fourths of a mile across. The major portion of this project was completed just before the 1972 Olympic Games. The overnll framework was set by three decisions: In the post-war reconstruction. Munich. unlike most Gennan cities, opted to rebuild its Old City according to the historic. narrow and irregular building and street pattern. • The improvements to the Ring Road around the Old City were designed so it could carry all through traffic. • The new subway lines crossing the Old City both North-South and East-West. b. Subw.y."'... ,"'••,...d ..ilhp«l<..ti.n ......... already under construction on the muin streets, weTC completely integrated with the pedestrian streets above them. Besides this framework, the quality of the experience is provided by the street life and the careful detail throughout: the cafes and vendors occupying the space. the granite and concrete paver5. the planter5 with fresh flowcr5. the movable chairs. the arcades and fountains, and the practical public services on the sub- way mezzanines. The place is considered by citizens as the "parlOl'lr of the eity"-for staying, playing and walking through. Credits Client: The City Government of Munich Architects: B. Winkler and S. Meschedern Costs Total cost for the pedestrian improve- ments was 13.46 million OM. the equiv- alent of about $4 million at the time (1969-72). Lessons The conditions in Munich were consider- ably differenl from U.S. cities. and ma- jor plan elements could not be transferred directly. However. there are useful lessons in three areas: • 1llc overall attitude of treating major downtown streets as the "parlour of the city" and the resulting commercial and civic benefits (pedestrian volumes nearly doubled after the project to 120,000 people per day on the street) . Integration of pedestriani7.cd streets with transit stations. shops and other public services. Details of street construction and street life: encouraging the use of the strect by cafes and vendors, careful treatment of paving, planters, lightS, etc .. and intensive on-going management. in- cluding provision of movable chairs and fresh flowers. • F'ublK>f'O'...... ""' "'" ~"".,..lJ........ from it 10 the whole commercial area is provided. Otherwise. 3S h3s hap- pened in many lowns. the new devel- opment may funClion in a self- contained pattern and actually ruin thc existing sireet-oriented ~h(lps. • Keeping the scale of parking lots rela- tively small and integrating thcm with the street by landscaping can p\lakc them into a pleasant part of the envi- ronment of smaller towns. Implementation mechanisms: Public parking construction has at times been funded as part of fcdcral highway safety (TOPICS) programs when parking was removed from arte· rial strects. Federal Community DcvclopmCl11 Block Grants have been used to fund combined storefront improvement. "-~-~ ~ ... ,I ,,~~I."inl> nroCIf. By controlling liflCs of sigh!. IOC bal>ic Foeu" established by the alignment is refined. Coordination of the ensemble of cle· ments within the right-of-way will result no! only in a visual hamlOny and con- ~i~lcncy. but should also reinforce the visual and ~patial compositions cst3b- lishcd by the geometry of the roadbed. Speed. and therefore time. arc sensed in- directly through the apparent motion of fi:-;cd objects and the passage of roadside detail. Thc!\C sensations arc expanded by a closer proximity and greater frcquenC}' of !>uch details. The ab~nee of visual references in such ..... ide open ~paces a~ supe:tligh.....ays and featurclc:.:. land- scapes produces boredOm. excessive speed and sometimes sleep. Designers may deliberately place objects along the roadside to add interest. provide a reas- suring reference for speed. and supply some .....ay of marking forward progress. Road Surface Although the high.....ay driver sees mostly sky and pavement. little or no aesthetic consideration is gh'en to the appearance of the road surface. Color is a function of materials and tints. Selection of materials depends on cost. accessibility. and the experience of local industry. Timed concrete may help fit a road into its surroundings and so justify an added expense. For example. two- toned asphalt .....as an attractive way to identify an improved section of road through an historic dbtrict in Middle- bury. Vermont as a two-lane highway .....ith Iwo parking lanes. IItGIIWAYS_90 Landscaping Selective planting and thinning directs views by framing. emphasizing. or filter- ing the visual field. Plants can serve functional requirements as well. such as diminishing the effects of on-coming headlights when used in medians and at inlcrchangcs. or pro\·jding optical guid- ance to direct forward motion or clarify changes in speed or direction. AI exit ramps or uoexpcclcd curves. for in- stance. Ihe road's turning can be dcfioed by a clump of tfCCS or a grouping of col- orful shrubs. In rural areas. wide median strips planted wilh nalive vegetation can help maintain the nalUral features of the roule. A wide and well landSl;:aped right-of-way will likewise preserve the quality of the countryside and pre\'cnt the cncroach- men! of objectionable land uses. Green belts of this sort also aCI as buffer zones protecting the community from the im- pact of the automobile. Planting in rural areas has orten been done to maintain or encourage diversity in wildlife environ- ments. and to nalUnllize areas where construction has left massive. unnatural scars. The planting of steep slopes helps avoid erosion and sedimentation of local water bodies. Grading can fit the road 10 thc land with both aesthetic and func- tional benefits. Gradual slopes on cuts and banks. and rounded instcad of angu- lar tops of cuts. appear more natural and graceful. and prevent landslides euio., Minneapoli'. Castellated or serpentine walls such as the one shown here in Minneapolis [C- duce the visual impact of seemingly un- ending straight lines characteristic of noise barriers. By varying the line in plan. a sense of space and movement is created. Areas for planting arc provided. Earth berms and the use of wood further minimize the impact on the surrounding residential community as well as on the motorist. <. G'OC/l'''y <.....1'1«. n:,.i","~ ,...11,. &.,,1<, Walls Retaining walls and noise barriers can be significant clements in the highway envi- ronment. Standardized designs arc oflen used haphazardly without regard for their visual impacL These walls appear as in- trusions relating neither to other cle- ments in the roadway. nor to those in the neighborhood. Two dominant features of walls arc line and form. Long straight lines accentuate length, arc monotonous, and creatc an enclosed. tunnel-like effect. High walls close to the road cun make motorists feci anxious, n"nt· Son r"/I':''oards but has no alternate system. Lighting Design Aeslhetic faclOrs in lhe seleclion and placement of highway lighting systems include mainlaining an overall consist- ency wilh Ihc design of olhcr elemellls: proponions, scale and form of the fix- tures: color of the lighls: and the patterns created by the pole spacings. Fixtures can be graceful sculptural objects which add up to a strong rhythmical struttUfIl along the roadside. Color can be used to reduce glare. to emphasize changes in the flow of trdffic, or to highlight seg- ments of Ihe road. such as Ihe approach to downtown. Conlrols of private signs and lights could enable special effects for enlivening portions of urban roads. In general. lighting reveals the form and meaning of the road at night. Lighting design will reinforce good highway de- sign but cannOt replace it (r~f 56). Rest Areas The Highway Beautification Program en- courages states to provide more rest areas for the "safety, convenience. re- laxation and recreation" of highway travelers. Federal-aid programs may be used to help provide these facilities along interstate. primary and urban sys- tems. Land may be acquired as pllt1 of the right-of-way. for the specific purpose of roadside rests, under the general au- thorily to acquire land for highway pur- poses. Land for roadside parks and other more elaborate facilities may be acquired by many states. In Oregon. for example. acquisition is authorized by purchase. agreement, donation, the right of emi- nent domain. or whatever means neces- sary for the: Developmenr and ma;l1Iel10nCe of publ;c parking places. allio camps, camp sites, roadside development, recreational grounds or resorts, forest or timher areas or other places of at/raction or scenic v(/Ille which in Ihe judgment of the commission are necessary for the convenience of rhe public, and which will cO/1/ribllle to the general welfare and pleasure of the !/Iotoring public or road IIser (ref. 62). Development of rest areas can become a focal point for projects aimed at enhanc- ing the highway user's experience. By offering a quiet oasis apart from the con- stant rush and demands of the road, these areas improve safety as well. •As target areas for landscaping pro- grams. special attention can be given to pedestrian oriented details such as plantings, walls. walks and benches. Installation of sculptures in rest stops has been successful in Vennont. Massachusetts and Nebraska (Case Study 1.4a). Infonnation regarding scenic, historic, cultural. recreational or religious sites enhances the usefulness of the road, I'<",,,trion ,0.k.nO ......, "",k '>'1""00';' MN. ",,' "" •. Sitcs may be developed as recreation facilities. i.e. for overnight camping, nature walks. or as staging grounds for bicycle. biking, riding or skiing trails. Controlling Roadside Development Techniques for controlling roadside de- velopment may include the acquisition of scenic easements. development and en- largement of the right-of-way to provide rest areas and overlooks, regulation of billboards and junkyards, and subdivi- sion and zoning regulations to define land uses. Such management of the roadside can help to integrate the high- way with its cnvironment more effec- tively. Implementation of roadside develop- ment, beautification, and aesthetic design programs for federally assisted highways raises some pertinent issues: Although federal law rcquires the states to maintain effective control over the erection and maintenance of outdoor advertising signs and junk- yards along our interstate and fcderal aid primary highways. implementation is necessarily at the state and local level. Legislative powers and authority must be present to enforce control ovcr billboards and junkyards. and to ac- quire the necessary easements in the scenic enhancement program. At the local level, a means of estab- lishing regional priorities is needed. In order to protect the public interest along the roadside, legislators and the courts must include a consideration of the need for beauty in their definition of the public welfare. Federal funds authorized for junkyard and outdoor advertising control arc out of the gcneral treasury and thus ear- marked for that purpose. Federal funds arc no longer authorized separately for scenic enhancement and landscaping under Section 319 of Title 23 so this program must compete with construc- tion projects for funds out of thc high- way trust fund. In recent years. federal allocations for highway beautification programs have been minimal. HIGHWAYS - % I. CASE STUDY 2.3a Vermont Interstate 89 Aeslhetir Design of a Major Highwu)' Interstate 89 runs from the Connecticut River at an eastern point of the state, to the Canadian border near Lake Cham- plain on the western side. Construction was completed in 1973 It passes through the state capitol of Montpelier as well as the largest city. Burlington. and links these cities with Bmton. Montreal. and via Intersl ,n'o t!le ",..I 1.11d",.p< pedestrian arcas from the road. Sculp- tures have been installed away from the rO'ldway. to further encourage pe- destrian enjoyment of the rest areas. (Case Study 1.4'1). As one Vermont highway engineer put it. "[t's hard to go wrong with this sce- nery!" Starting out with a spcct in the midst of Ihe u..Soreol lor"". MOl 1919 , 99 Mellin" DEStG~ sweeping changes of the Industrial Revo- lUlion. This case study illustrates how one small town sueceeded in changing federal highway design standards to respond to their historic preservation concerns. de- spite the reluclance of state and federal highway departments to be flexible in applying their own rules. The Elm Street Bridge. constructed in 1869. is a wrought iron "Parker-PalenI" pony truss- "an iron bowstring truss bridge with brace framework above the roadway for lateral support resting on stone abutmcnts"(ref. 76) (sec photo be· low). It is one of the few surviving bridges of its type in New England. the only one in Yermont. lUld is listed in the Historic American Engineering Record Woodstock Village itself is an historic district. The bridge seryes as a gatcway from the north to the village center and slows • tmffic to a speed compatible wilh the pe- destrian-oriented scale and feeling of a nineteenth cenlury New England village. By 1977 structural deterioration had ~­ eome so severe that the brid\:le was a se- rious hazard. Unable to afford the costs of repairs. the town deelared the bridge unsafe and appealed to the state for aid. The slate agreed that the Elm Sireet Bridge was one of the most critical bridges in the state. and drew up propos- als for replacing il. Funds were available under the Special Bridge Replacement Program in whieh the federal govern- ment pays 75%. the state 20%. and the local government 5% of the cost. The condition was that the bridge be torn down and replaced with a modern, wider bridge. which met FHWA safety speciti. cations and geomctric standards. The town reacted strongly against this restriction. Their interpretation of the de- sign slandards was that they could be used as guidelines. made to eonform 10 local needs. They felt that using Special Bridge Replacement Program funds for restordtion of the bridge should have been allowed. Both the State ~listoric Preservation Of- ficer and the Ottauqucchcc Regional Planning and Dcvclopmenl Commission became involved through the Iypieal .. A-9S" review (for projects using fed- eral fundl». and worked to assure Ihal the nccessal')' procedures under Ihe Na- tional Hisloric Preservation Act of 1966 would be used "to resolve matler~ in- volving federal funds being spenl in a way that could have adverse effects on an historic ~itc" (ref. 73). The citizen'~ movcmcnt became CVCIl Illore organized in lhe face of the Stale Agency of Tran:~por1ation'~refusal to ad· just its standards. A year was spent in galhering information and having discus- sions and public mcctings. The case for nexibility in applying the federal regula· lions was ultimately brought before the Secretary of Trdnsportation. HIS re- sponse was Ihal Special Bridge Replace- ment Progrnm funds could not be used for maintenance or restoralion. but only for replacement. The town and its supporters. however. firmly believed that their position was correct. and that other bridges were also at Slake. Provisions in Ihe National His- toric Preservation Act of 1966. the Na· tional Environmental Policy Act of 1969. and the Dcpanmenl of Trdnsporta- lion Aet of 1966 provide support for re- direction of specific programs when special circumstances are involved. All of these statutes contained policies and provisions to protect and enhance the en· vironment. including preservation of unique settings and structures. The Town of Woodstock undertook to review the town manager's application for Bridge Replaecment Funds, under Section 106 of the Historic Preservation Act. The Advisol')' Council on Historic Preserva- tion was called in to review the dispute. A compromise was finally reached. The restored bridge would be 14 fcct wide. a minimum for lraffic safety and a maxi- mum for preserving the aesthetic chamc- ter and setting. Design details were specified to mitigate the negative impacts of dismantling and restoring the bridge. The trusses will be restored and incollJOnltcd into the new bridge. Abutments will be reused if structurally sound. or reconstructed 10 have an appearance similar to the origi- nal. Timber sidewalks will be rebuilt on the outside of the trusses. and the exist- ing decorative wrought iron railing will be restored. Guardrails will be simple box beams and all railings. guardrails and steel sUperstruclUrcs will be painted black. Costs The cost of this bridge was estimated in January 197910 be 5663.000. Lessons Federal regulations need 10 be applied with reasonable flcxibility regarding standards and allowable opemtions. as this case study shows. Broad. nation- wide programs often cannot res]Xlnd 10 exceptional cases individually. When the initiative for flexibility must come from the local le\'e1. howe\'er. the tendency will be to reinforee the status quo. Persistent advocacy by concerned groups in Woodstock was an essential clement in changing normally rigid procedures. Local resources and exper- tise perhaps were exceptional in this case. btl! nevertheless provide a model for other communities. HIGHWAYS-IOO CASE STUDY 2.3c Vail Pass Fitting a Highway to the Land 1.70, Colorado Information for this case study is based on the booklet. 1-70 in (/ MOl/lI/ain Envi- ronment. Vail Pass. CO. (ref. 7[). Interstate Highway 70 crosses the Rocky Mountains over the Vail Pass (el. 10.603'), one of the highest elevations for an interstate highway in the United Stlltes. The mllin objective of the Vail Pass Project was to construct an inter- state highway compatible with this deli- cate mountain environment. whcre the soils are highly eradable and spectacular scenc!)' attracts thousands of visitors an- nually. The highway was successfully fitted to the [and, protccting fmgile eco- systems. preserving visual and natural resources. and improving the public's enjoyment of the area by increased ac- cess and sensitive design. These prob- lems were resolved effectively as a result of interagency cooperation throughout the project. Following the decision to extend 1-70 across the Rockies, heated controversies developed over the selection of the corri- dor. In 1959. after a thorough study of alternative routes, it was recommended to follow the existing U.S. 6 over the Vail Pass. The Vail Pass route was controversial, however. Subsequent to the National En- vironment Policy Act (NEPA) in 1969. a series of environmental impact ~tate­ ments. studies. reports and clearances on the full project began, and continued through [975. Construction began in 1973. involved 22 individual projects, and was not completed by 1979. From the beginning. every effort WllS made to minimize or eliminate lldverse environmental impacts. Scenic quality was considered a key value as well. De- sign criteria for highway alignment and structures were prepared. Federal. state. tOI _ FACILITY DESIGN and local agencies provided data for the design studies. The U.S. Forest Service was llctive in the development of the road through the White River National Forest. Memoranda of understanding were prepared between the local Ranger Districts of the Forest Service llnd the Colorado Highway Department. specify- ing construction techniques and contrac- tor requirements. The Colorado Division of Wildlife consulted on game crossings. habitat criteria and channel changes. Lo- cal agencies aided with information on water quality and revegetation tech- niques. Alignment and design concept stages were used to fit the highwlly to the land with the least ecological and visual dis- turbance. It became elellr, as studies pro- gressed. that unforeseen circumstances would arise during cOllstruction. requir- ing adjustmcnts to standard contract doc- uments. As a result. special accounts were sct up to finance unforeseen envi- ronmental protection expenscs. During construction, personnel were assigned to help solvc erosion control. landscllpe and revegetation problems. New tcchniques proved to be so successful that they were incorporated into standard contract docu- ments. improving cost effectiveness and design. Special structures were required to Soodc >nd trnl.itw.y. rro.io«d .... 'onni",l. Tuc>Oll, Urban Design The following examples of some propos- als for Tucson illustrate the types of op- portunities for integrating buses and bus passengers into the downtown street en- vironment through urban design: b. fui>linl CooV''' $It" ,,' ~M(I 1.>1......... ~.... "'" <""""" l.UIIIt, I.' dl>ll""""< ""Y jectives for design. and clear-cut design ."'..~,......---... review procedures. Guidelines for com- munity input must be defined as well. Authority for deciding what is acceptable should be established and asserted in a manner which does not diminish the cre- alive contribution and expertise of the design professionals involved. To some extent an uneven level of quality must be expected. from station to station. as every team cannot be equally talented. Performance criteria for materials and detailing can insure basic standards for design. 7Unified Design With this choice. all stations are de- signed to have a uniform appearance by means of shape. usc of materials. and color. Basic configurations and a stand- ardized architectural vocabulary arc es- tablished for the entire system. Variations are only to meet specific local conditions. i.e. side or central platforms. route crossings. site geology. One design team is responsible for working out the essential features of the system. and for overseeing the production of specific construction documents by other subsidi- ary finns. This greatly simplifies plan- ning procedures and may reduce administrative costs. Aesthetic Impacts The system is perceived as a compre- hensive architectural unity. leaving ri- ders with a dramatic overall impression. Continuity of design clements clarifies how to use the facility even in unfa- miliar settings. Consistent and predictable environ- ments can be psychologically reassur- ing. People provide the ··color·'; the archi- tecture is merely background. An architecturally consistent environ- ment is unsatisfactory to some users. who may find it to be impersonaL and 10 designers. who may feel constrained by the unifonn standard required. Orienta- tion within the system and to nearby lo- cations depends on reading signs. since stations lack other distinguishing fea- tures. Additional visual diversity may be needed to providc landmarks. Above ground structures may be difficult to rec- oncile with particular neighborhood set- tings. and a mass-produced or bland appearance should be avoided. These ·'costs·' might not justify the advantage of simplified planning procedures and quality control. RAPID TRANSIT - liS Circulation and Orientation Aesthclic concerns in the design of cir- culation sequences include whether en- tering or leaving is exciting or threatening: and whether the sequences are easy 10 move through or are crowded and confusing. It is also important Ihal these patterns are integrated with the slrcctsca~. reinforcing neighborhood fo- cal points and paltems of aclivil)'. Entries Locating entries in the open. sheltering them wilh covers. Of placing them in buildings are design choices with signifi- cant aesthetic impacts. People's images of the system are partially associalcd with their impression of the cntry-:lften the actual interface between (he "nor- mal" world and the underground or aer- ial world. Open air entries mllY express dircci pub- lic accessibility. unimpeded by physical or visual barriers. in (he fOfm of doors. walls. or gates. (However. they are in- convenient 10 passengers in climates with frequent rain or snow.) When suffi- ciently wide. these opcnings can allow fresh air and natum] light into under- ground and street level stations. Orienta- tion and security arc enhanced through the visual conne<:tions provided with streetlife and other activities. Often such entries can easily blend with the existing character of the site. needing minimal articulplay 0( on ob)«l>. L.ou'''' SUuoo. Paru.. Mexico City's stations have been com- pared to Aztec temples. with their carv- ings. fine finishes. and traditionally styled architecture. Artistic treatments did not add significantly to the cost. ac- cording to the builders. lngcnicros Civ- eles Asociados. Historic and symbolic motifs are the primary decorative sources. along with archeological treas- urcs unearthed during tunnel excavation. Such designs celebrate thc aesthetic val- ues of Mexico's living past. while filling a critical need in this city choked with vchicles and smog. Making them beauti- ful was not an afterthought. but an intcn- tional gift to the public. providing endless opportunities for viewing. Qualities of the social environment are implied through the comfort and beauty of stations as well as through the availa- bility of activities in which to partici- pate. i.e. shopping. eating. watching pcrfonnances. even watching people. How station design qualities have con- verged to create relaxed and pleasant so- cial situations is discussed in greater detail in the following case srudies. i~ ,... \':i\~ r?-; - ( RAPID TRANSIT _ 124 CASE STUDY 2.5a Montreal's Melro Innovative Subway Design Montreal. Canada Montrears Metro stations have been de- scribed by planner Vincent Ponti as ··some of the city·s most stunning inte- rior spaces.·· 1bey reflect their sigmfi- cance as parts of an overall circulation and communication system. enabling the integration of a variety of urban activi- ties. As with many successful projects. the Metro can be credited to the long- standing commitment of one po.....erful public figure-Mayor Jean Drapeau. Worl:: was begun on the first 10 miles of the system in 1962. at an estimated cost of $132 million. An extension to 15.5 miles was planned in 1963. bringing the cost up to $213.7 million. Eventually thc system will include 44 miles of track. contain 82 stations. and cost $ 1.6 bil- lion. Currently 19 miles arc completed and IS miles are under construction. Fi- nal completion is sct for the 198O·s. 1be subway was originally a project of the City of Montreal. managed by lhe Metro Bureau. Department of Public Works. In-house architects developed plans for II stations and private firms designed 15 others. The Metro was coor- dinated with the bus system from the very sIan. La Regie Autonome des Transports Parisiens was a consultant al the request of the Mayor. When the 29 municipalities of the Island of Montreal were incorporated as the Montreal Urban Community (MUC) in 1970. responsibility for administration and maintenance of the Metro was trans- ferred to the MUC Tr.iDsportation Com- mission (MUCTC). A new department. the Bureau de Transport Metropolitain (BTM). was created to o,·ersee designs and studies concerning the Metro. The BTM established guidelines which include performantt standards and the basic structural layouts for me three tlS - FACILITY DESIGN types of stations used in Ihe system. Special equipment and some fixtures were also specified. Each station archi- tect develops his own design philosophy and spatial concept. but uses these stand- ard guidelines. Pan of Mayor Drapeau·s vision for the Metro was that it should contribute a..""S- thetically to the urban environment. Sta- tions were concci,'ed of as important public places. graced with artworks. and contributing to the rejuvenation of the city. Each station has a unique identity. and can be easily recognized from the lrain. For travelers' convenience in this harsh climate. all entries are in kiosks or adjacent buildings. These entries often are prominent pieces of architecture and design in their own right. The 1',letro stimulated the de,'elopment of Montrears ··underground city'·. This as- pect of the system is discussed in Case Study 3.4a. 1be traveler experiences this tOlally un- derground system as a series of discover- ies. a visual potpourri. The ride is swift. sfl'lO()(h and quiet. Trains are comfortable and uncrowded. Not all stations are equally beautiful. but most express a warm cheerfulness and sensitivity to hu- man scale, Some stand out as masterful creations. dignifying function with an el- egant simplicity. The rubber tired Metro rolling stock and its concrete tracks are key elements in the success of the system. provK1ing one of the most comfortable rides anywhere. The trains were designed to be simple and lasting. in both functional and aes- thetic terms. The only stylistic decora- tion is a horizontal white stripe. part of the system identification. The ride is smoother and quieter than on conven- tional stccl wheels and rails. and trains are able to negotiate steeper grades. As a result. a humped line profile has been adopted_ putting stations closer to the surface and saving energy by naturally regulating speeds. Large windows in the cars relie,'e a sense of claustrophobia and open the rich views of the stalion to the riders. For many. the front view of the car with its extra wide window has become the symbol of the Metro. Interiors were de- signed with wann. bright colors and cushioned fiberglass seats. All stations are standardized into three types. TIley may be built in open cuts. in large constructed interior volumes. or in tunnels using concrete vaullS. Mel~ zanine entries are standard and provide travelers with an initial sense of the whole station. Station gear, lighting fix- tures. exterior decors. graphics and ad- vertising are part of lhe standards imposed by the BTM, One outstanding characteristic of the sys- tem is the apparent evolution of stages of aesthetic feeling and philosophy. Sta- tion designs now reflect se\'eral distinct approaches. lbe first stations were gen- erally designed around a large open space with a mezzanine on each side overlooking the track. The surfaces are ceramic tiles and glazed brick. The next phase produced strong sculp- lural forms. Concrele_ granite. stone. brick and steel were used to create tac- tile effects. These stations proved to be visually tOO cold. Recent designs have returned to the use of wann colors and emphasize spaciousness and natural light. Concrete and other durable materials are still used. but in a softer manner. set against colorful industrial forms. Completed stations become the property of the MUCTC. 1bc BTM continues to participate in eertain decisions, in order 10 prevent mainlenance services from damaging me original architectural ideas. RAPID l1I.ANSIT - 126 127 - FACILITY DESIGl'I Angrignon Angrignon is the terminal of the recently completed western extension. Located on the edge of beautiful Pare Angrignon, it serves both a residential and an indus- trial area. The complex is an intermodul center serving buses. taxis. automobiles. pedestrians and bicycles. A large (342 meters long) service garage for Metro rolling stock is also included. The cost of the entire development in 1976 was 521 million. The design takes full advantage of the park location by providing views of the landscape from all pans of the building. 1bc building's skin is mostly glass. making the place seem transparent. Ground on either side of the station has been excavated and regraded to reveal the platfonn level which is lined with near:ly floor to ceiling windows. Large fishbowl windows are used at the plat- fonn level as well. bringing refreshing views of eanh and sky to the otherwise underground Metro system. Daylight floods the platfonn 1c\'c1 from above. lbc roof of the entire complex consists of a series of long, plexiglass arehes which fonn a transparent indoorl outdoor canopy. The structure is elegantly simple :lIld strol.ightforward. uses prefabricated pans. and is designed to be an aesthetic cle- ment. T-shaped concrete columns sup- port concrete channels which act as beams and conduits. The plexiglass arches are allached to these channels. creating a strong linearity suggestive of the movement of people and trains. Thc frames for the plexiglass, the ends of the channels. rails. and the poured concrete service rooms are all painted bright orange. Ventilation stacks are in- tegrated with the design as sculptural clements and painted bold red and or- ange. Bright colorcd. formed fiberglass scats lldd to the visual gaiety. Platform- level vents are also transformed into de- sign elements through color. The strength and clarity of the physical fonns, a visual closeness to nature. and the play of light and shadows make this station an exhilarating environment to move through. Arrival by train is almost startling-like coming outdoors from a dark interior. lbc sky-filled view from the platfonn inspires a mood of anticipa- tion and excitement. Bright colors. natu- ral materials and views of nature make this a place for people as well as lOa· chines. The most striking effects arc the patterns produced by the structure and canopy. Sunlight shining through me ribbed arches casts delicate scalloped patterns across the ground. At times these ~m­ ble the shadows made by waves on the sand in shallow water. New imagery is continually revealed as shadows shift or lhe viewer proceeds through the space. Standing among the branching columns and web of shadows is almost like being under the trees of Pare Angrignon. The station's self-identifying image is a distinctive clement in the landscape, yet not a dominating one. The transparency and lightness of the structure minimize lhe impact of the overall volume and mass. The additive nature of this large form always refers the user back to the smaller dimensions of the structural bay. The irony of this design is that the sta- tion's presence is appreciated through openness and light. The surrounding community is linked to the station by provisions for vehicular and pedestrian access. The temlinal itself has become a sort of gateway to Pare Angrignon. Buffer elements were designed to miti- gate the impact of the service garage on the park. A corrugated metal fence was painted in bright yellows and oranges in a pattern designed to suggest movement. The garage is further screened from sight by a naturally landscaped earth berm. Excavation of the tunnel from the tenni- nal to the garage produced the necessary earth material. The tunnel cut was only partially restored. and a small pond was created in the parkland belwccn the ter- minal and the garage. Credits for Angrignon Station Station Design: Staff Architects from BTM Lessons from Montreal Metro Although the culture and government of Montreal are unlike that of United States cilies. lherc are some lessons which ap- ply to our systems: • Continuity over a long period of time of the personnel responsible for the de- sign of the Metro. from the Mayor (in office since 1954).10 the architectural staff of the BTM. has helped ensure the preservation of the original goals and directives for quality. Under these circumstances. the staff has had the luxury of being able to learn from ex- perience. Guidelines can be developed which specify basic functional requirements. standard equipment. and minimum standards, while still leaving the archi- tect with significant creative freedom. The success of the system lay in the ability of the BTM architectuml staff to coordinate and monitor the efforts of many individuals and firms. • An effeclive commitment to design quality and maintenance are the most important factors. This commitment is conlinually being renewed by the client. The results lead to frequent and respectful usc of the facilities and po- litical support of the system. _______...J RAPID TRANSIT - III I, CASE STUDY 2.5b BART A High Technology System San Francisco Bay Area, Calirornia •. S"" Frmcii<: ....... ,.......... II> ........ 13J _ FACILITY DESIGN platfonns covered by large concrete roofs with the shape of ;) gull's wings in flight. The system is designed as a comprehen- sive architectural emity-a "system-sys- tern". 11lose underground stations 1001.: more or less similar. The above ground look alike as well. A consistent system of signs and graphics is used throughout. The design of the Metro was strongly in- l1ueneed by the Commission on Fine Arts and its then Chairman. Gordon Bunshaft. Hllrry Weese and Associates, the architects for the whole system. orig- inally intended to vary stations in re- sponse to the location but the Commission's preference for a strongly unified vocabulary prcvailed. The general aesthetic intent of Metro is very clear and consistently executed: to create a unified. monumental comple- ment underground to Washington's ar- chitecture above. Thc following are partjculars of the aesthetic effect: • The spaces are successful in establish- ing simple grandeur. • The floating platfonns and indirect lighting focus 011 the grand vault and away from the people. This makes the environments very dramatic, but some- what impersonal. • lbe mezzanine entranccs enhance the spatial drama by providing an uninter- rupted view of the whole station and making orientation easy. The colors are very subdued. and signs lind advertising arc not pennillcd a ma- jor visual role. Since standard clements were used throughout. each component plays a par- ticularly important part. Coffered concrete vaults are the unify- ing elements of the Metro. 1ney go through subtle variations. They also con- tain acoustically absorbent panels. F1oal- ing phltforms and mezzanines arc designed in such a way that lhey never visually connect to the vault. This also discourages graffiti which is virtually non-existent. Lighting is indirect. reflected onto the vault both at thc edges from behind plat- fonn rails and from the sign pylons. The fixtures are difficult to keep clean and this hns caused considerable (and unfor- tunate) dimming of lighting levels. Lights set in the pavement along the platform's edge flash to signal the arrival of a train. Signing is provided by wall-mounted signs and free standing pylons and has generally proved inadequate. Wall signs are hard to sec from the train and the pylons may sccm to give ambiguous di- rection. Floors arc of a dark brown tile, illcrcas- ing the feeling of being underground. Benches are 100 few and nOI comforta- ble. Color is provided only by a few backlit advertising signs. The dominant effect is monochrome. Entrances make a minimal presence above ground. They can be fitted into any surface situation using standard ele- ments, but arc hard to find and add little to the strcetscape. Costs Through 1978, construction costs have totalled just over 53 billion. Funding has been a combir\ation of federal-aid inter- state highway transfer funds. other direct congressional appropriations. and contri- butions from the regions served. Credits Client: Washington Metropolitan Area Transit Authority (WMATA) Architects: Harry Weese and Associates Engineers: DcLeuw_ Cather and Associ· ates. The two firms were retained di- rectly by the client and given equal StlltuS on the design team. Lessons • The client and the powerful Commis- sion on Fine Arts specifically wanted the monumental. unified image and successfully directed the designers to obtain it. The overall effect is well matched to the cnvironment of monu- mental Wnshington. although it might be inappropriate elsewhere. Some opportunities are losl by this type of approach: the type of colorful activity that animates the stations in Montreal and the type of streetscape improvements and integration of en- trances that has occurred in BART. Giving the arehitects a status equiva- lent to the engineering team was criti- cal to allaining the high degree of aesthetic design control. RAPlDTRANSIT-Il4 lCASE STUDY 2.50 MBTA Modernization Design for Efficiency and Aesthetics Boston, Massachusetts Boston's subway sySlem is one of Ihe nation's oldest. It began operations in 1897 as a subterranean trolley line. To- day, the combined subway and streetcar system is 73 milcs long, has 44 stations. and carries 146 million passengers an- nually. The Massachusetts Bay Transportation Agency's multi-million dollar Program for Mass Transportation. begun in 1964, includes the construction of new stations and modernization of the existing sys- tem. The purpose of the modernization project was to improve the functional ef- ficiency and visual impact of the stations through good design, Facilities were to reflect thc rising standard of urban liv- ing. make transit riding more convenient and comfortable. and be comparable to the new suburban stations. A description of the Program says: "Dismal depressing austerity that drives prospective customers-and revenues- away will be avoided. Lavish ornateness which serves no basic purpose. but wastes funds as well as confuses the ri- der, and adds to maintenance, will be avoided, on the other hand." ('4. 95) The architectural finn, Cambridge Seven Associates. was hired to rcdesign the system. They approached the problem from the standpoim of urban design- how to help make downtown Boston function better. 1lIeir work. as described by Peter Blake in Subwoys (ref. 88) is summarized here. Four techniques were used: identifying the four lines with color, standardized typography for essential information, pictorial images to relate subway plat- forms to above-ground scenes or land- marks, and improved vehicle design, 135 - FACIUTY DESIGN Lines are known as the Red, Blue, Green and Orange. Station color schemes often reflect this identity as well. A color-keyed horizontal band with the station name facilitates recognition from the train. End walls are often keyed to the color of the line. Helvetica medium is the type face used throughout the system. A logo was de- veloped (a T in the circle). and used to signify the location of a slalion. An ar- row in the circle points to station entries. Easily legible diagrammatic subway maps were designed, and coded by color and typography. Photographic or painled wall images por- tray above ground scenes or representa- tive themes. At the Aquarium stop. for instance, the graphic has a fish theme. while at lhe Airpon stop Ihere are birds in flight. These images are the only "posters" seen from the train. All other advertising is restriCled to the wall be- hind the tracks. and cannot be readily seen from inside the train. Typically, stalions modernized during the first phase of work share an under- stated aesthetic. Brick noors and walts, wooden benches. fluorescent lighting, and clear signage create an uncluttered and efficient. yel warm appearance. These stations provide underground trav- elers with a relaxed reassuringly' 'nor- mal" setling. Recent renovations introduced new design clements. , ". Tn""· _ '""""""~....~ .:.. b -d, E>-poJ>«! ,,,,,'C> ..... poptl"" on: .. So.. Slr«! State Street, Orange and Blue Lines An all-white color scheme and straight- forward detailing give this station an austere. direct aesthetic. The only dec0- ration is a striking supcrgraphic star, in the system colors. in a two story cham- ber leading [0 the platform. The design also serves to direct passengers to either' the Orange or Blue Line. The interior volume has been opened up to its two-story height," the platform room, too. In the renovation process. (wo old trusses were revealed and painted white, heightening a sense of the volume (photo b, to left). Above the tracks and visible from the platfoml. a window opens onto an upper level corri- dor. This unusual feature adds to the sta- tion's spatial complexity, and gives pedestrians a sense of their destination. the platfonn below. Arehitects for the station were Wallace, Aoyd. ElIenzwcig and Moore. Park Street Slation, Green and Red Lines Park Street Station is the centerpiece of the system, the intersection of the Green and Red Lines. It is the busiest and largo est station and the most complex in terms of function. It is also the oldest subway station in the country. The fairly controversial renovation was the subject of an extensive user involvement proc- ess. funded by the Urban Mass Trans- ponution AdministrJtion. Colored ceramic tiles are used in a lav- ish way. creating a gaudy yet whimsical environment. Patterns. colors and forms add up to a richness which imbues other- wise ordinary spaces with visual and tac- tile interest. A non-conventional color scheme of reds. greens. yellows and blue is vivid. although not pleasing to everyone. Closely spaced suspended lighting fix· tures fonn a composite overhead fabric_ reinforcing a distinct interior quality. Shades glow and sparkle. adding to the dramatic quality of the seuing. Green and red lamps reinforce the system's color identification and provide orienta- tion. The lights dominate the statKm's image and are its most controversial de- sign element. Kiosks which incorporatc benches are permanent furniture. designed to house nower and fruit stands. Carving shel- tered spaces out of the path of circula· tion, the kiosks provide a natural focus for activity. Although these sp..1ees arc not yet used for concessions. Park Street's famous "underground" musi- cians find them to be excellent sites for performing. Many small events attract the eye- lights. colors. textures. forms-and this can be beguiling or confusing. The ef- fect is festive. but may cause a tension if there is too much going on. A warm sense of humor has cnchanted a previ- ously drab place. But so many different design elements seem to compound the existing visual c1uller. The architect was Arrowstreet. Inc. System Costs and Credits The Mas!>aChusctts Bay Transportation Authority (MBTA) owns the system. and is responsible for its coordination. ex- pansion. improvement and operation (in- cluding funding). Ovcr SI5 million will be spent on major .....ork on 18 stations and minor work on 22 others. The de- sign department. under the direclion of John Williams. coordinates the work of consultant architects. which is subject to rigorous community reviews. Lessons • Graphics. colors and materials supply an underlying visual unifonnity which cnables station design to vary. Riders receive an overall impression that the MBTA is willing to explore new de- sign ideas and eneoumge diversity. as well as provide a consistent. easy to use service. Upgrading the stations of an old sys- tcm can be an effective means of im- proving the public's image of rapid transit. There is no substitute for serv- ice. ho.....ever. which remains the pri- mary factor in consumers' choices. Modernization will be perceived as a mere race lift, and even resented by some. if service improvements do not follow. RAPID TRANSIT _ 136 137 - FACILITY DESIGN a a... , . ..._- I r"i" _ Seclion 2.6 Railroads This section discusses the use of acs- thetic design to funher a railroad revital- izalion. Aesthetic design opponunilies include enhancing Ihe travelling environ- ment (lhe interior of Ihe train). and de- veloping the aesthetic potential of stations as public buildings with signifi- cant impacts on the traveler and on the surrounding community. Railroad freight service willoot be considered here. Ponions of Ihis section were taken from rescarch repon.s on this subject. in par- ticular Rt'c)"cfing Historic RuilrQ(Jd Sta- tions ages provide access to adjoining buildings. Even without the Gmnd Hotel called for in the original plans. the tenninal is really a city within a city. 1.0 - FACILITY DESIGN New London. Connecticut's Union Sta- tion, originally designed by H.H. Rich- ardson. is a good example of retained and expanded transportation uses in a re- cycled station. As part of the ortheast Corridor Improvement Project. ( ECIP) Amtrak agreed to lease space to a devel- oper who put together the renovation package. Amtrak nQW shares the first floor waiting room with a restaurant. The basement was opened up to provide additional waiting space. and a mezzan- ine adds room in the restaurant section. A sense of the original openness and grand scale has been retained. Intercity and local bus service arc to be located in the building. thanks to NEelP planning funds. There is a taxi waiting area directly in front of the station. and a l.500-car garage. built with urban re- newal funds. across the street. Boals to Southern New England islands depart from adjacent docks. The station's downtown location makes this connection convenient 10 the restaurant and the city as a whole. b. AMlll.AK·, ""'" ,.pe,l",." •. View,.,r 1"".1 by (J1l;o. co. 1890. Vehicle Design An important aspect of improving the popularity of train travel is the design of the train itself. The decline of passenger service resulted in less money being spent on the purchase and upkeep of trains. As a result. much of the existing rolling stock is over 20 years old. Re- cently, public and private efforts have been aimed at upgrading existing trains, and designing more comfortable, attrac- tive and efficient trains for the future. The first new long-distance passenger rail cars built in America in 20 years, luxury bi-level superliners, were intro- duced in October, 1979. These cars cost nearly $1 million each. Among the fea- tures offered arc deluxe bedrooms, fam- ily rooms. private baths, and full-size kitchens which pennit expanded meal service. Tn marketing rail service. comfort for passengers should be emphasized. This concept was important in new design features selected by the Canadian gov- ernment (now being implemented) as a result of a limited competition for the design of improved trains. Features of the new interiors include warm brown- toned decor, encased overhead luggage racks, five-foot long tinted windows. reading lights. food service at each seat. and modern washrooms with provisions for the handicapped. These designs will be incorporated in new trains, and will be adapted to existing trains as well. Layouts can be modified to meet chang- ing passenger requirements. i.e., turning coaches into club cars, which have al- ways been weleomed by passengers. European rail cars have long been fa· mous for the quality of their dining cars, day coachcs and variety of sleeping ar- rangements. The recently retired Orient Express. for instance. provided an ex- ceptional travel experience and rich ma- terial for the imaginations of many who rode on it. It was the setting for daily dramas and romantic emotions in real life as well as fiction. A self-contained "hotel on wheels," known as the Tour Train, offers a varia- tion on this experience for Amtrak and Canadian passengers, carrying travelers on weekend excursions to selected resort areas. Operated by the Otter Valley Rail Road in Procter, Vennont, the train pro- vides 30 passengers with transportation, sleeping accommodations and meals, as well as ground transportation to local at- tractions. Stopovers arc planned ncar sites of interest to tourists. RAILROADS _ 144 •. ObCd probk:m. roc both.Ir t..volon ..d, >OTTOO iR'pre 11,1')'1<>I1. lCiWl. III AIR TERMINALS _ 150 Design Concepts Passengers retain long-lasting impres- sions of terminal design. These im- pressions may influence whether a per- son will tmvello a city by air, and how they relate 10 ()(hers while in the tcnni- nul. Two types of design COllCCptS de- scribed here--called "grand gateways" and "the terminal as machinc"-arc useful in looking at general aesthetic is- sues involved with contemporary termi- nal design problems. 151 _ I'ACILlTY DESIGN Grand Gateways Terminal design can provide a coherent visual image. a "gateway" which ex- presses the large-scale civic commitment 10 the airpon. This son of approach often produces architectural forms which arc quite sculptural and unified. In some cases. such as the Dulles and ewark terminals and Kennedy's TWA terminal. these forms arc intended liS dynamic expressions of the movement and energy of flight. Terminals designed in this grand manner are closest in form to their predecessors, the sumptuOUS railroad concourses. lbesc kinds of terminals Strive 10 em- body symbolic power. ennobling the transport companies and their passen- gers. as wcll as the host community. Commanding the scene with their domi- nating presence, strong large-scale forms are often well suited for the vast land- scapes of huge airfields. Meant 10 be perceived from afar, however, modem monumental designs att often ineffective up close, if they lack the detailing which characlcrized railroad terminals. Monumental forms also (end to be diffi- cult to modify for changing needs. Ex- pansions can dilute or destroy the original intended effect. Programmatic changes, such as reuo-fining for secu- rity. may detract from the monumenlal scale by creating inefficient uses of space as a result of par1itioning and clos- ing off circulalion areas. This issue more fully iIlusttaled in Case SlUdy 2.7a, Dulles Airport. The Terminal as Machine The rapid growth of airports during the 1950's and 1960's led to a need to reor- ganize circulation and (0 integnuc termi- nals with ground ITaJlSportation. Older facilities were systematized during ex- pansion. New consuuetion emphasized a I1ltional. linear approach. As an airpon consultant slaled in 1969: "an airport terminal is a location where aircraft dis- charge passengers and cargo and refuel. It should function as a well-oiled ma- chine. ." (ref. 12) 'The functional aesthetic of this approach (and of course most airports represent neither one type or another but a mix of ideas) differ.> from the "monumenta'" mainly in the absence of conscious sym- bolism and in its additive nature. Be- yond these characteristics, either type of structure may assume a variety of forms and circulation patterns, i.e., centralized entries with concourses or piers, satel- lites, hOf5eShoe arrangements, CIC. A product of expansion, these linear buildings are ofleo quite extensive and designed with growth in mind. Anicula- tion of functional separations, terminal units and circulation elements helps to reduce the impact of such sprawling forms. Structural and mechanical sys- tems, when left exposed as pan of the lerminal building's interior and exterior finish, arc natural elements of Ihese aes- thetics. Standarized components provide flexibility for programmatic changes. These designs are business-like and effi- cient, aimed at the frequent user who has little interest in drama or ceremony. With standardized superstructures, the design of the interior spaces and se- quences becomes critical. When success- ful, such buildings can both well serve and celebrate the daily activities of the terminal. When purely utilitarian in de- sign they can be very impersonal and lack identity to the point of disorienting passengers. Logan Airport, Boston. Two tenninals at Boston's Logan International Airpon which differ in size and style. iIIuslfllle this functional aesthetic. South Terminal was the first to utilize the linear concept. The most imponant aesthetic quality of this tenninal is ilS handling of scale. carefully filting func- tional components into economical lay- ered vertical relationships and horizontal sequences. The precast concrete structure is linked 10 the central garage and access drive by pedestrian bridges that define comfona- bly-sized outdoor courtyanis. A!; a re- sult. the passenger's overall impression is gained by moving through the build- ing. not perceiving it as an overall 0b- ject. The rhythm of repeating signs along the access drive is appropriate to the speed of driving, while the passenger spaces are scaled to access on foot. De- sign of the interior is carried out in low- keyed, neutral tones and smooth finishes which reinforce the image of the well-or- dered, functional, passenger-oriented air- PO"· The John A. Volpe International Tenni- nal is a subtle, understated building with long, unbroken lines. 11lese lines per- fectly expreSS the function of the lenni- nal as "an elongated transfer mechanism" with both a layered and a linear plan. The austere design gives the tcrminal a distinclive, refined identity to greet international travelers. AIR TI:RMINALS _ lSI Circulation Procedures for ticketing, holding. screening and otherwise processing pas- sengers have slrongly affeclcd the design of airport terminals. Circulation planning is generally aimed at providing smooth. continuous and efficient mOlioo. and separating lhe flow of incoming and ar- riving passengers. their families and friends. However, long walking dis- tances. and confusing passages and road- ways can impose indignities and discomfort on many users. Especially vulnerable groups include the physically handicapped. Ihe elderly. families with young children. travelers with heavy baggage. and those preoccupied or dis~ (raeted by their business or unfamiliar slllTQundings--just about everybody at one time or another. Design solutions need to limit passenger walking distance. avoid barriers. and improve the scale and clarity of the pattern through signagc. architectural details. and land- scaping tcchniques. Designs to Limit Walking Distance "Drive to your gate". conceptS arc asso- ciated with the linear style of terminal design described above. These arc aimed at the close coupling of land transporta- tion and the airplanes by enabling curb- side check-in or departure pick-up on the same or separate levels. Parking is lo- cated near the terminal. but cannot be convenient for aIL some long walks from the lot are inevitable. Vertical layering of component parts separates traffic and minimizes walking distances within the tenninal. DceentrJlization of ticketing and baggage claim is essenlial to the system. Coordination of the operating methods of the participating airlines is also required: individual procedures must fit wilhin system guidelines. The need to have elaborate approach roads. and secu- IS3 - FACILITY DEStGN rity checkpoints compatible with open plans. are other issues which may inter· fere with the intended direct access to the planes. Dallas-Fort Worth Airport. Described as the biggest and most automated air- port with the shonest walking distances, the Dallas-Fort Worth Airport (Off''') has elevated the linear. drive-ta-your- gate style of airport architecture to an art form. The pilln is a series of semi-circu- lar terminals arranged on either sidc of a high-speed cxpressway. Parking is in lhe center of each tenninal and plane gates arc on the outside. An AIRTRANS pe0- ple-mover system is part of the road spine. tying whole airport together. D/FW is distinguished not just by its size and its integration of muhiple termi- nal buildings. but by the different kinds of perceptions it gives 10 arriving and departing passengers. Passengers arriving by ground transpor- Ullion walk only 120 feet from the curb. through the building to Ihe departure lounge. The connection is direct and un- related to the tOlal ensemble of identical tenninal buildings. which can nOI be vie.....ed clearly from the expressway. From the ~ir. however, the monumental dimensions of D/FW become apparent. The late sculptor. RObel1 Smithson. was a consultam during design to enhance this effect. During aerial arrival and de- parture the traveler becomes aware of the airport as a large scale earth fonn. quite different from its closely knit ap- pearance when seen from the ground. The "s~tcllite concept" limits walking dist~nce by the functional separation of airsidellandside activities, A centr~l building provides passenger processing. concessions. and access to ground trans- portation. Satellite aiISide structures pro- vide waiting facilities. and space for servicing. loading and unloading of air- craft. Various means of connection 10 the main leoninal include pedestrian a,b. S.nd. ~,.m.'" ""urn ",,"te.., e.>;cltjnJ "I"'thl IllS offer spaciousness and the liveliness of a crowd. hcightcncd by thc proximity of conccssions and thc freedom to wander and congregate. As crowds grow, how- ever. and circulation and the display of necessary infonnation becomes more complex. the advantages of central areas decrease. During the 1950·s. gate lounges were favored. These provide smaller scale rooms. which may be more reassuring than crowded, open spaces. The opportunities for amenities and di- version arc necessarily limited, however. by such decentralization. Security needs and economics arc now favoring a return to a shared lounge approach. located be- tween gate areas or at satellites, and per- haps in conjunction with a central hold room as well. as at SEA-TAC (Case Study 2.7b). Miami's satellite facility for international travel illustrates the variety of conditions possible with the shared lounge ap- proach. Passengers with time may choose to avoid the wide open main area, with its comfortable yet fonnally 157 - FACILITY DESIGN portunities for viewing, avoiding a sense of crowding. Amenities Accommodalions for rendezvous and well-wishing at airports are often sorely inadequate, being limited 10 already crowded corridors in front of security Checkpoints and arrival gates. For inter- national arrivals, being mel can become a lrying experience, if"sandwiched clum- sily belween customs and baggage claim. Public ga!hering areas are now being provided at some terminals to make these social aclivities easier for passengers. their families and friends. Baltimore-Washington International (OWn has a centrally located meeting place ncar !he baggage claim, idemified by means of super-graphics and a red tiled floor pattern. In !he Cleveland-Hop- kins airport tenninal a quiel area known as the "Cleveland Space" serves a simi- lar function. Entertainment cenlers where TV or mov- ies may be viewed, or that provide var- ious games such as checkers, chess. pool or pinball, offer passengers something more than eating and drinking as pas- limes. These facilities require addilional maintenance expenses, but also enlivcn lhe general atmosphere and bring strangers together. A unique variation on this opportunity is available at McCarran Terminal in Las Vcgas, where clusters of sloe machines are available for passengers. Airports can also make space available for displays of public interest. (For a discussion of lhe possibilities offered by public art, see Chaptcr I). These can provide a forum for social interaction as well as heighlen me traveler's sense of the larger community. Dallas-Fan Worth's display of a prehisloric dinosaur found during preliminary excavations for the airport reveals, for inSlance, the his- lOry of the site, and dramatizes lhe tre- mendous changes which have taken place in lhe area. AIR rnJU.tINAU> _ 158 The compression of all these activilies into a distance of less than 200 feel has a wonderful effect noc experienced at any ocher major airport: all of the func- tions are easily visible and comprehensi- ble to the passenger. thus creating an intimate. personal sense of the relation- ship of the pans to the whole. Another. very practical effect is. of course. the al- most complete elimination of the tedi- ous. "endless" ,walking so characteristic of many airports. In addition to its conceptual elegance. Ihe tenninal building provides one of the most beautiful spaces created by modern architecture. The sweep of the columns and the roof. the proportions. the views, the quality of light~ the bustling but uncrowded activity all have an immc:di- ate. tocal effect on passengers and visitors. _. c-..sc • ...- ....,..::·'--...c After driving through the unspoiled countryside. the passenger sees the building's shifting silhouette from the sweep of the access road. • The vertically separated ramps--one designed for arrivals and one for de- paIlures-draw up alongside the grand colonnade at the front of the terminal building. Inside. all of the airline functions and concessions are arranged within one large and dramatic light-filled space. • One can walk across the width of the relatively narrow building to the res- taurant or observation ded in one minute and get a broad view of the air- field and the movements of the planes. Without walking much further. board- ing passengers can enter the gates and find seats in the mobile lounges parked along the rear of the terminal. lhe tenninal to the aircraft. which park on the jet ramp a half-mile away. The terminal building was recenlly placed on the National Register of Historic Places. It is currently undergoing some expan- sion to provide additional space for pas- sengers and baggage handling. lbc architect was ,"ery conscious of the need to marry the static. classical tradi- tions of federal architecture with a rec- ognition of the movement. lighlness and excitement of jel travel. l1le overall fonn of the building is a clear and very successful response to this need. An outstanding aesthetic quality of the terminal is the unusually careful and consistent consideration of each aspect of the traveler's experience. This master- fully designed sequence is illustrated by the photos on this and the next page: CASE ST\JDY 2.7a Dulles Airport A Grand Symbolic Entrance Virginia Dulles Airport. located in Northern Vir- ginia. 26 miles from the White House. is a ceremonial gateway to the Capital. Highway access is restricled to a 13-mile limited-access expressway through the rolling countryside. Compleled in 1962. the airport currently hanc:l]es about three million passengers per year. a figure considerably lower than most other large commercial airports. A unique fealUI'e of Dulles is that aJl of its functions are contained in a single compact terminal building 600 by 150 feet. This was made possible by the in- lIOductioo of mobile lounges. a new concept for transporting passengers from • View fro- __ .... 15' - FAaUTY DESIGN .. 1"-~-iiiil-."-I-.'."'" In addition to its overall concepl and unique exterior and interior beauty. the Dulles Airport tenninal inttoduced a se- ries of other notable design fealUres that are illustrated by the photos on this page: • A public observation deck is easily ac- cessible, providing a full view of the tenninal, mobile lounges and airfield. Even !bough most seating is set in straight rows. there are some interesl- ing variations, including writing desks with chairs and lounge chairs around tables with a view. • TIle mobile lounges were designed with the spa<;e and comfort of a real lounge. not with the usually confining dimensiOflS of a passenger vehicle. TIle second generation of lounges are somewhat less satisfactory in this re- gard. since the hydraulic jacks occupy the center of the space. Responses to Change Since the Terminal opened. major changes have occurred in air travel: the need for security controls and lbe inlro- duction of wide-bodied jets carrying three or four times as many passengers as in the past. TIle lalter situation has created a need for a second generation of mobile lounges capable of being hy- draulically raised to the higher airplane doors. The expansion (now in construction. see photo d) was carefully conceived to min- imize any adverse effect on the building's profile. TIle new depanure area will permit moving the security gates to the back gate edge of the con- course area. Additional baggage space will be located below. The aesthetic val- ues of the building appear to be well protected. Costs The original terminal cost S108.3 mil- lion in 1962, including the 13-mile ac- cess road. The addition is budgeted at $7 million. Credits Dulles Airport is owned and adminis- tered by the Federal Aviation Adminis- tration (FAA) of the U.S. Departmenl of Transportalion. Architect Ecro Saarinen and Associates Archilect for lhe expansion: Helmouth, Obata and Ka.ssenbaum Lessons: • Many of the elements of Dulles inchld- ing its "ceremonial" function. its semi-rural site. its federal ownership. and relatively low air and auto traffic volumes are atypical. This cautions against direct adaptation of all the de~. sign features employed at Dulles to other locales. • The beauty of the building is the resull of outstanding woO: by one of the great modem architects, and cannot be transferred by a simple formula. A building at Boston's Logan Airport ap- pears to borrow from it. bul. as might be expected, has fallen short of the el- egance achieved al Dulles. • The degree of concern for the experi- ence of air travelers and the way their needs were sludied and addressed by inventive design are relevant to every airport. Such a perspective should be carefully introduced into airport plan- ning llnd design programs. ArR TERMINALS - 161 CASE SllJDY 2.7b SEA-TAC Airport B~nding Efficiency and Aesthetics Seattle, Washington 1be Seattle-Tacoma International Airport (SEA-TAC) completed a major phase of its expansion and reorganization program in 1973. 1be resulling terminal complex has a capacity of 13 million passengen per year. which is expected to be reached by 1981. 1be complex consists of a main terminal building. two satellite terminals and a 4.300 car. eight-level parking garage. SEA-TAC derives its growing impor- tance from its role as a gateway to the Orient and Alaska. It has a "traditional" plan (i.e .. centraltenninal instead of drive-to-your-gate) but many innovative features: an automatic "people mover" connecting the central building and the satellites. and a completely automated baggage handling system. Arrival by car occurs on the upper level with baggage checking. ticketing and departure gates located on the same level in the adjacent building. Baggage handling. pick-up and departure by car are on the lower level. 1be garage is centrally located and con- nects by bridges to the terminal on a mezzanine between the two main roads. 1be maximum distance from parking 10 gate is 600 feet. The aesthetic of SEA-TAC is a blend of functional and monumental. The ap- proach side of the garage is deliberately designed for a monumental effect. The space of the arrival and departure decks begins to scale down. articulated by bridges and entrances. The main con- course is functional and spacious, but a bit barren. while the waiting areas are sociably arranged, and comfortably fur- nished. Anthropological displays related to the Northwest Indians and works of art (Case Study lAb) are used to accent the waiting areas. The architectural scheme as well as graphic signing make orientation very easy. 1be basic aesthetic was developed in re- sponse 10 some social research by the ar- chitects at the start of the project. 1be research indicated that there are two basic types of air tnIveler. lbe great ma- jority are on routine trips and want to travel as quickly as possible. 1be other type is the occasional traveler or tourist who is more interested in "getting into" the air travel experience. In response to these findings. the aesthetic of the main spaces was deliberately kept smOOfh flowing and functional. More design de- tail and stimulation were provided in tne slightly out-of-the-way waiting areas and lounges. Design elements include: • Moulded, poured-in-place concrete structural clements were used lhrough- out the roadways and garage to pro- vide consistency of form. • The interior of the concourse has a ter- I1lZZO floor, and plastic laminate and steel surfaces in neutral tones that are ideal for maintenance. though some- what impersonal. • To save energy, the intensity of light- ing in the concourse and waiting areas has been cut in half from the original plan. thereby making these: spaces dimmer thaf intended. The waiting lounges have carpeting. comfortable chairs. some tables. dis- play cases and art works. The color schemes are sulxlued. • The information system includes large maps and clear signs. 161 - F....OUTY DESIGN •. Simply dosipod "'*""""" is .....,., fOf aowds. Costs Construction of all new facilities, includ- ing garage, roads and tenninal buildings, cost $175 million in 1973. Credits Client: Port of Sealtle Architects: The Richardson Associates Lessons The carefully considered functional and aesthetic design elements make SEA-TAe airport popular with passen- gers and well-liked by the airport management. The interior architecture of the tenni- nal building does not quite fulfill the promise of architectural excitement created by the outdoor approach sequence. The conditions at this airport are suffi- ciently typical that most of its parXingl roadway/tenninal layout and tenninal design concepts could be applied to major expansions at other large. con- ventionally planned airports. AIR TERMINALS - 162 163 _ FACIl.ITY DESIGN Section 2.8 Harbors and Water Transportation l..oooa M........... IU1. Urban waterfronts in the U.S. are in the midst of a revival after a long period of decline. Actions by transportation agen- cies can playa part in waterfront revival in two major ways: by creating or rein~ forcing still viable water tl1lnsportation. such as commuter ferry services. and by providing the necessary transportation actions for multi-purpose waterfront rc- developmenL This section focuses on these two areas of opportunity. Contents: Waterfront Decline and Revival l1le Potential for Water Transport Actions for WatenTont Rede"elopmenl Removing Transportation Barriers Developing ew Access to Water- fronts Disposition of Waterfront Land Planning and Design Issues TIle Golden Gate Ferry System. San Francisco Bay. California: Case Study 2.8a HARBORS AND WATER TRANSPORT - 1'-4 Waterfront Decline and Revival A few years ago you could work in downtown Boston and except for the oc~ casianol uo breeze flowing up State Street, never know that the harbor was there. That has changed now. Much of the downtown's daily life and special evems such as the July 4th fireworks have mon'd back to the renovaud water's edge. You can now take your brown bag lunch, follow the sea breeze, work your way under the Central Artery and have your vista expand over the Harbor from Wateifrom Park. You can even have your noon meal out in the Harbor, aboard special luncheon cruise boats. Most major American cities started by the water and developed their earliest centers in close contact with ocean or riverpons. In recent years the traditional roles of water transportation have greatly declined and waterfronts have become underused. This decline deprived the public of two types of amenities: the excitement of travelling by water and the aesthetic value of having an active, accessible waterfront next to the city center. The potential for waterfront revival includes a limited but important potential for re- newed transportation uses and a great many opportunities for waterfront rede- velopment for a variety of uses in which transportation actions playa major part. The Potential for Water Transport A certain amount of passenger and freight traffic by water continues to be functionally and economically viable. In several cities such as Seattle, New York (Staten Island) and to a lesser extent Boston, commuter ferries continue their historic role of bringing workers into the central city. In San Francisco, a new high-technology ferry system was estab- lished to serve Marin County and relieve traffic congestion (Case Study 2.8a). Special services such as boats to Na- tional Park Service historic sites in Bos- ton also serve to relieve traffic congestion by inducing visitors to leave their cars behind. In addition, there is a growing amount of excursion cruising and private pleasure boating in most ur- ban harbors. Cargo service is also being revived with container ports and other technical innovations. Ongoing boat transportation along with cargo terminals, boat yards, fishing piers and other marine activity are important in maintaining the authenticity of water- fronts. The types of redevelopment dis- cussed below that are now occurring on many every urban waterfronts could, without the existence of these activities, create an unreal, "theme park" atmos- phere. Heavy industrial uses must, to some extent, be separated to avoid func- tional conflict. But the aesthetics of a waterfront environment should be true to its lively, robust history and allow a va- riety of functions to exist side by side. 165 - FACILITY DESIGN Commuter and other functional boat services have a great deal of aesthetic potential. Boats are generally slower than other modes, but by travelling more directly and without traffic, do not nec- essarily take longer. In any case, they have the potential for making the time spent in commuting a great deal more pleasant for their passengers than the ex- perience of congested driving or transit- riding. Combining the pleasure of boats with the business of commuting attracts riders, as illustrated by Case Study 2,8a. Actions for Waterfront Redevelopment In the last decade. the popular and com- mercial success of waterfront redevelop- ment projects in San Francisco and BOSlon has prompted many cities and developers to focus with interest on waterfronts. Specialty shops. entenain- men!. housing. hotels, marinas. aquari- ums and museums are the most common uses. The "character" of waterfronts is generally emphasized as a theme. These developments have been among the most successful in bringing people back to the cities and creating a "fun" image. in contrast to some of the remaining city environments. Because of these suc- cesses, public incentives 10 waterfront redevelopment arc being provided in many cities. including Baltimore; Seat- lie; Portland. OR; Ponland. ME: Minne- apolis: Philadelphia: and many others. The aesthetic benefits of waterfront rede- velopment include: spatially opening up the city center to and from the water. re- capluring the love of the city's water-ori- enled history. developing new people- oriented uses on the waterfront. and the opponunity for recreation and a change of pace for downtown employees. Many of the sleps needed to open up waterfronts for rede\'elopmem require actions by transportation agencies. By participating. transportation agencies can help provide Ihe public with the aesthetic benefits of revived waterfronts. These actions. which are discussed more fully below. include: Removal of transportation structures that now act as barriers (railroad tracks. roads. highway ramps). Provision of new aceess to the new uses (including feeder service for com- muter boats). • Disposition of waterfront land now in the jurisdiction of transportation agen- cies but no longer required for trans- portation facilities. Removing Transportation Barriers Railroads. highways and wide arterial roads often meet along the waterfront to form an almost impenetrable barrier to pedestrians (see photo below). Opening up the waterfrom requires that new bar- riers be prohibited and that old ones be selectively removed. consolidated. or redesigned 10 insure better access and visual contact. Such actions took place in the stopping of the Embarcadero Freeway construc- tion in San Francisco. the removal of Central Artery mmps and relocation of Atlantic Avenue in Boston the removal of Harbor Drive in Portland. OR. and the decking of a highway in Philadel- phia. In the past. many years of public pres- sure and negotialions between the cities and transportation agencies have been re- quired to accomplish such changes. Tht: transportation agencies (including private railroads) have often resisted due to the expense and lransportation compromises involved. However. now Ihat the value of waterfronts has been firmly re-estab- lished. the removal of these barriers where necessary should be included among high-priority policy objectives and incorpor.l1ed into city and transporta- tion agency plans and budgets. HAR.BORS AND WATER TRANSPORT _ ." ,Developing New Access to Waterfronts One of the major- attractions of urban waterfronts is their proximity 10 do.....n· town areas. 1be development of walk- ways with pedestrian amenities is the most common transportation improve- ment. Examples of lhis ~ Boston"s Walk·to~.~') ,. v.u. S1 Contents Chapter 3 3.1 Assessing Potential Impacts 3.2 Urban Highways and Guideways 3.3 Station Parking and Feeder Service 3.4 Joint Development 3.5 Common but Neglected Elements 3Integration With the Built Environment Introduction This chapter addresses the aesthetic is- sues involved in inlegrating transporta- lioo facilities with lheir surrounding communities. A successful iOlegration can accomplish two purposes: it can avoid destroying existing aesthetic values in the community. and it can create new opportunities for a lively environment. 1be assessment of such aesthetic impacts is now required for transportation proj- eets using federal funds. Methods for these assessments ~ discussed in Sec- tion 3.1. Sections 3.2 through 3.5 cover aspects of design which can insure that mmsportation facilities add to. rather than subtract from. the aesthetics of their surrounding communities. Three types of facilities ha\"e the most important and frequenl aesthetic impacts on the surrounding communities: high- ways and guideways in center cities (Section 3.2), parking and feeder 5elVitt at rapid transit slalions (Section 3.3) and multi-use joint developments (3.4). In these three cases. integration wilh sur- roundings is a problem separate from basic facility design. It is lIot only entire facilities that have impacts on the surrounding community. Standard components such as paving. fencing and signs are routinely deployed in the environment without regard for their aesthetic impacts. Section 3.5 dis- cusses these often overlooked elements. Some elements of transportation facilities (such as streets. parking. buses and har- bors) fonn a continuous environment and need to be discussed together. These ele- ments/facilities have already been cov- ered in Sections 2.1. 2.2. 2.4 and 2.&-- sections which included discussions of interactions with the adjacent buill envi- ronment so need not be repeated here. Providing more ell:plicit guidelines for integrating facilities with different com- munity types (according to density. to- pography. climate. social factors. etc.) was considered and rejected. There are too many variables for such a classified set of design guidelines to be really use- ful. M~ver. in all the case studies. it was found that the best designs were very specific. inventive responses to the local conditions that could not have been anticipated by any sort of genernlized design guidelines. lbesc projects hap- pened because committed and foreeful administrators in the city or transporta· tion agency were willing to .....ork with ad\'ocates for the community environ- ment. Top quality designers were gener- ally retained and given the freedom they needed to create a good piece of work. lIS - [/'oTEGRAll0N Wllll THE BUtLT E."VIRON~1El"T »The assessment of aesthetic impacts is required as part of federal environmental impact review procedures. lbe current practice of such assessments for lrans- ponation projects contain some unsatis- factory aspects. 10 the detriment of aesthetics. This section discusses some techniques to improve these assessmenlS. ASSESSII'G I'OTE.'TlAl. 1.\IPAcrs _ 186 Contents: Legal Requirements for Aesthetic Im- pact Assessment Problems wilh Prcscnt Procedures Inn'olaf)' and Anal)'sis of Existing Aesthetic Resources and Values Urban Ecological Analysis Anticipating Aesthetic Impacts ....... - - - .. 1): -- 0 t,.$o • --\-- .- Assessing Potential Impacts Section 3.1 Legal Requirements for Aesthetic Impact Assessment Appropriate consideration of aesthetic qualities and impacts of transportation projects vis a vis the built environment is not only a desirable objective but also a legal requirement. All projects utilizing federal funds arc subject to Section 102(2)A of the National Environmental Policy Act of 1969 (NEPA). which re- quires agencies to: . utilize a systematic interdisci- plinary approach which will insure the integrated use of the natural and social sciences and the elll'ironmel1laf design arts in planning and in dccisionmaking which may have an impact on man's cn- vironment," (emphasis added) NEPA also establishes the need to: "Identify and develop methods and procedures. which will insure that presently unquantificd elll'irol1l11ental amelliries and values may be given ap- propriate consideration in decisionmak- ing aloog v.. ith cconomic and tcchnical considerations." (emphasis added) The spirit of this and othcr aspects of NEPA is to encourage productive and cnjoyable hannony between people and their cnvironment. More specific rcfcr- ence~ to ae~thetics arc contained in sev- eral statutes applicable to federally assisted transportation projects including Sections 2 and 4(f) of the Department of Transportation Act. Section 100(h) of Title 23. U.S.c., and Section 106 of the National Historic Preservation Act. The strongest and most specific require- ments are related to publicly owned park and recreation lands (under Seclion 4(1) and to historic places (under the National Historic Preservation Act of 19661- Aes- thetic impact concerns are central in both of these areas. and sensitive design re- sponses are usually required to miligate the impacts involved. However. in order to insure thorough consideration of "unquantified environ- mental amenities and values" (in this case aesthetics). environmental reviews must not rely on these special statules alone but need to continually reinforce the spirit of NEPA. This is e'isentia!. for aesthetics playa major part nO! only in open space and historic place~ but in all aspects of lmnsportation and community design. Problems with Present Procedures The operative portion of NEPA has be- come Scction 102(2) (e) which requires that all Federal agencies include in cvery proposal for an action "significantly af- fecting the quality of the human environ- ment" a detailed statemell! on the impact of the action. Many of the current aesthelic assessment procedures, however. suffer from the following: Aesthetic impact is often treated in a cursory or mechanical manner resulting in a dlltll base that is either too general or too complex 10 be of real value in the deci~ion-making process. Sporadic atlempt~ arc made at quanti- fying some clemcnt~, but few holistic approaches arc used with approprillte involvement of design professionals. Mosl impact studies treat aesthelics separately from other impacts and do not adequately recognize Ihe tradeoffs that e)(i~t between aesthetics and other project considerations or the relative value placed by Ihe affected commu- nity on aesthetic qUlllities. Aesthetic impacts arc often examined after the location has been completely worked out. leaving room for only cosmetic treatment. Few satisfactory techniques arc used to determine the impact of changes on people's experiences and the value to be accorded to these factors. Such techniques can be important since per- sonal responses to the environment tend to be subconscious, not well understood by the people themselves. and elusive if reliance is placed on in- terviews alone. Frequently aesthetic concerns get thor- ough consideration within the Environ- mental Impact Statement process only when communities or concerned orga- nizations lobby for them. Such is argu- ably the case with the Red Line Extension. Harvard Square (ref. 127): and the West Side Highway recon- slruction proposal (ref. 63). The remainder of this section focuses on some assessment techniques which at- tempt to address these difficulties. IIJ7 - I"''TEGRATION WITH THE BLlLT E:-i\ IRON\l£",'T Inventory and Analysis of Existing Aesthetic Resources and Values Many of the currently used visual assess- ment techniques have been derived from the work of Kevin Lynch and his sem- inal Image of the Cit)' (ref. 128). This book identifies five generic clemenls- path. edge. node. district and landmark-which fonn a person's per- ceptual map of the city. The conceptual framework was developed and tested with residents of three U.S. dlies. It proved to be an excellent descriptive tool for specifying the distinctive and memo- rable aspects of urban fonn. What it did not provide is a clear-cut standardized evaluation process or ··automatic" de- sign criteria for the five clements. Another often overlooked. yet important. component of the aesthetic experience is the type and character of activities which occur in a given place. Activities and their settings interact in complex. but by no means random ways. The rules of in- teraction are sometimes known and measurable. sometimes known but not measurable. and sometimes unknown or subject to disagreement. Sophisticated quantitative techniques for measuring these relationships have been researched but are not sufficiently advanced to be applicable. The most useful approach is careful. detailed observation by design profcssionals and detailed recording of these observations on maps. photographs and other illustrations. Before one can estimate what effects change will have on a particular environ- ment. the environment must be ap- praised. Among appraisal and valuation techniques which have evolved to ad- dress this issue is Lynch·s Looking al the Vineyard (ref. 129). It includes val- uation techniques in a description of cight distinct landscapes on Martha·s Vineyard Island. Massachusetts. Pre- scriptive regulations for road. path and parking character in each landscape were developed with extensive community in- put about which areas and clements peo- ple liked. which they disliked and why. and the changes which would enhance their life on the island. This subjective valuation was combined with technical terrain and ecological analysis to aid in arriving at final recommendations. Law- rence Halprin. designer of Freeway Park (Case Study 3.2a). has also developed and tested participatory valuation tech- niques with successful results in a num- ber of cities. including Cleveland and Omaha (ref. 126). Urban Ecological Analysis The Urban Ecological Analysis tech- nique (ref. 134) displays aesthetic re- sources and issucs to the community and client in terms which facilitate decision- making on street managcment and im- provement alternatives. The centml clc- ment of this technique is a detailed base map of existing physical conditions upon which usc patterns. issues. user percep-· {ions and recommendations can be re- corded. Inventory maps arc then overlaid on one another to display activity com- plexes or "settings··. This is similar to the method pioneered by Ian McHarg for analyzing natural set- tings by land features such as soils. slope. vegetation. views and vistas. etc. (ref. 130). Maps of interrelated phenom- ena can then be overlaid to determine environmental ··suitability·· (i.e. mini- mum constraints) and ··capabilities·· (i.e. positive contributions) for regional transportation or other alternatives. The Urban Ecological Analysis can simi- larly facilitate judgments about the fol- lowing types of transportation actions: District-Wide Traffic Management in downtown or dense residential neighbor- hoods must respond to the often conflict- ing claims to Ihe public streets by vehicles and pedestrians. Improvements may include traffic diversion and auto restricted zones. exclusive busways. parking restrictions. etc. The ncw nct- works created by thesc clements should not only work as transportation systems but also be compatible with and comple- ment the surrounding urban fabric. Street Classification bascd on urban ecological factors insures the appropriate usc of streets. The factors considered in- clude street width. adjacent building masses and frontages. pedestrian and ve- hicular entrances opening on to the street. present pedestrian and vehicle volumes. and symbolic roles of the street in the city fabric. The summary classification of a street may be: primary pedestrian/shopping street. secondary pedestrian/shopping street. auto distributor street. auto and service access street. transit/pedestrian way. The resulting street classification should be thc best possiblc fit betwccn the street's natural rule in the fabric and requirements of the various transporta- tion networks. Fixed Guideway Transit location and design can involve both generation and displacement of activities. It may greatly affect the streetscape. especially if on or above ground level. Fixed guideway sys- tems can create the incentive for new growth or revival but can also become barriers between districts and activities. ··Suitability"· and "capability" maps of a district can be useful during the con- ceptualization of alternative routes. tech- nologies. vertical alignment and station location. Impacts on streetscape and ar- chitectural character. including light. shade. noise, views and microclimate can be specificd and examined in the context of each location. Station Location and Configuration can be designed and evaluated in relation to the surrounding architecture. pedes- trian/vehicular conflicts. and activity pat- terns. The Harvard Square study. described in ref. 127. suggested a series of criteria for the redesign of the subway station which was planned for recon- struction. Some relationships were re- vealed through the analysis which were not obvious initially. such as the station configuration that was most attractive for different types of shopping. •..:..'""~. 1""'~"~I ....~....... ~ • ASSESSING POTEo',TIAL IMPACTS - 188 Anticipating Aesthetic Impacts The most commonly used techniques for simulating aesthetic impacts are architec- tural drawings and models. montages over photographs of the existing environ- ment. and analogies to similar facilities already built in similar environments. Presentation, however. can be deceptive. Renderings illustrate distinctly selected. usually flattering viewpoints. Surround- ings are often abstracted and difficult to perceive. Montages and "before and after" studies partially address this is- sue. The most complete physical simula- lion is afforded by a three-dimensional model. However. what looks good from the bird"s eye view may not from street level. Thus. when models arc u~cd to il- lustrate anticipated impacts. it i~ impor- tant that they be vie\\ed from simulated eye level. Various optical instruments are available for simulating the effect of moving within the physical setting. Secondary impact~ such as induced de- velopment and changes in the social en- vironment are the most difficult to assess. yet these too. have important aesthetic implications. An added compli- cation is that aesthetic impacts intcract closely with the social environment and economic attractiveness. Sometimes these factors are perceived together a~ the ··image·· of thc community. Anal- ogy to similar built facilities can be ef- fective in simulating the combined impacts. This technique must be used ju- diciously with a clear understanding of the major differences and similarities be- tween the projects being compared. Simulation of other non-physical impacts that will affect the quality of the envi- ronment (i.e. auto traffic generated. changes in pedestrian activity. security and maintenance) can also be evaluated and displayed using the Urban Ecologi- cal Analysis. Often some of those effects will be presented within large eomputer- generated tables of projected traffic. travel demand and use patterns. In this form. they arc difficult for decision-mak- ers and community groups to decipher. Mapping these patterns and juxtaposing them with the existing situation is more illustrative and readily understandable. Most critical in anticipating aesthetic im- pacts is that the appropriate techniques be used at an early enough stage in the process to truly inform it. The tech- niques themselves must facilitate review. necessary value judgments. and ncgotia- tion of alternatives within an open. parti· cipatory process. This requires close coordination between aesthetic simula- tion techniques and the decision making process. IS9 - INTEGRATION WITH TilE BUILT ENYIRO,,\IEt-T (, ,',r ASSESSING POTEI\'TIAL IMPACfS - 190 ~ . .:;:7~ ...... 0( South S""Oal_ Removing or Rebuilding Disruptive lransponation structures have been removed most frequently when. be· sides being aesthelically undesirable. they ~come technologically obsolcle. Numerous older elevated rapid transit lines have been removed for this reason. In Boston, a major reconstruclion of the Central Anery was used to justify plans for complete reconstruction below grade. The collapse of a seclion of the West Side Highway in New York opened the door to considering less obtrusive alter- native cQrlfigurations. There are some examples, such as the removal of Harbor Drive on the Portland. Oregon river- front, where a road was removed simply to restore access to the river. It is likely that there will be many pro- posals from cities in the next decade for the removal or rebuilding of disruptive highways. These can be enormous, long- tenn and costly projects. However, they may offer the only remedy for serious mistakes made in earlier highway build- ing. If rebuilding lakes place, lhe tech· niques discussed earlier in this chap(er should be applied. Other techniques, de· scribed below, might provide appropriate (and less expensive) solutions. Adding Platforms Platfonns can be built over depressed ur- ban expressways to re-eslabIish the ground plane of the city. While such provisions have sometimes been incorpo- rated into the original road structure, platfonns can usually be added after projects are in place. The platfonns have been used for both public open space and the development of extensive build- ing complexes. Examples of opcn space development include the Capitol Renect- ing Pool in Washington. D.C., Penn's Landing in Philadelphia (see phOioS above), and Seattle's Freeway Park (Case Study 3.2a). Examples of mixed use joint de\'e1opmenlS are discussed be- low under "Air Righls" and in Section 3.4. The aeslhelic benefits of platfonns can range from visually eliminating the road and restoring the continuity of the city . 'as if nothing had happened," to creat- ing a new special event. In the case of the Capitol, the monumen!al and historic values demanded eliminating the road. Freeway Park coveD the road but also creates an event for the driver. The cosr of platfonns may run $50 per square foot or more depending on engi- neering complexities. However, in many cases the construction of platfonns can makc accessible additional vacant land on medians, between ramps or at the edges of rhe road and thus possibly lower rhe actual cost per square fool of re<:laimed land. In many downtowns the value of land is $50 per square fOOl or higher. making platforms a good invesl- men!. The subsidy required in areas of lesser land value is often juslified in terms of relieving the harsh negarive im- paclS of an open trench on the community. The platforms pose a design challenge from the poinls of view of both the pe- destrian's crossing above and the vehi- cles passing below. The exceptional way Ihat Freeway Park responds to both of these issues will be discussed in Case Study 3.2a. 195 -lNTEGRAnol'" WITH THE 8UILT E,...VtROKME...,. Transforming Viaducts Elevated highways and tracks have be- come major disruptions and symbols of decay in many cities. Applied treatments cannot overcome all of these problems, and removal may be the only aesthetic answer. But there are treatments that can bring a measure of improvement. These range from planting decorative vines, such as shown below for the Embarcad- ero, to completely transforming the envi- ronment, as in the Hillc1imb Project in Seattle (described in Section 2.8). Many modest uses such as parking, temporary markets, or recreational facili- ties, have been introduced under struc- tures (Ca5C Study 3.2b). Most of these only partially mitigate the disruptive ef- feets of the viaduct. Shops under a high- way in Japan give a glimpse of the more exciling opportunities for transfonning the structures into shelters for vital activ- ities. Covered arcades could cross under the highway. Waterproof roofing, noise dampening, lighting and other climate protection appropriate for the region could be added. Offices or apartments could be erected along the highway, (facing toward the city and buffered against the noise and fumes by walls), to reduce the visual impact of the highway. The costs would be relatively moderate. since basic structural modification of the viaduct could be avoided. New commer- cial developments are another possible usc that would increase tax revenue for the city. URBAN HIGHWAYS AND GUIDEWAYS _ 196 Developing Air-Rigl i, Projects The construction of major multi-use complexes over transponation structures was initiated with Grand Central Station. A great variety of more recent projects. from L'Enfant Plaza in Washington. D.C. to Place Bonaventure in Montreal. have followed suil. These projects pro- vide a range of opponunities for fe-con- necting the fractured city fabric. The potential aesthetic benefits are in- creased activity and new pedestrian con- nections animated by shops or made attractive by public open spaces. One common defect of many past projects has been the isolation of a new air-rights development from thc adjacent streets by wide access roads and an inward-focused design. Examples include BoslOn"s Pru- dential Center and the Gateway Plaza in Newton. Massachusetts. In order to maximize the benefits of connection across the highway. the projects would best be designed to tie closely into the surrounding urban fabric and pedestrian patterns. Such commercial ventures are most likely (0 be initiated by developers in dense downtown areas where demand is high and new sites are difficult 10 find. However. cities in collaboration with transportation agencies can encourage air-rights development where in their view it is in the public interest by subsi- dizing the cost of the air-rights and pro- viding the foundations and platfonn structures with public funds. Mixed-use joint development also pro- vides opponunities that range beyond connecting across a highway. These are discussed further in section ].4. specifi- cally with regard 10 development at sta- tions and tenninals. Planning, Design and Implementation Healing scars caused by transponation facilities requires considerable resources. skills and coordination. The success of such a program depends on the correct analysis of critical conditions. imagaina- tive urban design ideas. tenacious local leadership and the availability of federal funding. Critical conditions to be taken into ac- count include: Physical configurations of highway and topography. Activity levels and attractions of both sides of the highway. The physical scale, density and archi- tectural character of the surrounding city fabric. Availability of redevelopment sites or adaptable buildings and functions adja- cent to the highway. Land values. market demand and de- velopmcnt interest related to these ad- jacent sites. The role of urban design is amplified because: The concept of turning an existing problem into an attractive redevelop- ment must be convincingly formulated and sold to a range of naturally skepti- cal parties. Complex functional elements involving highway and traffic engineering and economic, architectural and landscap- ing concerns must be intcgrated into a single coherent project. The initial ideas on how 10 accomplish such projects have almost always been developed by designers. Local leadership has played a critical role in the successful projects. An acute problem arises because some projects may take as long as 5 to IO years to im- plement. Elected officials generally have shorter tenns than that and may tend to commit themselves to projects that can be realized in a shorter time. Worse. if a project is championed by one official, a political rival might deliberately kill it when he comes into office. Many proj- ects. however. have been effectively championed by unelected civic or busi- ness leaders who have strong local influ- ence among supportive private citizens (Freeway Park. Case Study ].2a). Funding of projects intended to correct past flaws requires a combination of public subsidies to defray the considera- ble costs involved. The following discus- sion of Freeway Park illustrates the type of funding program that may be needed. 197 _ INTEGRATION WITH THE BUILT ENVIRONMENT CASE STUDY 3.2a Freeway Park Cooperation Leads to a Major Park Seattle, Washington Freeway Park is a 5-acre open space completed in downtown Seattle in 1976. It bridges (he 1O-lane Interstate 5 (com- pleted in 1%6) and incorporates the roofs of a 630-car public and a smaller private garage. It has a strongly sculpted ground plane filled with a surprising va- riety of places: fountains and waterfalls, quiet sitting areas and dramatic terraces, and a "canyon" descending to the free- way median and providing a window 10 the traffic amidst the roar of falling water. The park is profusely planted with shrubs and colorful seasonal flow- ers. It is busiest at lunchtime when heav- ily used by downtown office workers, bUI it has conslant use by nearby resi- dents as well. Outdoor concerts, celebra- tions and many other special events for downtown Seattle are held there. To the east of the park is the residential area of First Hill which includes several hospitals and many elderly people. The Park extends into this area over the roof of the public parking garage. To the west is the Central Business District de- scending to the harbor. The land falls fairly steeply from easl to west, allowing the Park 10 make its connection through a series of intricate level changes. The pedestrian in the park encounters a series of surprises and delights. One is lured in from the sidewalk of ordinary downtown streets by the glimpse of flowers and roughly sculpted concrete fonus. Inside, the space leads to the dra- matic central cascade and canyon, mask- ing the city streets and the freeway. The sense of a magically protccted environ- ment is purposefully accomplished by sophisticated design techniques. yet one is not conscious of the props. URBAN HIGHWAYS AND GUIDEWAYS _ 19lI 1K pod. ...~ .. dn""" b .... __• ~," The park is unusual among highway platfonn projects in that it also greatly adds to the aesthetic experience of the driver. From the 1·5 freeway. the park first appears as a striking series of ter- raced forms of rough concrete. The exit ramp rises amidst the exuberance of hanging gardens. The effeci is one of in- ttigue and delight. The park is located at the major auto en- trance to do.....ntown and its presence sig- nals arrival into the heart of the city. A dramatic sequence of views accompanies Ihe change in speed and direction as the ramp turns off the free.....ay. As altomey James R. Ellis. a prominent local citi- zen. said. this park was "not a casualty of the war between freeway fighters and freeway lovers". but a very intelligent solution to recognizing the needs of bolh. The aesthetic impaclS range beyond the immediate experience. The park has be- come a proud symbol for the cily of the willingness of public and private powers 10 care for the environment. It has helped consolidate the very positive atti- tudes that are being brought to bear on the improvement of most major down- town streets. the watcrfronl and the his- toric Pioneer S~uare area. Freeway Pari;.: is perhaps the most suc- cessful example to date of mitigating the impacls of a high.....ay in the cilY through ingenious design. The park not only con- nects previously severed areas, bul pro- vides a new place of great community value. The park cost about $45 per square fOOl. ineluding the suuclure and landscaping. Equivalent land in the do.....ntown. if Southbound _ canyon _ Nortt'bculd Cross section through canyon Scale 1/10'=1-0- available. would have cost 550 or more per square foot for purchase alone. with- out demolition or improvements. Before the park was conslructed. lhe site was yielding less than 550.000 per year in laxes. The Freeway Park joinl develop- ment program included a privale office building which raised lhe lax yield to 5115.000 per year. The program also in~ c1uded 6JO.car parking garage wi!h di- reel access to the freeway and excellent pcdeslrian links 10 downtown. The development process: • Several architects and prominent citi- zens had the idea for the park even be- fore the freeway was completed in 1966. James R. Ellis is credited with leading the complex. long-term effort that resulted in compleling the proje("t in 1976. • The "Forward Thrust" bond issue passed by !he cilizens of King County made the park possible by providing 5334 million for civic improvement projeelS. • A developer who was planning a major office building on an adjacent site was induced 10 incorporate the building and ilS garage into an intricalely slructured joint developmcnl program. • Fedentl and slate highway funds were secured for lhe conSlruction of the "lid". largely through the efforts of the DireclOr of the State Highway Department. A complex. three-party legal agree- ment was executed between the City. the State and the developer (Case Study 4.2b) to define tl\e roles and re- sponsibilities of each. o The joint parties deliberately set out to retain a strong designer and resolved to give her an unusually free hand to cre- ate a unique project. NOles wriuen at the beginning of the project by Ihe park's designer, Angela Danadjieva. indicate that the aes!hetic impacts were achieved through deliberate techniques. She described the overall concept as "a grecn embroidery forming a cover at different levels over the free· way" a cover which could evemually be extended to reach the Waterfront. The clements that make the park work so well include: o Controlling !he viewing dislance and providing a great varielY of clOse-Ie- middle distance elements. o Creating a strong eenlntl focus wilh the cascade and canyon aspects to draw altenlion away from the edges. Including a \'arielY of paths. siuing areas. noob and niches in the land- scaping 10 provide for choice of pri- vacy or socializing and to add interest in walking and discovery. Using the varied but rectilinear and strongly-related concrete forms to cre- ate a metaphor for lhe orthwest mountain landscape where rocks and cascading water are dominant ele- ments. Employing visual buffers designed to block views bul provide a soft. sen- suous edge. Masking lhe loud Int.ffic noises with !he sound of the waterfall. Improving the air quality by providing a buffer to the hig.hway and an open- ing 10 Ihe west 10 allow sea breezes. Using a rich and varied planting pro- gram to create the sense of a luxurious garden. The technical design of the planters (10 maximum soil depth) and the selection of soils. plant materials and irrigation systems were lailored to the local climate and preferred mainte- nance practices. The designer worked very closely with Seattle's unusually innovative Parks and Recreation Department. The increasing attraclivcness of Freeway Park as its vegetation matures is altribut- able to exceptional maintenance practices. • The city allocates a budget of $80,000--$90.000 per year and has the service of two full-time gardeners for Ihe park. A group of major adjacent businesses formed an organization called "Friends T\l<1mwllY_o;«;-".W........ _pOIlO UltBAN HIGHWAYS AN"D GUIDEWAYS - 201 Clients (Quoted from a flier by Seallle's Parks and Recreation Dcpanmenl) of Freeway Park" which provides a yearly fund of S20.000-S30.ooo to supply and maintain the flowers and shrubs whieh enhance the fresh beauty of the Park. Credits Designers included: Park-Lawrence Halprin & Associates: Angela Danadjieva. Project Designer: Edward McLeod & Associates. Land- scaping Freeway Lid-State Highway Depart· ~"'Garage-Naramore. Bain. Brady & Jo- hanson. Architects Lessons • The most influential factor was the im- aginative and energetic initiative SOO....l1 by the community concerned with downtown Seattle. Credit goes to the leadership of Ellis and others. the willingness of the voters to suppon the ""FOf'\\'ard Thrust"· bond issue. the en- thusiastic cooperation and continued technical support from the State High- way and City Parks Departments. and the willingness of the private de\'eloper to join lhe team. • The lhree party contract was a critical instrument for negotiating. resolving and continually managing the relation- ship among the participants. • Retaining a strong and imaginative de· signer and giving her the freedom she needed was an essential factor in pro- ducing such a consistently successful environment. • A commitment to funding continued upkeep and improvement proved to be essential to sustain the aesthetic effects. • The panicular vocabulary of planters. planting and water elements is appro· priate to the Northwestern climate. Different climatic conditions would re- quire different clements. 180.000 340.000 60.000 19.000 209.000 424.000 35.000 2.800JXXl 55.527.000 54.200.000 S4.067.000 SI3.794.000 The client for this project was a combi- nation of three entities: I. The City of Seattle represented by its Parks and Recreation Department. 2. The State of WashinglOn Dcpanment of Highways. 3. The Developers of the Park Place of· ficc building. R.C. Hedrcen. TOTAL. 1976 Costs Park Forward Thrust Park Bonds Community Develop- ment Block Grants Federal·Aid Municipal (FAM) Highway Funds Metro Federal-Aid lmerstate (FAl-Hlghway Funds) Housing and Urban Development Open Space Funds Interagency Committee for Outdoor Recrea- tion American Legion Bridges (lids) Federal and state highway funds Garage Councilmanic Bonds and Bond Interest 201 - [:-'"TEGRAno~ WITH TIlE BUILT E.''\'[RO~~tE.''T -- - - .. ..... - -- , URBAN HIGHWAYS AND GUIDEWAYS - 202 Credits Landscape Architects-Sasaki. Walker Associates. Inc. 1llc Albany and EI Cerrito neighbor- hoods greeled lhe plans for the aerial slructure in the 1960's with considerable resistance. Since the BART District had not SCt aside sufficient funds to provide extensive landscaping. it applied for and receIved the HUD demonstration grant m 1966. A first half-mile phase of the proj- ect was built by 1968. shonly after that ponion of the system was compleled. Planning for the linear park was carried out in close cooperation with the local city agencies. These agencies subse- quently look over management of the park and continue to maintain and im- prove it. Lessons A linear park added after-the-fact can- nOI significanlly reduce negative im· pacts but can provide compensating amenities as a lradc-off. If thc linear park had been considered in the original planning. a more varied configuration of land could have been achicved. along with a more thorough integration wilh community facilities and a more successful visual relief from the relentlessly linear quality of the guideway, BOlh lhe site conditions and lhe aclive, user-oriented design clements listcd above were essential to thc park's suc- cess. This contrasts with the many other left-over spaces around tr,lOspor· tat ion lines where minimal planting and no programmed aClive use result in far less aesthetic benefit to the eorn- CASE STUDY 3.2b BART Linear Parkway Park Impron';s a Transit Right of Way Albany and EI Cerrito. Calirornia TIle linear park. runs through the town- ships of Albany and EI Cerrito and con- sists of 2.7 miles of landscaped rocrealion area. The park was planned for the narrow (30 to 45 fool) righl.of. way after land acquisition and basic de- sign for the Bay Area Rapid Transit (BART) guideway wcre already com- plcted. The park section of the guideway runs through a suburban residential area of older houses. relatively densely packed but well kept. A singlc tnlck belonging to the Santa Fe Railroad runs on grade along the whole length of the park. sepa- rating it from the back yards of houses to the east. On the wcst cdge the park is bounded by "'!asonic A\'enue .... ith houses on Ihe other side of the streel. The park connccls to larger landscaped parking areas at IwO stations (see Case Study 3.3a for EI CerrilO del None) and is integrated .... ith neighborhood parks and schools along the way. The park does nol alter the pnmary vis- ual impact of the guideway. This struc- ture is considerably beuer designed Ihan most guideways. with simple. clean hnes and softened concretc shapes. although still intrusive among the small houses and back yards. lbe park. a narrow strip of land packed with palhs. mounds and flowering bushes and used by bikers. joggers and rollerskaters. doesn't change the visual personality of the guideway, but it does make lhe structure seem more approachable. Fonunately. the BART trains arc very quiet and cause a minimum of additional disruption. As an auractive and well used communily facility. thc park has made lhe right-of-way a focus of posi. tive aesthetic experiences and compen- sated for the impact of the struclure. The BART Impact Program ('~fs. 90. 94) reported that about 9CJ"i. of abutting households on both sides believe that the park has a "good" or "very good" ef- fccl. and that they usc It extensiVely. II also reponed that the favorable response 10 the park did not significanlly offset lhe generally negative reaction to the presence of the elevated BART linc in the neighborhood. Ne\·cnhelcss. it has been reported that lhe park contributed to lhe maintenance. allractiveness and stability of the adjacent neighborhoods. The park was a demonslration project sponsored by the U.S, Department of Housing and Urban Development (HUD) 10 illustrale lhe potential benefits of mul- tiple usc and beautificalion of lhe rights- of-way of aerial slructures. The success of the park is panly due to the following factors: The simple design of thc Slructure with minimum obstruction of light and ground area. • lbe very quiet trams, The moderate climate .....hich sustains vegetation and activil)' outdoors ycar- round. Good maintenance by the localities. The design elements mSlde the park fo- cus on active recreation and include pe- riodically placed special exercise and play facilities along the path which .....eaves back and forth between the col- umns. Many of these facilities arc spe- cially designed for joggers to slretch or limber up al intervals. These areas punc- tuate the monotony of the struclure with a rhythmic variety of special environ- ments and experiences. The townships have been gradually add- ing morc small facilities, The vegetation is maturing. the vines are climbing the SlruClUrc and the park is continuing to improve. Costs U.S. HUD grant BART Total $457.000 44.700 5501.700 munity. The planned activilies auto- matically generale advocales for continued mainlenanee and improvement. llJ _ tNTEGRATION \\TI11 mE BUILT E."vlRO"\lE.''T blrkj ro r'L ,..... ,." .. } ----' :?-- ,-e ----'--.0 • 4- 4' I•~..... ...L.... 0 •C ...... ..... .U·.~ ......0 • 0 - ...,u. ,.. , ....oo......~ .'lO.,e •••••• •..._.." .., ".,u, COT ...."'••• _ ...oo,e ,.,••' l· ...."'. '.'''''';_ 'ono' b. TJ1lOl ....... ........, " ",no", URBAN HIGHWAYS AND GUIDEWAYS _ 214 20S - INTEGRATION WITH THE aUILT ENVIRONMEt'o'T bSection 3.3 Station Parking and Feeder Service This section focuses on the aesthetic problems caused by the interface be- (\\een regional rapid Iransi( stations in outlying areas and the surrounding com- munity. Contents: Transit Stations and Community Scale Resolving Hannful Effects Case Sludies El Cerrito Del None. BART Station. California: 3.3a Quincy Ccmer. MBTA Station. Quincy. Massachuscus: 3.3b STATION PARK1:-;G ""D FEEDER SERVICE 21)6 -----------------------------------~------~'- Transit Stations and Community Scale On morning! K'h~n you',e running lou, wondering whtther you'/I make lhe train, Ih,. garagt' at the slalion is {ike a welcome beacon. You're glad ii's so big; it's good 10 know you'// find u space quick.ly and might nOI miss /he train after ufl. BUI Ihue are also Ihe less hur- ried times. when )"01/ remi'mlHr the nrulscape tN/art' Ihe rapid transit line. During thou limes Ihe mass;I't' parking structure foolfU larRe, dominmillg Ihe aua. II makt's lhe houus and struts sum smaller and "nprotected. In order to make rapid transit service cost-effective in outlying residential areas, guideways frequently emerge, at or above grade (and sometimes in an open cuI). as the line proceeds outside the dense downtown core. Large parking and feeder bus facilities arc generally reo quired at these stations. Such facilities are often out of scale with the surround- ing community's land use patterns. ar- chitectural style and overall visual image. The basic aesthetic issue is thus onc of minimizing and ameliorating p0- tentially harmful effeets of a large re- gional transponation linc upon the local physical and activity patterns through whieh it runs. The least expensive manner of providing parting in such locations is at grade. Large open air I()(s. however. can tear huge gaps out of the surroundings. and disrupt the streetscape's coherence. Above-grade parking garages minimize the spread of asphalt. but can be just as disruptive visually if out of scale with adjacent buildings. Moreover. garage Slructures which provide no animation or activity at ground level can cast large areas into shadow and deaden the liveli- est of areas. Resolving Harmful Effects • The re-u5C of abandoned railway facili- tics provides an excellent opponunity for minimizing guideway impact. Many of these rights-of-way are no longer as disruptive as when they were first cut. having been in place long enough so that surrounding use pat· terns have adapted to their presence. The existing railroad station buildings at these locations already contain wait- ing facililies and often provide some drop-off and parking areas. • Stations can help re-knit portions of a community cut by thc guideway. Dc- catur station in Atlanta's new transit systcm has been built with a park above which connects and revives pans of a neighborhood shopping cen- ter. In Boston. segments of the new Orange Line's guideway around sta- tions are to be decked over and used for recreation and other community ac- tivities. greatly enhancing the facility's integralion with its surroundings. Sensitive design of bus layover berths can mitigate visual intrusion of buses. Angrignon station of the Montreal Metro (Case Study 2.5a) is an excel- lent example of integrating fceder bus facilities with their surroundings. The station is depressed. yet visible from the public park in which it is located. 1be layout of bus berths does not physically interfere with pedestrian cir- culation between station and park. and limits the visual intrusion of large buses. In addition. brightly painted overhead canopy structures in the bus waiting areas funher suppress the vis- ual impact of buses. Layout and landscaping of at-grade lots can significantly ameliorate aes- thetic impacts. If parking requirements are to be met in at-grade lots. generous landscape screening as at EI Cerrito del None (Case Study 3.3a) can re- duce visual intrusion and enhance inte- gration with the surroundings. Active space~ should be planned into the ground level of garages 10 reduce the deadening influence of a gantge on the surrounding streetseape. Gantges. though more expensive than on-grade I()(s. can accommodate m~ cars with- OUI as much clearance and destruction of adjacent building fabric. Quincy Center in the vicinity of Boston. (Case Study 3.3b) is one example of a ga- rage which is integrated reasonably .....ell with its environs. ro7 - IJ\'TEGRATION wrrH TIlE BUILT ENVIRONMElIo'T STATION PARklr-:G Ar-:O rEEDER SERVICE _ 208 ... CASE !o'TUDY 3.3a EI Cerrito del Norte BART Station Successful Design of a Suburban Transit Facility EI Cerrito. California EI Ccrrito del None is an elevated on- line rapid tnlllsil Slalion serving com- muters and rcsidems of II suburban area 15 miles from San Francisco. It is 10- caled adjacent 10 medium density resi, dential. relail and office developments and is at the nonhern tcrminus of Ihe BART Linear Park (Case Study 3.2b). 1lle slation provides feeder bus benhs. auto drop-off and 1.054 on-grade park- ing spaces. The asphah desen usually resulting from largc-scalc parking lOiS is nowhere 10 be seen. The presence of parked cars is dis- guised from surrounding streets by a rich growth of bushes and trees thriving atop an eanhen bank. A palh ellis across the 101. tying lhe sidewalk to the slation en- trance. and b flanked on either side by a colonnade of trees which create a canopy of leaves. The path also splits the lot imo smaller ponions. Other islands break up the asphalt expanse even fur- Iher. Ground ivy blankets most unpa\'ed surfaces and reaches into paved surfaces, softening (he hard curb edge thal marks the car's domain. This 101 not only looks better-but is more comfortable to the user. Missing is the oppressively hot micro-climate cre- ated by large surfaces of snn-softened asphalt. The numerous stands of trees provide welcome shade. Specific design clements that create these aesthetic effects include: Parking layout which is divided into six major clusters and then further bro- ken up with landscaped islands. Landscaped pedestrian access ways to the station from all four sides. The mature trees on the site wcre prc- sen'ed through adjusTments to parking layout and careful anention to finish grading and drainagc pallems. Use of landscaped eanh mounds to screen the edges of Ihe parking Jot. Costs: While cost figures for the parking area were not available. Ihe designers con- finned the relalive cost per parking space was only very slightly more Ihan the cost of slandard parking lOIS with no aesthetic treatment. Credits Landscape Architects: Sasaki, Walker Associates. Inc. Lessons • The design elcmcnts described here are appropriate for any large suburban parking 101. • 1bc specific dcsign configurations and plam materials musl be adapted to the local climate and site conditions and should be dClcnnined by a land6cape architecl who is fully aware of these factors. , l~ I ~~t I. :t:~;JI._ b SilO pl,n. ~I Co""'l'l%el ~',•. BART " "."t. ,n ..... "",•• CASE STUDY 3.3b Quincy Center Station, MBTA Garage Design Helps to lntegrate Transit Station with Commercial Center Quin!:y. ~'1assachuseUs Quincy Center station is the tenninus of the Massachuselts Bay Transportation Authority rapid transit Red Line. It is lo- cated on the edge of the central business district of an older suburb. (Quincy) nine miles outside of downtown BOSlon. The slation opened as part of the line's ex~ tension in 1971. AI Ihis time yet another extension. four miles past Quincy Cen~ [er. is under construction. The Red Line'~ guideway through this portion of Quincy is depressed in an open treneh that separales a quiet resi- dential neighborhood from the busy commercial district. The station and a parking garage straddle the cut. A pedes- trian passageway through the facility bridge~ the trench and provides aceess 10 the slation platfonn below. Sixteen bus route~ terminate at Quincy Cenler. An 8OO-car parking gar.lge rises above lhe station platform. W:llkways lead directly (0 the garage from ~urrounding cily side walks. The facility is well integrated, and all modes arc closely juxtaposed. The ac- cess and circulation patlems arc designed to minimize potential conflicts. Cars en- ter and exit the garage at one end; peo- ple arrive and exit on foot at the other. Buses arrive with cars, but are diverted to berths alongside the structure. The Quincy Center station is mueh more successfully integrated with the business district than with the surrounding resi· dential area. It is set back from a major shopping street paralleling the guideway, behind a landscaped open space and an older building with commercial and of· fice uses. 2t9_1~R"TION WITH TilE DUll..T ENVIRONME.''T >This open space provides a park for all downtown users as well as lransit pa- trons. Enclosed on three sides by the city hall. the transit facility and older block of stores, the arca is a quiet inlet off the busy downtown street. This park accommodates a multiplicity of uses and enhances the walk to the station. People use it to cal lunch. to relaK on the gr-dSS. 10 sit on a bench with trces overhead, to talk with friends. and to watch others go by. Children come to run through the sprinklers on hot days. This interweav- ing of activity ties the station to its sur- roundings. Thc pedestrian passageway through the facility tlchieves similar results. This linkage over the trench improves the community's overall ptltlern of pedes- trian circulation. A bank. coffee shop and drug store animate the entire length of the passageway. providing conven- ience for both transit riders and people using it to get to the other side of the guideway barrier. Viewed from the business area. the bulk of the station is sealed down by the in- tcrvening prcsence of thc older building. The building scrccns the station. so that the pedestrian view constantly changes as you pass uy. The shops at the ground floor of the older building tum the cor- ner and continue along the landscaped square, extcnding the city strcctscapc to- ward the station entry. Allthcse ele- ments combine to mediate the actual size and bulk of the station in relation to il<; surroundings. Such is nOt the casco howe\'er. on the other sidc of the tracks where the park- ing garagc is a wall greatly out of scale with adjacent dwellings. Entry is through a tiny notch in the sweep of concrete. The concrete surfaces. acceptable on the commercial side. accentuate the harsh comrast between station and environs on the residential side. Another apparent shoncoming is the bus waiting area. This wide. arcade-like walkway. with scats along one side. is carved out of the firsl level of the park- ing structure. There is a good view of the green square and downtown street~ until the buses arrive. Whcn there are more than two in the arell. the open walkway becomes a tunnel filled with engine noise, heat and fumes. In the summer. numerous people wait for buses in the landscaped, open space. In winter. users prefer the heat and protcction of the enclosure. Costs The estimated total construction cost. eK- elusive of rapid transit systcm equip- ment, is $5,400,0Cl0. Credit Architect: Glaser/Dc CastroIVitols Part- nership. V. Victors Vitals. Partner-in- Charge. Lessons A garage integrated with a station structure provides a superior opportu- nity for integration with a local com- mercial center. This is duc to the potential compactness of circulation. and connections with pedestrian pat- terns and mixed uses. Quincy Center provides a good modeL • The bulk of a garage can make its in- tegration with a suburban residential area more dIfficult in some ways than would be the case for an open 101. The reduction of horizontal eKpanse is an asset: while the visual impacts and ac~ tiv;t;es gcnenlted by station and garagc are not. Interposed uses such as the extension of neighborhood commercial activities combined with apanments could make a marc successful transition. b PorUn,_ ronn.......u .... ....,ok...... ,olt STATION PARKING AND FEEDER SERV1CE_ 21& 211 -INTEGRATION WITH THE BUILT ENVIRONMENT bSection 3.4 Joint Development Place BOIU,enlut<. MOnlfeaJ. This section discusses the opportunities for integrating transportation facilities with new, private real estate develop- ments for mutual benefits. Transportation can deliver a concentration of potential elientele while private development can create added attractions and an animated environment. This section focuses on new mixed use developments in the ur- ban locations which present the greatest opportunities. Contents Transportation with Other Activities Public Pedestrian Ways on Private Land Strcctscape and Parking Improvements Mixed Use Developments Special Transportation Balancing Incentives and Controls The Role of Urban Design Legal and Administrative Issues Environmental Review and Public Participation Case Studies Underground Montreal. Montreal, Canada: 3.4a The Gallery at Market East, Philadelphia, Pennsylvania: 3.4b JOINT DEVELOPMENT_1I2 113 -INTEGRATIO~ wml THE BUILT ENVIRONMENT Transportation with Other Activities Olll' of ,he mOSI exciti/1g pariS of (raw.'! is arril'illg (Iratl/mica!fy ill the middle of (/It'stin' urha/l 51'0("('. Ma"y gTeal Euro- peoll railrood terminals drop (hdr pus- sel/geTs ill WIst sky/it halls which opm illfo Dill' of the grear squares of Ihe city. fOIl call .ht'd Jour bag.{. ,ftep ,IIrough rlll'door,f, alld obun'(! cafes..fhops, poTh GIld a rich \'orit'f)' of sIruffi/,.. Joint Development generally covers two related concepts: Physically combining transportation fa- cilities with other public or private land uses so that the phys~al build- ings. interior circulation and spatial at- rangemems fonn a single complex. Implementation programs thai include combined actions. adminisuativc and financial coordination, and closely meshed development schedules be· tween lraIlsponalion and other projects. lbe aesthetic benefits of joint develop- ment vary a great deal. They may range from the modest gain of uncrowded suI>- way stairs to the spectacular addition of dramatic, multi-level "City Rooms" that can become focal points of vibrant urban activity, The most successful develop- ments completely animate and transfonn the experience of the patrons of transit stations and parking garages. The less successful may only provide proximity wilhoUi an active relationship. The dis- tinguishing features of the successful projects include: The concentration of lively activities such as shopping and dining along sidewalks and public paths. Direct visual conneclion from stations and parking facilities to active spaces, Quiet, non-polluting transportation hardware that facilitates integration. Balanced activities, including evening and weekend usc. Pedestrian amenities. including climate protection. seating. plants and flowers. infonnation, toilets, (lAd other services (see Chapter I for the role of art works). Ongoing. high quality management. maintenance. security. and activity programming. A primary economic impact is the at- traction of business back to the central city. The direct measures of success, in- creased employment. tax revenues. and business and real estate development. are Tho A'nurn", c,,,,orp c....,. N.w York. not likely to be achieved unless people are strongly attracted to the new project. This in tum is closely linked to design quality and the pleasurable aspects of the experience. Boston's Quincy Mllrkct and New York's Citicorp Galleria illustrate that attractive environments in major mixed usc projects can contribute to spectacular business success. •-- Public Pedestrian Ways on Private Land Complcmcming facililies with public pe- destrian ways on adjacent private land can benefit both the public and the prop- ~ny owner. Subway access. for exam- ple. can be provided through private lobbies; sidewalks widened by arcades on private land: public pedestrian ways constructed through lhe blocks. and bus shelters set behind property lines. Proj- eels such as these add [0 limited side- walk space. provide climalc protcction. or improve circulation and access. The aesthetic benefits can include: more gen- erous spaces wilh natural light or con- trolled climate for subways. climate protection and engagemem with adjacent activities for waiting bus passengers. and more comfonablc or stimulating walkmg environments for pedestrians. Property owners will benefit from Ihe increased numbers of people brought into the area. because of the increased potential for re- tail business. The techniques for implementation in~ elude negotiated leases or casements. zoning requirement changes (either a priori or as a tmde-off for bonuses). or the taking of rights-of·way by eminent domain. Subway entrances in Washing- ton. D.C. and Montreal (sec Section 2.5) and incentive zoning programs in New York are examples. 111is type of joilll development is panic- ularly appropriate in downtown area.~ where narrow sidewillks ilre overcrowded and bus stops or subwily entmntes con- t1ict with pedestrian flows. It is also ap- propriate at other major concentrations of activity such as at medical or govern~ ment centers. Where elimate or security problems arc severe or passengers may often wait 20 or 30 minutes at off hours. the experi- ence can be greatly improved if the wait- ing areas arc combined with 24-hour cafeterias or similar facilities. Streetscape and Parking Improvements These are the most common public con- tributions in a city's dfons to attract pri- vate development. Streetscilpe improvements have obvious aesthetic benefits as discussed in Section 2.1. Public parking garages can provide op- portunities to control circulation patterns of vehicles and pedestrians and creale an appropriate environment for both, as dis- cussed in Section 2.2. In addition to their individual design po- temial. streetscape and parking measures can greatly improve the aesthetic effect of an urban district when organized into a coherent plan. Strccrscape improve- ment.~ on a specific project should fit into an o\'crall pedestrian net .... ork join- ing activity centers with the shopping streets of the district. Public parking fa· eilities located at the periphery of intense activity zones can be designed as logical transition structures. Auto-oriented strects can feed caTS to the periphery of the zone. while pedestrian access can be focused toward its active interior. Examples of very successful integration of this type include the central areas of Nottingham. U. K. and Gothenbcrg. Sweden. Developments in the U.S, have often failed to make this kind of success- ful connection between new develop- ments and the surrounding city fabric and often isolate the two. The street- scape improvements at Ihe Faneuil Hall Markets in Boston are one notable ex- ception. The Urban Development Action Grants provided by the U.S. Depanment of Housing and Urban Development have helped to provide parking garages as development incentives and have en- couraged more integrated designs in Cambridge, MA and Providence. Rl among other locations. JOINT DEVELOPMENT - 214 Mixed Use Developments Transportation facilities can provide a significant portion of lhe clientele for the shops, offices or hotels in mixed use de- velopments. 1bese major developments may combine several modes: railroads. rapid transit. regional bus lines. intown air leoninals and parking. When several transponation functions are architectur- ally integrated with the public spaces of the development. the aesthetic results can be vcry exciting. Th~ Oakland City Center Development (still under construction) is organized around a BART station and an attractive plaza (Case Study J.2a). 1be great mass of the Place Bonaventure in Montreal includes most of the ele- ments described above and generates a striking new (onn for urban buildings (see photo p. 212). "Underground Mon- treal." along with its connections to sev- eral downtown subway stations and major new developments (Case SlUdy 3.4a), is probably the most extensive and successful example of mixed-usc development, Philadelphia's Gallery (Case SlUdy 3.4b) illustrates a common problem in inlegrat- ing public lransponalion wilh commer- cial development. The projecl relics to a great extent on transit riders as cus- tomers. Yct Ihe physical and social envi- ronment of the Iransit system (SEPTA) was considered potentially detrimental to Ihe new commereial venture and con- nected to il only by a separate con- course. And indeed. the confined. noisy. less well-maintained subway environ- ment contrasts sharply with the bright new Gallery. A similar antipathy by developers to- wards direci links to the subway was also evidcnt in downtown San Francisco. In that case. however. the system was obviously going to be new. very quiet and unusually well maintained, Yet very few developers took advantage of the bonus provided for tying directly into BART stations (r~f. 90). TI\e outlook in Ihat case and others may be panly altribUlablc 10 the stereotype held by many Americans Ihal public transponation serves only the economi- cally and socially disadvantagcd-a false image often reinforced by the aeSlhelic poveny of the facilities. The success of Montreal's developmenl has proven Ihal mixed-use joint developments can change this perception. To insure suc- cess. however. transit facililies and re- lated developments should be designed jointly. Special Transportation Some "experimental" lransit systcms have been planned to stimulate urban ac- tivity and development. 11lese range from minibuses and elcclric lrolleys to monorails. aerial trams and automated "people movers:' 1lle aeSlhelic benefils can result not only from the exciling ac- tivities and dramatic spaces at the termi· nals. bUI also from the interesling quality of the ride. Examples include the monorail buill in conjunction with the World's Fair in Se- atlle. the Aerial Tram from Manhaltan 10 Roosevelt Island and the jitneys at Dis- neyland. The Downtown Pcople Mover (DPM) Projccts currently being designed for Los Angeles. Miami and Detroit also fall into this category. Such specialized trans\XJnation is panicularly appropriate to connect several compact activity cen- ters across a relatively discontinuous ur- ban fabric. Caution should be exercised to avoid aesthetically undesirable impacts of these systems on the existing city environ- ment. A monorail or DPM can create visual and noise problems similar to other elevated roads or transit guide- ways, as shown by the unattractive pres- - III il:J ----- --- -- - ~ - ~~ ence of the Seattle monorail guideway on certain of the downtown streels. The best opportunities for aesthetic integra- tion occur when the new transportation ca~ be designed and built jointly with adjacent development as in the Seattle Center terminus of the monorail. 215 - INTEGRATION wml TIlE BUILT ENVIRONMENT Balancing Incentives and Controls Public agencies must consider both in- centives to, and controls on, joint devel- opment projects. Incentives such as street improvements, public parking, added transit service, tax breaks or streamlined review and approval proce- dures are often required to interest a pri- vate developer in the project. The controls must insure that both the physi- cal design and the operation of the proj- ect adequately serve Ihe public. The controls must also address issues of aes- thetic integration with the surrounding community, including architectural rela- tionships and secondary environmental impacts such as traffic congestion, noise or other changes in community characteristics. The practical balance of controls and in- centives is a function of the site's eco- nomic attractiveness, If the location is highly attractive. such as the Boston Waterfront or downtown Manhattan, de- velopers will compete for the opportu- nity, and controls to serve the public benefit can be emphasized over incen- tives. If. however, the present attraction is marginal, as in the downtowns of many medium-sized and smaller U.S. cities, the incentives must be stronger; controls will only be effective if out- weighed by incentives and the attractions of the site. An emphasis on incentives requires the investment of considerable public funds. Once the renewal effort begins to "take,"' the balance can some- times be shifted towards public controls with less public investment. The Role of Urban Design A trade-off of incentives against controls should not be intended to benefit the public at the expense of the developer, or vice versa. It is the role of imagina- tive designers to create solutions that benefit each. For instance, the improve- ments provided by the developer in the FaneuiJ Hall Markets serve the general public well while also serving to maxi- mize business. Urban designers and other design professionals both in public service and in the developer's employ playa key role in putting together, illus- trating and realizing such complex proj- ects. Issues related to the selection and usc of design professionals are discussed further in Section 4.5. Legal and Administrative Issues Successful joint development projects have been executed by use of procedures ranging from ad hoc agreements to fully constituted public/private development corporations. An example of a legal agreement for joint development is found in Case Study 4.2b. Legal and administrative issues arc usu- ally quite complex for major joint devel- opment programs. For example: • Land held by transportation agencies (particularly by railroads) is often sub- ject to complicated legal constraints, Private and public developers are often under different schedule pressures. Private developers want to minimize their financial commitment (which in- cludes designers' fees) until the project is assured and want to see public im- provements in place before completing their projects. While public agencies often have in- house staffs or access to technical as- sistance funds to carry out initial stud- ies and project organization, local political credibility and some federal funding programs still require that firm commitments are obtained from the private sector before proceeding with a project. A special coordinator, responsible to both private and public parties, is often required to lead the project. Since the projects can easily take four to six years to implement. a long-term com- mitment to funding the coordinator's position is essential. , - A I , • --.: ==j ~($~:~ , 'r~~ lID, . ,. ~ . e_@"'. ..,..~ U ill _.. r ".......-- -~-. ~_.- - -;;-~ ,=-.. --&. • ---~. . . Environmental Review and Public Participation Because federal funds are used in most joint development projects. environmen- tal impact requirements must be satis- fied, and extensive community review and participation may be necessary. Rel- atively small segments of the public can sometimes raise issues that cause delay of a project. 11 is therefore to the adv:m- tage of both the developer and the spon- soring agency to elicit and fully understand public sentiment early in the development process, This can be ac- complished through an extensive and ag- gressive participation program, through which necessary compromises may be possible before design and other commit- ments are firm. Community involvement can also ensure that advocates in the community will help carry projects to implementation . JOINT DEVELOPMENT _ 216 CASE STUDY 3.4a Underground Montreal Mixed Use De\'elopments Integrate Pedestrian and Transit Networks Montreal, Canada Underground Montreal (" Montreal Sou- terrain") has made the subway system the focus of downtown pedestrian circu- lation and retail activity. This integra- tion, developed through public and private initiatives, has created a thriving urban complex separated from the sur- face streets. 11 made public transporta- tion the proud centerpiece of redevelopment and challenged prevailing negative stereotypes about public transit in North America. "Montreal Souterrain" is an extensive network of underground public pedes- trian ways which provides direct climate- controlled connections to 20,CKlO,CKlO square feet of private and public con- struction within the downtown core. The network, composed of Metro lines, sta- tions and approximately seven miles of pedestrian passageways, presently links nearly I,CKlO boutiques, three major de- pm1ment stores, 100 restaurants and bars, dozens of office buildings, movie houses, art galleries, a large concert hall and two theaters. Two downtown railway stations, Gare Windsor and Gare Centrale, and the main bus terminal are accessible from this "underground city." Gare Centrale's waiting room functions as an integral link in the network. There is wide diversity among the down- town Metro stations integrated with the network. Some stations. such as Place- des-Arts and Bonaventure, are linked to other activities by simply designed un- derground passages which dramatically open up to major interior retail malls. AI McGill, however, department stores and specialty shopping arcades arc contig- uous with the actual station mezzanine. The aesthetic quality of the system is typified by arrival at the Place-des-Arts station. The rider is greeted by a stained glass mural illustrating the story of mu- sic in Montreal. Beyond the mural is a tile-walled. brightly illuminated, spotless underground passage which bends left, then right (eventually emerging at grade level). The tile walls dissolve into glass as the passageway widens into an ele- gantly appointed entry foyer for the Place-des-Arts cultural center. Light streams through a completely glazed wall which affords a refreshing view of an exterior llmdscaped forecourt. Continuing further, the passage narrows and tunnels underground. Small shops now line it. animating the space with their activity. Suddenly the area opens 10 a huge multi-storied. covered atrium of the Comp1cxe Desjardins with dozens of restaurants, bars. cinemas and boutiques. Succeeding passageways quile often ab· ruptly change in materials, textures, scale. size. and presence or absence of retail uses. In most instances. the changes do not jar the senses or confuse one. Rather they create an unfolding ka- leidoscope of pathways. spaces and activities. Aesthetically, these environments are very different from city streets. Within the passageways there is no noise. pollu- tion. congestion, or conflict caused by automobiles. There is no litter, dirt, graffiti or broken pavement. Outdoor vistas, such as found at Place- des-Arts, are infrequent. On the other hand. the snow, sleet, icy winds and low temperatures typical of Montreal winters don't occur underground. The pedestrian passageways of "Mon- treal Souteerain" arc funded and built by private developers desiring connections to the underground network. There is no overall master plan designating passage- ways at specific locations. The process is Q]o I ~: I II ,."-, ,,-------:::, •. Map of Ill< ur>dcrgrooM nol_. b. Activiti<,.", pans the lower platfoml lcvel at both ends. Thus. much of thc lower platfonn le\'el has a spacious. 25 foot cciling. Physical con- nections to retail uses ringing Ihe space and to the "underground city" occur from the meuanine. whIch also provides for unimpeded pedestrian cireulation through the subway station. The high ceiling of the lower level and visual con- nection between the two levels givc.~ the tmve!er a sense of open space. In this environment the comings and goings of Metro trains. although seen and heard. arc not a sensory jolt or imjX)sition. When initially opened. only two major department Stores-Eaton's and La Baie-had direct acce!>s to thc station. In the 12 years since. two new office tow- crs and three specialty shopping com- plexes containing approximately 250 boutiques and rcstaumlllS han~ been tied visually and physically to r...lcGill Station. AI McGill. the interweaving of retail and transit activities is so complete that the station is the eenler of an exciting in- town relail complex. The physical im- age. Ihough utilitarian. is handsome. providing a simply 3rticulated, functional linkage between the Metro and adjacent retail and office uscs, Its daily usc by thousands of people for shopping. get- ting (0 or from Ihc train, work. lunch or dinner. or simply strolling Ihrough to window shop und wlltch other people gives the shltion enduring vilulity, Specific physic:11 clements which rein- force the sense of openness and integru- tion of activities at McGill include: A structural system of columns and beams which permits spans of up 40 to 45 feet in width. Minimal barriers separating fare and non-fare areas within the station space. Dividers are either three foot high walls or full height plexiglas partitions. Retail facadc.'i in station mezzanine which contain substantial glaZing and display windows as well as store entries. The use of retail advertising within thc station space. and the display of metro directional signs within the shops. In addition. the following opcrJtional and management elements contribute sig- nificantly to the o...erall aesthetic experience: A numlx:r of station entrances from re- tail complexes arc open during all hours Metro is in service and I'IOt just when the stores arc open, Metro cars arc exceptionally quiet and clean. The station environment is very well maintained. Mctro stations ha...e their own cleanup crews. The station platform is washed daily. Close coordination with the two major department stores at McGill resulted in a station which was bounded on one side by Eaton's basement foundation. (Eaton's paid for the construction of a new store entry at this point.) La llaie. al the other end of the slation. leased space under a city street and also opened an entrance to its basemcnt. All individual shopkeepers and mannge- ment personncl encountered at Les Ter- raccs (the newcst retail complex at McGill) fel! that direct connection to the station had a positive cffed on retail sales. This is also the cuse for Eaton's and La Baie. When the station was first opened. both stores had bargain base- ments accessible from thc Metro level. Sinec 1976. one store has remodelled and now offers its better quality mer- chandise on a main shopping floor at the station's mezzanine level. 219 - 1!'o"TEGRATION WITH Till:. BUILT E~VIRONMENT LES TERRACES hom.tric " ...... EATONS 20/20 UNIVERSITY LES GALLERIES Credits Architects: Crevier. Lemieux, Mercier and Caron Lessons The successful integralion of transit and the pedestrian shopping environment of downtown Montreal points to a great, yet unrealized, pcl(cnlial for many U.S. cities. The faclOrs critical for achieving this polcmial appear to be: • Adminisltation. planning and design and a continuity of policies. The city of Montreal was always intensely in- volved with land acquisition and plan~ ning for the station areas and maintained a continuous commitment to joint development for two decades. • Designing transit hardware and stations as &000 neighbors 10 pedestrians and commercial development. This re- quired a quiet. non-polluting system. open circulation patterns and a visual image compatible with glamorous downlOwn shopping malls. • A strong initial push by the public agencies to make attractive examples of the early stations such as McGill. Once profilabilily was proven. the pri- vale seclor took the iniliative. Pedeslrian design appropriate to Ihe climate. In the eold of Montreal a fully protected environment was necdcd. In contrast. in a milder climate like San Francisco. fully enclosed downtown concourses would be less successful than the more open and attractively landscaped but still well integrated Oakland City Center Complex. JOINT DEVELOPMENT _ 220 CASE STIJDY 3Ab The Gallery at Market East Mixed Use Tied to Transit Philadelphia, I)ennsyl\'ania Gallery-Phase I The Gallery at Market EaSt is thc firsl completed phasc of a planning and urban design program dating to 1958. whcn the first concept pklO was published. This plan. encompassing 129 acres of down- town land. is Philadelphia's largcst and mosl ambitious urban renewal project. It envisions the revitalization of a mile- long stretch of Market 51. between Inde- pendcncc Mall and the City Hall to its formcr stature as a vital in-town retail center. The Gallery-Phase I contains 125 shops and restaurants with a total retail area of 200.000 square feet and an additional 200.000 square feet devoted to public circulation and aClivity spacc. Retail uses starting onc level below-gradc are org(lIIized on four levels around a largc sky-lit atrium. Major pedcstrian access is directly from Market 51. via a sunken courtyard. The Gallery is also accessible from thc 8th 51. subway station by way of an undcrground concourse and from an aboveground parking structure via a pedcstrian bridgc. In addition to the smaller shops and res- taurants are two 500,000 squarc foot de· partment stores: a new Gimbel's and a complctely remodeled Strawbridge & Clothier's. The Gallery somewhat resem- bles an enclosed suburban shopping mall. There arc, howevcr, important dis- tinctions. including the Gallery's down- town context. its scale and more intensive usc of land. and its integration with rapid transit and pedestrian circulalion. Gallery-Phase II A little oyer one year after the Gallery's opening, the city's Redevelopment Au- Ihority announced a similar joint venture development for the next two blocks of l\'larkct St. When complcted in the early 1980·s. this dcvelopment will cxtcnd the Gallery to the exisling Reading Railroad Terminal and will be more closely inte- gratcd with pircd. If they are nOl taken seriously. the most talented de- signers will leave. and the olhers will become ineffcctivc. Other Government Agencies Other gO\'emmental agencies may have the interest and capabilities to deal with aesthetic issues of transportation. In city government. these frequently include planlllng. urban design. community de- \'elopment or parks departments. On the regional or stale level Ihere is more vari- ation bUI llIany planning or environmen- tal agencies include design staffs. These agencies are sometimes in position to help when [he transportation agencies do not have adequate in-house staffs to dcal wilh aesthetic issues. Such cooperation is mandated in IllOsl cities where the different departments musl review highway, street improve- ment. parking or transit projects. Re- gional transportation agcncies and special authorities are more independ- ently constituted. and such interlocking review procedures often have to be spe- cially arranged. However. interdepart- mental cooperation is nc\'er easy in government and n:quircs clear support from the chief exccutive. and good working relationships on the staff level. The role of art agencies in assisting with art programs is explored in Section IA. TransportatIon agencies can receive such assistanec from local. county or stale art agencies as well as from the National Endowment for the Arts. FACILITY OW1'ERS' 1'EEDS _ UO 241 - IMPROVED PROCEDURES Outside Consultants Commonly. transportation agencies do not retain consultants concerned with aesthetic design until after initial techni- cal studies indicate specific project ele- ments. However. as indicated above. the full range of aesthetic opportunities is only likely to be uncovered if sympa- thetic professionals arc involved in early reviews. If sufficient qualified in-house staff is nol available it would be reason- able to retain urban designers. architects, landscape architects or artists as outside consultants to conduct aesthetic opportu- nity reviews of the system as a whole and of major project initiatives. The con- sultants can conduct the assessment as a one-time professional overview or as a kind of sensitivity training program in- volving technical designers. administra- tors and users of the facilities. An example of the latter approach is the workshop series conducted by the Seattle design firm of Jones and Jones for the Federal Highway Administration (ref. 61). Design Advisory Boards Boards consisting of recognized and qualified design and arts professionals have been constituted in many areas and charged with a variety of aesthetics-re- lated policy decisions. They may also be called Design Review Boards. Design Commissions or Fine Arts Commissions. They may be responsible to the general governmental unit as arc the Seattle Arts Commission (municipal) (Case Study 1.6c) and the Washington (D.C.) Com- mission on Fine Arts (federal) or they may work for a separate transportation entity as in the case of the Bay Area Rapid Transit Arts Council (Case Study 1.2a). The roles of these bodies vary from relatively perfunctory reviews to active participation in all aesthetics-re- lated public developments. An active Design Advisory Board can help a transportation agency in dealing with many of its aesthetics-related is- sues. It can supervise aesthetic opportu- nity reviews. project scope definitions and funding priorities (sec below). It can also conduct the selection of artists and designers. and design reviews for proj- ects in progress. Using such a board can accomplish two purposes for the transportation agency: providing expert advice and policy rec- ommendations in the areas mentioncd above and helping to insulate the trans- portation agency from political pressure and criticism resulting from potentially controversial aesthetic judgements. The powers given to the board. the se- lection of its members and their terms of service will determine its effectiveness. To be effective. a board should be ap- pointed by the highest level executive or policy-making body of the jurisdiction and must have consistent administrative support for its recommendations. To champion high quality art and design and be credible. the board must inelude respected designers and artists. To pro- mote a balanced point of view and avoid excessive dominance by particular per- sonalities. the terms of service can be made relatively short (possibly two years). To insure a professional rather than political focus. members should be recommended by local professional orga- nizations and art agencies. If the board is to address the full range of aesthetic design and art issues. its membership should represent a cross- section of all the relevant disciplines. The board can rely on local professional and arts organizations, community groups, or special task forces as advisors on particular issues. If concrete pro- grams such as designer or artist selection come under its jurisdiction, the board may need to constitute ad-hoc panels or juries of professionals from outside its membership who are best qualified on the issues. This is particularly true for art programs where a board dominated by design professionals may not be suffi~ ciently versed in the issues and oppor- tunities presented by public art (Section 1.4). The board must work closely with the in-house design staffs or consultants of the transportation agency. The staff would generally conduct the technical re- views and analyses under the board's di- rection and make presentations to the board and the public. Community Participation The owners' assessment of aesthetic is- sues can greatly benefit from communi- cation with the traveling public and the local communities. People often have strong and explicit reactions to the qual- ity of their environment and one of the most direct ways to assess these is to ask them. Obvious as this may seem. this type of assessment is often neglected. Attitudinal surveys. sample interviews and participatory workshops arc among the most common techniques for assess- ment. A further description of some of these techniques is provided in Section 3.1. It must be remembered that people can only make judgements on qualities they have already experienced. If the designer or artist is considering proposals that are unknown to a particular section of the public. a considerable educational effort must accompany the participatory opin- ion-gathering, otherwise people may re- ject an idea simply because it looks strange to them (Case Study 1.3c). Scope of Work The implcrnclllation of aesthetic concepts will depend on specific resources car- marked for them and on continued crea- tive work and advocacy throughout the often lengthy project design and con- struction procedures. This means that aesthetic needs and opportunities. once established. must be translated 1",0 spe- cific budgets and supportive argumentS into funding upplicalions. II also means that requests for proposals (RFP's) and selection procedures for con.'>ulting M:rv- ices must be formulated to insure the participation of strong and effective professional advocates for the specific llesthetic issues involved. Consulting finns responding to an RFP search for a competitive advlllltllgc and will carefully scrutinize the requirements and directions of the client. For instance, the way the RFP is written for a traffic management and street improvcment project may encourage either an engi- ncering or an urban design finn to takc the lead role in the proposal. lne lead firm will also seek out ilS subcontractors and eonsuhants in a way dcsigned to match the client's intenl. The proposed \c"c1 of effort by each specialty will also be dctennincd in thi.s .... ay. Thus, the allocation of authority and re- sources within the eompeling consultant teams is already largcly predelcrmined by the RFP. In current praclice, thb leads to dominance by lrrgc engineering firms not highly qualified in aesthetic areas who retain aesthetic design profes- sionals only for limited roles. If it more serious commitment to acsthetil.: dl.:sign is desired, the RFP must be explicit about this. For example: A major transportation corridor ~lUdy may consider many alternative modes and routes and only look at physical configurations on a "ery conceptual level. Yet acsthetic consequences reo sult from decisions at this level: the abililY 10 preserve or altcr the existing landscape, lhe charactcr of urban de- velopment or renewal that may be stimulated, etc. The aesthetic design expertise thai can anticipate and shape these conscquenc~ includes that of re- gionally oriented landscape architects and urban designers. The role of these disciplines needs to be defined in the RFP. l1tc design of a subway eXlension project along an alrcady predelermined route may focus its aesthetic concerns on joint development. integration with community activities and art programs at the stations. The RFP should there- fore define architectural and urban de- sign services required and the needs for m1 professionals. [1' the station de- signs arc of primary importance, it should be suggested lhilt architects mther than engineers take the lead role as was the case with the Massachusetts Bay Tnmspor!:lljon Authority's Red Line Extension. The in-house design staff and Design Advisory Board should review the RFP's to insure Ihat the appropriate re- sources and professional assistance have been requcsted. Further details regarding designer selcction arc pro- ,'idcd in Seclion 4.5. FACILITY OWNERS' NE£DS _ 242 Section 4.4 Funding Agencies' Procedures The availability of outside funding is an influential factor in encouraging trans- portation facilily owners to emphasize aesthetic design and artworks. Having generally encouraged aesthetic concerns, funding agencies must make specific de- cisions on the eligibility and priority for funding of such project proposals. This section reviews existing policies and rec- ormncnds appropriate criteria and tech- niques for project evaluati..>n. Techniques reviewed in Section 4.1 and priorities described in Section 4.2 necd 10 be con- sidered by funding agencies also. 24) - l1\lPROVED PROCEDURES Contents Influence of Funding Programs Federal Tnmsportation Agencies Other Agencies Enluation Criteria and Ttthniques Newburyport, MA, Town Center, Case Study 4.4a Influence of Funding Programs Most transportation agencies depend very heavily on federal and state funding programs to finance their capital im- provements and operations. For this rea- son, the emphasis placed on a particular proje<:t element is usually defined nol only by the pen:eived need but also by the eligibility of this project clement for outside funding. Thus, funding agencies can greally influence the amoUn! of aes· thetic design and an committed 10 trans- portation projects by including these elements as eligible for funding. Owners cannot follow through on their aesthetic design objectivcs unless they can obtain funding for Ihcm. Federal Transportation Agencies High quality aCSlhetic design is already generally encouraged for basic transpor- tation facilities (i.e. lransit and railroad stations. air teoninals, highways, elc.). subjecl only to overall cost limits and reasonableness. The Federal Railroad Administration (FRA) and the Urban Mass Transportation Administration (UMTA) may allow artworks as eligibk project costs under some circumstances. The Federal Highway Administration (FHWA) permits the installation of art- works within the rights-of-way and safety rest areas and will participate in the cost of site preparation for the art- work but not in the cost of purchasing or commissioning the an itself. The question of eligibility becomes more complicated in the case of local govern- ment projects that overlap with transpor- tation facilitics, bUI do not always fall clearly inlO one of the established grant program catego'ies. TIlcsc include: auto reslricted zones and other Sln:clScape im- provement projects relating 10 lraffic managemenl and surface mass transit, public parking facilities as incentives for redevelopment. the reuse of older rail- road stations and other Slructures. and special projeclS such as decking over highway trenches. There is considerable demand from cities and towns for the abovc lypeS of proj- ects with aesthetic requirements. Down- town revitalization efforts arc intimately linked with Ihe aeslhetic improvements of streets, parking and transit: city gov- ernments are aggressively seeking fund- ing for thcse types of projects. High level policy statements (Case Siudy 4.la) have cslablished the principle of supponing projecls thai contribute to ur- ban revitalizalion. However. offices ad- ministering the federal grants may slill face somc complex detenninations as 10 what is eligible and what is nol. Other Agencies State highway or public works depart- ments act as conduits for federal high- way funds. State and local governments must supply matching shares for feder- ally funded projects and the whole cost of some items not eligible for federal funding. These agencies must also de- vise ways 10 choose among projeCl'i competing for aesthetic design and art funding. SOffie agencies such as the Massachu- seilS Department of Public Works have developed theIr own operational criteria (Cal>C Study 4.4a) which include: Reasonableness-usually defined as a relationship to a\'erage or 1>landard costs--i.e. a special street design may cost half again as much as the standard approach, if supported by clear argu- menlS, but it may nOI cost three times as much. Other local efforts-gauged by commit- ments mllde by the locality to raise the standards of its public environment out- side the proposed projeel, such as local financing of parking lot and alley im- provements and the rehabilitation of buildings, to match the proposed non- standard street designs. These criteria seem appropriate in pro- tecting the transportation funding agency from carrying a disproportionate burden of any revitalization effort. They may disadvantage depressed urban areas where thc need may be great but where other commitments are,difficult to ob- tair•. However. other public programs such as the Economic Development Administration's Public Works program, and the U.S. Department of Housing and Urban Development's Urban Develop- ment Action Grants and Community [)e- velopment Block GrJnts might sometimes be used to provide the neces- sary financial COmmitment. Evaluation Criteria and Techniques Detailed evaluation criteria are con- stantly updated by funding agencies as they gain experience with the aesthetic design of transportation facilities. These will vary with the type of facility, local- ity and resources cUITCntly available. Howewr. the general criteria for high priority areas for aesthetic design listed in Section 4.2 can be applied in all cases. During the evaluation, the projcct proposal can be measured against these criteria in two ways: • How grell! is the need for aesthetic considerations in this project? Is the projoct among the high priority cate- gories identified? • How successful and oconomical is the proposcd design solution in responding to the need? When a funding agency conducts the re· view of a project application, it has to carry on an aesthetic asscssment similar to that reCQmmendcd for the facility owner in the previous section. Aesthetic design professionals (either as in-house staff or as consultants) should be in- volved in the technical review. and the points raised in the previous section can apply here as well. Design Advisory Boards similar to those discussed in Sec- tion 4.3 could also be effective in work- ing with the funding agencies and could provide technical expertise and general advocacy for aesthetic issues. (Although no precedent was found during the course of this research for the use of outside professional panels as advisors on funding eligibility and priority,) One advantage of using an outside Design Advisory Board would be (as in the case of facility owners) to insulate the fund- ing agency from the political conse- quences of controversial aesthetic decisions. The following case study (4.4a) shows Ihat detemlination of funding eligibility of aesthetic project elements can evolve in response to proposals initiated by the owners (in this case the town of New- buryport. MA). This kind of flexibility is essential. The value of aesthetically ori- ented designs often becomes clear when __Mr" ''''fIOIUIIl II. MA FUNDING AGENCIES' I'II.OCEDURES _ ~ Section 4.5 Designer Selection This section discusses the selection pro- cedures for design consultants and spe- cific improvements which can be madc in them to encourage greater aesthetic concern. Artist selection procedures are discussed separately in Section 1.4. "Designers" referred to in this section are professionals concerned with aes- thetic design: architects, urban designers. landscape architects and graphic design- m 247 - l~lrROVEfJ PKOCEDURES Contents Selection l\'1ethods Issues AlTecling Aesthetic Design and Alternatins Selection Methods The mo~l common method of architect- engineer selection for major transporta- tion facility designs follows a twu-step process: I. Interested consultants submit brief, standilrdized qualification statcmcnts (no proposals required ilt this stilge) which arc reviewed by the Evaluation Board and reduced to a "short list" of about four to six finalists. 2. Finill ~dectiun is bilsed on proposals solicited from the finURES Contents Examples of Aesthetje Issues The Role of Design Professionals Environmental and Communi1)' Review Examples of Aesthetic Issues I. In a number of the proposals for Do\l.ntown Peoplc Movers. the routes and stations were locatcd in dense. built- up areas of the downtowns. From lhe planning pomt of view this made sense. ~ince tnc.'iC areas had dense activity and oflen needed the new vitality that may come with added access. The planning studies often did not. howc\·er. suffi- ciently explore or illustrate Ihe aesthetic impact of e1cvated guideway structures on older cIty streets. Only when these relationships were more fuJly visualized did the problems crealed by Ihe original alignment dccisions become clear. 2. The Golden Gate Ferry Syslem (Case Study 2.8a) derives much of its el(ceptional aesthetic quality from the mOSI general planning decision: to run a commuter ferry boat across San Frdn- cisco Bay. Thc designs of Ihe boals and terminals greatly enhancc the el(pcrience. but much of its el(citement comes from simply crossing this wonderful landscape under a variety of conditions. day after day. In its unique role of controlling auto. bus and boat commuting from Marin County. the client agency could take advantage of the inherent beauty of the water route 10 altract commuters away from driving across the over- crowded bridge. 3. Inilial schemes for thc Harvard Square subway station reconstruction considered moving the main access point to the station into adjacent Brattle Square, the center of the shopping area. On its face. the move seemed logical. However. a more careful study of the Brattle Square environment (by the Har- vard Square Urban Ecology Study. see ref. 127) revealed that its attraction was contingent on a mode,Jte density and carefully balanced mix of aclivities. Adding Ihe higher volumcs of transit pa- trons 10 this environment would have hurt the shops. The result was a recom- mendation to keep the main enlrance at its present location. Such analyses. how- ever. are nol routinely conducted when locating a new activity-generating truns- portation facility In a complex urban area. The Role of Design Professionals The above examples argue for the inclu- sion of design professionals, concerned with aesthetics. in the early slages of lransportation projecls. Landscape archi- tects with a regional orientation and ur- ban designers are the key professionals at this stage. They are trained 10 analyze the opportunities and constraints pre- sented by the existing environment from an ~ological and aesthetic point of view. These features of a region or an urban district (sometimes de!>Cribed as "capabilities" and "suitabilities") can be represented by overlay mapping (Sec- lion 3.1). The maps can juxtapose poten- tial views. outstanding natural and man- made features. arells particularly vulnera- ble to intrusion. etc The transportation planners can then consider these issues alongside their other requirements in lay- ing out allernative schemes. Once alternative transportation modes and route alignrnellls arc proposed. the designers can analyze them for aestheti- clllly critical areas. By overlaying the btransportation schemes on Ihe base maps described above. polential problem and opportunity sites can be identified. At this stage. more detailed prototype design studies for resolving the problems (such as fitting a guideway into an exist- ing street) and of enhancing the oppor- tunities (such as designs to enhance view) are also necessary. These will as- sist in evaluating alternative schemes by illustrating the severity of potential prob- lems or the value of potential opportuni- ties. Techniques for studies of this kind for the natu,dl environment have been devel- oped by McHarg (ref, 130) and Halprin (ref. 126). An approach to Clty context is presented in Urban Ecological Analy- sis (ref. 134). Environmental and Community Review An important component of assessing aesthetic problems and opportunities i~ determining the value placed on them by members of the comrnunilies they most directly affect. Therefore. it is desirable to have the aesthetic asscs~mcnts de- scribed above subjccted to evaluation through community participation. It is essential that the community is first pro- vided with the well illustrated results of the initial analyscs and design studies. so that people can visualize the problems and opportunities. and make judgements about them. •Community participation usually occurs during the environmental impact reviews and during major planning programs. In the past. such reviews have occurred after conceptual design. usually during basic location or siting decisions. Since by that time much effort had been in- vested in developing the design. the en- vironmental review sometimes is used merely to justify the concept. If there were any dissent in the community. the environmental review process might then take on an adversary chamcter. with po- sitions hardening on both sides. A much more constructive procedure is now evolving. which makes environmen- tal rcviews and related community par- ticipation a continuous part of conceptual design. as well as subsequent stages of project planning and project devclop- ment, This can in~ure that the design team can absorb cnvironffielllul concerns and the community's values and incorpo- nne them into the conceplUal alterna- tives. This process was followed for the design of the ex!ension route and revised subway station in Harvard Square. The result was that this otherwise highly eril- ical community (lhat has stopped many other major projects) mpidly approved the preferred alternative and i~ sti II quite cooperative during a difticult and di~rup­ tive conslruclion program. The preliminary design for a project should specifically identify the aesthetic issues and priorities for final design and engineering. It should define the types of an programs. the scope of work. and the reslxmsibility of different design profes- sionals in the funher project stages. It should propose budgets aoo other rc- sourccs required for these tasks. folNAL DEStGN A~D CONSTRUCTION _ 25i Section 4.7 Final Design and Construction During this stage the shapes. materials. colors. textures and lighting that make up the transportation environment are given physical definition. The results will depend on the quality of the design- ers, the attitudes of the client, and the resources availablc. However, the proce- dures used during final design, engineer- ing and construction can also influence the aesthetic quality of the results. as discussed in this section. Z51 _ IMPROVEO PROCEDURES Contents Types of Design Procedures Major Project Design Routine Installations Types of Design Procedures Major new projects arrive at the design stage through conccptual planning and preliminary design. described in the pre- vious section. These projects go through many years and cycles of planning and designs and involve complex. multi-dis- ciplinary consultant teams. [t is impor- tant that aesthetic concerns are not lost through these complex procedures. But a large number of smaller. routine projects are designed every day by the staffs of transportation agencies. The routine projects arc often not considered as problems for aesthetic design. Yet they result in a world of asphalt. signs. lights. fencing. etc., thgy Small Grants Program Grants (up (0 550.000 each) are avail- able (0 support small·scale tcchnologies that: I) are appropriate to local needs. resources and labor skills. 2) involve the use of renewables. 3) are easy to install. opemle and maintain. 4) arc environ- mentally compatible. and 5) arc decen- tralized and non-capital intensive. rnnovative transportation-related propos- als, such as bicycle or pedestrian mall projects, could conceivably be eligible for funding. Department of Housing and Urban Development (HUD) HUD was eSUlblished in 1965 as a re- sponse to the rapid urbanization and in- creasing importance of housing and community development. It has helped shape the national policy to promote fC- vitalization of existing urban centers. and provides aid in the fonn of grants, guarantees, loans. mortgages and loan insurance. home ownership and rental subsidies, and technical assistance. Community Development Block Grants (CDRG) TIlesc grants may be awarded 10 local governments for a wide range of com· munilY development activities which were previously eligible under separale categorical grant programs, i.e., Urban Renewal. Public Facilities loans, Urban Beautificalion and Preservation Grants. Urban Development Action Grants (UDAG) lbe UDAG program was developed to assist severely distressed citics and urban counties, to revitalize local economics. and to n:claim deteriorated neighbor- hoods. through a combination of public and private investmenlS in projects of maximum benefit to low· and moderate- income persons and members of minor- ity groups. Urban Reinvestment Task Force A public-private coalition 10 stimulate and aid investment in inner cilY revilali· zation. Ihe Task Force (inili,lled in 1974) is a joint effon of HUD and the Federal Home Loan Rank Board to demonslrate how declining but still viable neighbor· hoods can be revitalized through a pan· nership of residents, financial institutions and local government. Comprehensive Planning Assi.'l1atlce ("701") The "701" program makes grants to fund a broad range of planning and man- agement activities including feasibility studies for cultural and recreational facil· ities; studies of the economic, social and cultural impact of proposed facilities on the surrounding environment; urban de- sign activities within planning agencies: . and historic preservation planning. Plans must be concerned primarily with prob- lems of growth and consider factors such as the preservation of architccturally or • fUNDING SOURCES _ 264 265 _ REFERE1"CES Department of the Interior Heritage Con~rvation and Recreation Service (HCRS) The HCRS administers a variety of pro- grams designed to conserve the nation's cultural and natural resourceS and assure adequate opportunities for fCcreation. Principal responsibilities of the agency are historic preservation. natural r'C.'iOUrce conservation and recreation. In addition. the agency fCviews the environmental impacts of proposed transponation proj- ects that receive federal financial assist- ance. to seck to avoid harm to open space. historic lmd archeological sites. recreation areas and the natunll environ- ment. Historic· Preserwltioll-In addition to its policy making role. HCRS administers the National Rcgistcr of Historic Places program. the historic provisions of the Tax Refonn Act. the Historic Preserva- tion Fund. and archeology and rehabIli- tation programs. II also provide:. technical assislance concerning. cultural resources and historic preservation. Namral Resourcu COllsen'atiOll-HCRS administers the National Registry of Nat- ural Landmarks. and assists federal agencies. states. municipalities and pri- vute groups in establishing recreational t~ails. U~used or llbandoned transpona- tlon comdors such as railroad rights-of- way lIre excellent potential trails. RecrelltlOll-The Land and Water Con- servation Fund supports the acquisition and development of public outdoor rec- reational areas and facilities. including bike paths and roadside resl areas. As- sistance is also lIvailable for programs which affeci the delivcry of recreational services (including community revitaliza- tion and tourism) or involve the cultural and rccreational aspects of water re- sources and development. including ur- ban waterfronts. Thc Uman Park. and Recreation ReCQv- ery program provide.!. financial assistance to urban communilics for the rehabilita- tion of existing recreational syslems and dcmonstration project~ for neighborhood park and recreational cnham:cmenl. Department of Labor Comprehensi~'eEmplo)'menl and Training Act of 1973 (CETA) This program promotes job training and employment opponunities for economi- cally disadvantaged. unemployed. or un- deremployed ~rsons. Program and funding decisions arc made at the Slate and local levels. Public agencies or pri- vate non-profit organizations rna)' admin- iSler specific programs (usually as contractors or subgrantccs to governmen- tal units). CETA funds can be used!O pay the sa- laries of lIrtists. performers. instructors and employees performing arts-related services. Work can be perfonned in pub- lic service fields such as bcaUlification. conscrvalion. neighborhood improve- ments, public facility maintenance. and communit) improvement. Department of the Treasur}' Slate and Local Fi.sc:al Assislance Act, 1972: General Re,·enue Sharing "ro- gram States and local governments may spend U.S. Treasury funds according to their own priorities and laws. Arts-related uses have included the construction of museum facilities. establishment of neighborhood cultuml and pcrfonnancc centers. establishment of revolving funds for historic preservation. and program suppon for community ans councils. oq -- Environmental Protection Agency \Vastewater Treatment Grants Pro- gram This program enables communities to obtain important Ittrealional benefits 31 relalivdy little cost. Communities plan- ning sewage (reatmenl improvements with federal assislance arc required to evaluate the potcn(ial for multipurpose recreational dC\'c]opmcnt in the sewer right-or-way. The provi~ion has been u~cd to fund bikeway planning between population centers. waler bodies and rec- reation areas. The corridor does not need to be a part of a fonnal recreation plan. General Services Administration (GSA) The Public Buildings Service (PBS) of the GSA supervises the design. construc- tion. operation. maintenance and protec- tion of federally owned and leased buildings throughout the country. Public Buildings Coo~ratin Use Art or 1976 • The Aet provides that GSA acquire and utilize space in buildings of histor- ical. architectural. or cullurnl signifi- cance. when feasible: and Pcmlits mixed use of public buildings. encouraging the inclusion of commer- Cial. cultural. educational or recrea- tional facilities. Surplus Properties Act Provides for the dispos~l of federally- owned properties determined to be sur- plus. which may be anjuired by state, county and municipal gOllernments for public purposes. Permits historic properties to be con- lIeyed to public entities without mone- (;Iry consideration. subject to perpetual use restrictions. Living Buildings Program Public and private non-profit organiza- tions are encouraged to usc government buildings for cultural. educational and recreational activities. Art-in-Architecturt Program One-half of one ~rccnt of the estimated conslruction cmts of federal buildings is allocated for fine ans. Existing buildings where an has been planncd but not im· plemellled. as well as those buildings undergoing significant repair and ahera- tion, arc also included in this program (ref. 39). FU:"DISG SOURCES - 266 Detail of ,ubw.y pusaj.Cd proj«t and its evolu- tion. 2'i) fned, fudelick and GIllon. Edmond V. NI!'W rod: Cil·i.. St:ulptur~. New Yolk: Do\-cr Publications. 1916. A pictOfial guide. Ptlotographs. 26) O·Doherty. Brian. "The Grand Rapids Challenge'" Art ill Am('r;ca. Vol. 62. #1. Jan.-Feb. lIP. 18-79. 'The impact of publIC art in mis mldwestem city. 27) Green. Dennis. "" for Art. Nl!'w u~;slalion Can Iml!'~rau Arf allil ArchUl'Cfltrl!'. Ne.... Yort: ACA Publications. 1976. 28) logrJm. Lois. Vl!'rmom Imtmhing· ton. 31) Kins County Arts Commission. Thl!'Arls- Newsletter. Volume 8, Number 9. Descriplion of lIM: Earthworl: S)·mposium. 32) RobInette. Margaret A., OUldoor Sewlp· luu: Obfrct ond E,..·;rOllllfmt. New YOlk: Wat- ~n-Guptile Publications. 1976. Oocumenls characteristics of both scnings al'ld sculptures. ]]) RTKL Associales. Inc .. and Bernard Peri- man. 1'Tr, in Arl In Cil'jc Archiltl;lurl!'. Balli- ~ [)ocumcolS the process used in Baltlmon:. 34) Stanle Arts Commission. Postl!'r. 1978. A one-sheet. poster·siUl summary of programs and activities of this pioneering city arts agency. 35) Southwest Ohio Regional TTlItl5it Author· ity, Cindttnllli Rl!'liQffaJ Public Art Profrct. Cin- cinnati. 1978. E"..luallon and presS n::leases. 36) ··What GclW:ral Grant Didn't Know." Pro- grl!'ssi'·eArehill!'clurl!'. Vol. L1V. #10. Oclober 1973. pp. 100-101. Local resio.:nts carry OIlt Gaudi-inspired beautifi- catiOl1 Pf"OJCCI for the plaza surrounding the Gran!'s Tomb. Photographs. 37) Office of the California State A~hitCCl_ Art In P"b1lc B"i/dings. Califomia. July, 1978. Describes the State of California's 1% for Art program and the "Town Mecling" artist selec· tlon process. 38) Cambndge Arts Council. Am On 1M UM. Cambridge. MassachuSC1tS. Thn::c publications: ArfS 011 thl!' LJII~ Rl!'porl. a Calolog"t of the artists' proposals. and a 30- minute video cassette. 39) U.S. Gcnend Services Adminislr3tion. Art- in·ArehllC<:turc Program. WashingtOll. D.C.. March 1979. PhoIographs al'ld de~riptions of many of lhe an- worbi oomnllssioned for federal buildmgs under the Art-m-A~hit«tureprogram. Comments about the prOgranl and il'ldividual projects. ANNOTATED B1BLJO(jRAPHY _ m BICYCLES 40) B~ldwin, Leslie. "Enfon:emenl." B;C)'dt Forum. No.4. Fall 1979. pp. 20-25. Examin~(ion of four ;nno.'alive bicyde lawen. forcement programs. 41) Baldwin. Leslie. "Federal Funds for Bicy- cles'" Bic)"dt Forum. No.2. Fall 1978. pp. J 1-51. Sourccs of funding for bicycle facilities and pro· grams. 42) Cranford Bicycle Board and Cranford Po· lice Department. Bic)Y'/t Stiftl)" A/trl Program. Cranford. N.J .• 1979. Booldct describes the program and bikeway sys· tern. 0) C)"c1altTQ/ ThinldnR. Vol. II. SuntlDCr 1976. I'hok iMt.lC. Articles en roUC-odion. laws, fundin~. materials. case studies. 44) Denver Planning Oflice. Tht BiktM"Qy Plan. Denver, 1972. Research and analySIS. recQmmendatiOlls. imple- menlatioll. rele"am data. DlagraTru;. maps. charts. 173 - REFERENCES 45) ul"(utin Office of the: President. Calo- IO&lit : charts; technical illustrations: pho<~. 47) U.S. Department of Tl'lm~tion.Biey- c1l1lg for R«rtOI;OI1 olld Commuli,,&. WlI$hmg- Ion. D.C.. 1972. lkscritx:s variOU$ recreauonal and commuting systems for bicycles. Includes an index of the major cycling trails and the: administering agen- cies. 48) U.S. Departmcnl of Transportation. Bir)'- de olld Pedes/ri"'l Facililito' ill/he Federal·oid Highwoy Progfllm. Orfice of Highway Planning. HHP-26. Federal Highway Administration. Washington. D.C. ENVIRONMENTAL PROTECfION 49) AdvisOJ)' Council 011 Historic fu~r...atioo, Proc:tdurts for Iht PrOfn"tiOll c:ral back- ground of noise laws. and trends in noise abate- ment. GRAPHICS 54) Brayhrooke. Susan. cd.. Print Castboob-JITM BtSI in ~\"ironJfl'ntQI Graphics. WashinglOO. D.C.: R.C. Publicutlom. IriC-. 1978. 40 projects, including NYC's PI~tfonns for Dc· sign, Seallle Manhole CO~'eIS, and the Washing- too f>lall public sign and informatioo sYStem. 55) Ryder. Sharon Lee. "A Sign of the Times." Progres.li.·t Ar"hileC/IIre, Vol. LVII. #5. May \976. pp. 70-77. Describes how signs can convcy a sense of a 10' cation's character while providing informalion. 56) Smilh. Ashlcy M)"Cr. Cit)' Signs ond Lighls. Cilmbridge: MIT Press. 1973. Policy recommendations for environmental mfor· mation systems, for the pedeSlrian and motorist. Ftekltesting mctllod~. Design criteria. Regula- tions. Evaluati.·c testS. HIGHWAYS General Principles 57) Appleyard. Donald; Lynch, Kevin; and Myer, John R. The Vin<- from Ih~ Rood. Cam- bridge: MIT Press, 1964. Analysis of highway aestbeli~ and evilluatioo teclmiques. Design procedure5. Pholo5 and sUlCh i1Jusmtiom, 5g) Kendrrl, Iloycc L "The Bumpy Road 10 a Beller Highway." AlA JOilftl(J/, Vol. U, 1'2, February 1969, pp, 7B--77. Documents the process of designing Baltimore's downtown expressway with minimum dislUption of lhe environmenl and maximum use of the road as a eatalySr,-ay ill fhe City: Princi- ples of PlaMIIIg and Design. U.S. Government Printing Office, Washington. D.C., 1968. Principles to be used as a general checklist to improve the perl"ormanee, appearance, and Ie- ccptance 01" urban freeways. Suggests new ap- proache$, particularly in the ~gineering aspects of highway development. 65) Wright, Russell. Ttdmiqlfnfor/1IaKpO- rating Hmorit: PreurvtlliOll Obj«tiws Into tM Highway Plallning Pf"fJ«ss. Nl'lional Trust for Historic Preservation, Washington, D.C., 1972. Suggests ways to implement highway programs while protecting lll1d preSl!rving historic and cul- \ll~l resources. Guidelines for minimi~ing tile environmental impael of proposed highway coo.- slnlCtion ICtivities. 66) Al\derson, K. C. "Visual Quality of High- ways." High ..-ay tlNi Urban Mass Trrlllsporla- tiOll. U.S. Departmall of Transportation. Seplembel" 1974. Overview of lIeSihetic: principles relating 10 high- way design. Environmental Elementli 67) AASHO Operating Comminee on Road- side Developmenl. A Guide for High ..'Oy Land- scape and E1Ivirotll/lelllQI D~sig1l. American Association of Stale; Highway Oflkials. Wash_ inglOll. D.C., 1970. Provides; broad Slale;ments and guidelines foc highway land$cape and environmental design factors. 68) Bill, Max. Robert Mail/art Bridges and Conslruc:tlolls. New York: Frederick A. Praeger. Inc., 1969. Reinforced concrete struelures of exceptional aesthetic quality. PbnIographs and lechnical in- formation. 69) Blum, Randolph, A Guide to VislNll QuoJ- ity In Noiu Ba"i~rDesigll. U.S. Department of Tr.msportation. Fedel'lll Highway Admini$ll'll- lion, Washinglon. D.C., 1976. Aesthetics in the design process. Principles and concepts. Illustrations. 70) Blum, Randolph, Junkyards. The High- way. wu1 Visual Quality. U.S. Department of Ttanspnrtation, Fedcntl Highway Administn. lion, Washinglon, D.C.. 1979. A ~ual.introehK:ing aesthcric principles in the ~gn of JIInkyard screening projects. IUusm. ''''". 71) Colorado Departmenl of Highways. /-70 III a Mounraill Elivironmenr, Vall PrJSs. Colorado. U.S. Department ofTransportalion. 1978. Documentation of environmental prolection ef- fOl'tS in a unique highway environmcnl. lJIustra- lions. 72) MinllCSOl:a Department of TtIllsponation Of6cc: of Environmenta.l Affairs. 1-94 cusd I.$., North Ml/lMapoIis, Braok/Yfl CeN~r. Minne- SOla, 1917. Design guide for visual demenlS within lbe highway corridor. 73) U.S. Department of Transportation and Vermont Agency of Transportation. Woods/cd. Projn:f RS-BRS 0241 (6), Elm S,rul Bridg~. JanUat)', 1979. Rcpon documenting adminisU'alive action, final negative declaration and 4(f)\ltatemem con· cerning !be repair of this hinone bridge. 74) U.S. Departmenl of Transportation. TSM ... and Federal-Aid Highway Funds FHWA. July 1974. Booklet describing the wide range of Transporla. tion System Management (TSM) improvemenlS which can be implemented with Federal-aid highway funds. 75) U.S. Department of Transportalion. Your Gultk 10 Progrtl1rl.1 of the Fed~raJHlgh..'Q)' AdministratiOll. Fedeta.I Highway Admini5ua. lion, WasbinglOll. D.C. Pamphlet providing a broad overview of lhe var- ious FHWA program§. tile basic COlICCptS gov. erning federal financial assistance under those programs. lll1d the resulting federal. state, and submle agency relationships. 76) Zembala, Dennis M., Elm StrUI Bridge. Woodstock National Hisloric Comm~, Woodmx:k, Vermont, 1917. A brief hisuxy of the bridge. ANNOTATED BlBllOGRAPlIY _ 274 77) Zuk, William. "The Architectur~ of Bridges." Progrus;,'f' Arrhi/f'rturf'. Vol. L1V, #3, March 1973. pp. 96-99. Di!iCUS-Sion of archilcctu~1 aspects of bridges. JOINT DEVELOPMENT 78) Logan, [)(lnn... Anatomy of Milled·Use," Pw;:rf'SsiwArrhitf'rllm'. Vol. LVII IS. May 1976, pp. SI-S7. A brief hi5tOf)' of orban center complellcs and dJeir evolution into the millro-use centenc of to- day. 79) Morton. Dayid. "Subor~n Shopping Downtown." ProsuJ.\h'f' Arrhituturf'. Vol. L1X. 112, December 1978. pp. 64-67. Assessment of the Gallery at Market Stlttt Ea>.t. Philadelphia. 80) National uagur of Cities and U.S. Coo- ference of Mayors Tro,uit Station Joint On't'I- opmf'I'lt. U.S. Department of Transponation and U.S. Department of Housing and Urban Devel- opment. 1973, Identities possibilities f~. and constrainb on. such joint dc\'elopment to assi!;t local agencies m the preparation of draft applicauons fot UMTA planning funds. 81) "New DII'ections for Downtov,," and Sub- urban Shopping Centers: Market Street East Transportmion Center." Ar('lIi/rcwral Rf'cord. Vol. ISS. 14. April 1974. PI'. 137-IS2. Description of tile' iSSlli"s and opportunll~ pre- senlro by this milled II!iI: de\'elopment In Phila- delphia. 82) ··Omnibuilding.·· Progff'ssiu Arrhiff'C- rurl. Vol. XLIX, 117. July 1968. Overview of this trend in architecture-historic precedcnts. rationale. role of the public and pri- vate sectors. illustrations. tcchniques and tech- ooIogy. 83) U.S. Dcpanment of Housing and Urban Development. San f'ranrjsro Bay Arf'/l Rapid Trunsil Liltl!ar Parht·U)·. Washington. D.C-. May \968. Description of the parkway design and imple- mentation procedures. 84) U.S. Department of Transportation. Fro- eral IIlgh....-ay Administration. High",'tl\, Jo'"t Df'l't'lopmf'n/ alld Mul/lplf' USf'. Washington. D.C. 1979. Project illustrations and de.l.Criptions. Project tab· ulations by slate. 8S) Witherspoon. Robel1 E.. AbreU. lohn P. aoo Gladstone. Robert M., Mixf'd-U..t 1976. pp. 104----115_ Eleven ingenious solutions, ineluding lighting designs for Toronlo transit stalions. Photo- gmphs. drawings. 94) Knight. Roben L. and Tryg/!. Lisa L.. Lond U~f' '",po('ts an4 Rapid Transit. Implira- tions at R«f'n/ ~rif'n('f'. U.S. Depanment of Transportation. 1m. Review of Sludies of land II!iI: impilds. Research recommendations and federal polic)' implka- tions. 95) M~~sal'husem Bay Tran.<;ponmion Author· ily. SlUff S"pplemf'nI Rf'port 10 Ihf' Program for Mass Traruportatiotl. BOSIon. August 1966. Background and signitieanr deuub of tilt: !;tUlly. TechnlCCy's rail- ferry terminal. and review of Camden. Ne..... Jer- sey's waterfront terminal facilities as an urban p'" STREETS fOR PEOPLE Pedestrianil.3lloo 108) Ashley. Meyer. Smith. DownlO,.'n Wash- ing/Qn SIrUIS for "rapll': "-inal R~part. District of Columbia Redevelopment Land Agency. May 1973. Details plan objeclive~. actions. Cl);Sts and benc- filS, environmental criteria. phySIcal syslems, maintenance. envirom11lental management. activ- lIy programming. 1(9) BrambliJa. Robeno and Glltnnl Longo. FOOInOltS. Vois. 1_4. U.S. Go,emment Print- ing Office. Washington. D.C. Ineludes informal ion on vanous urban impro\'c- ment e~perimenls arutlnd the world. providlllg a wide range of references that can be applied to specific local situations. 110) Breines, Simon and Dean. William J. The Ptdl'slrian Rt.-o/,,/iOil. SIrUIS Wi/houf Corso Ne..... Yori(: Vlnlaj!e Books. 1974. Planmng COJIC('pIS and iS5ues: ~scnptl"e Illus- trations. III) Fmin. J.• Ped..s/rian PIQJlflinK a,rd [),- sign. New York.: MAUDEP Press. 1971. Standards for pedestrian planning and design studies for the Port Authority of New York and New JerSey. 1l2) Koffman. David and Edminster. Richard. S"....,S for P~dts"i(1ns and Tf(1/ISII_' £.lOll/pits of TrollS" Malls in the Umttd Stat..s. Urban ~Iass Tl1lIlSportaHOO Admimstr.II011. WalJIington. D.C.. 1977. Details of Sl~ tnnsit malls. based on intel"\·lews. SilC inspe<:tlOns. and available ..-rillen data. Available findings on c<;:ooonlic impact are pre- sented. 113) Moorc·HMer Architect~. P..oplt Mu"t- m~ntforDowntown I"'pro"tmtnl. UMTA. Washington. D.C.• 1977. Brochu~ describing the range of pedestrian and transportation improvements available for do...-n- town communities. 114) Organi18tion for Economic Cooperallon and Development. Slrtf'fJ'for- P~oplt. OECD Paris. 1974. Techniques u~cd by several European cities to reduce congestion and improve the environmcnt of the city center. Case studies. liS) Pushl:arev. Boris and Zupan. Jeffrey M Urban SfXJ(~ for- Ptdts/riuns. Cambndge: MIT Press. 1975. Quantitati"e methods of proportioning pedestrian space in do.. ntO'oO·n in n:lauon to adjoimng buildings. Photognphs. chans. 116) Rudofsky. BemarU. Slren,"lar Proplt, It Prima for Amtricans. New York: Anchor Press. Garden City, 1974. Ho..' to humam;re the street. Philosophy. des.gn cuncepls and 11IUSlrations from historic. L'Ontem- porary and proposed sources. 117) Voorhees. Alan M.: Cambndgc S)·Stemat· in; A. T_ Kearny, Inc.; & Moore-Heder. Alita R~stricl~d Zm"s D~monSfr-(f/;onS",dl'. U.S. DOT/UMTA SelVicc & Methods Demooslnllion Progrom (DOT-TSC 1057). 1978. Studies of Boston: Burlington. Vermont: Mem- phis: Providence: and Tucson. Trllffic Management 118) Applcyard. Donald and LintclI, Mark. "En"ironmental Quality of City Street:: lbe Res- idcnb' VIewpoint." High"'a), R~starrh Ru-ord. 1971, pp. 69-84. Describes the San F~lsco Planning Depafl- menl study on environmental quality along SOrTl(' of the city's main traffic streets. 119) Bhandari. Anand. "Baltimore. 1990." HUD C!lUl/mgt. Vol. VIlI-# I, Januar)' 1977. pp. 14-23. Dcscnbes the city's planning. programrrung. de· ~Ign I"\"voe..... and implementatioo proccucs. and t\Io'O projects: City Hall reoovatlOn and pede:slrian lJlO\'ement system 120) Moore-H~r An::hitCClS. Opportunil;n for Downrown Impro\"~m~m: R~um Proj~cts in Transportation & Urban Dulg'l. Cambridge. MA. 1977 Recent projects in transpoflation and urban design. ANNOTATED IltllUOORAI'HY _ 276 121) OECD Conference. Htlter To....ns With Ltss Traffic. Organization for Ecor>OlTlic Cooper- alion and Development. Pari~. April, 197.5. Case Mudics of live cilieS describing procedures and data. Summaries of policy discussions. II, lustrations. 122) SimkowilZ. Howard; Heder. Lajos; and Barber. Edward, Tht Rtslrain/ of Iht AII/t,lmO- bilt in AmmcQfI Rtsiden/ial Ntighborhoods. U.S. DelW1ment of TnnSport.alion Report No. U~ITA-MA-06-0049-78-3. Surveys the impacl of non·residenl ~rting bans in Cambridge. MA. San Fr.anci5co. and Wash- ington. D.C., and of traffic rcscnint devices III Ikrteley, CA and Scanle. URBAN DESIGN TECHNIQUES 123) Cullen. Gordon. TM COIICiu TOM·IlSCiI/W. Van N~rand Reinhold Co., Nell' York 1961. C~ of design cOO('epu and general studiC$ of clcments. illU!olraled lIilh pholographs, sketches and plans. 124) Crouch, Dora Polk. "The Historical De- "elopIDC11t of Urban Open S~e." Urban O~n SfXJus. Coopcr-Hewin Museum, NY 1979, p.4. How urban open spaces arc used and delined in citiCii. 125) Hall. Edward T. "Proxemics and Design." Dtsign ond Em'ironment. Winter 1971. pp. 24-25, 58. Dc5cription of how these pl"inciples (uses of slructurc and space) arc relevanl for arehilCCI.S and planncn. 126) Halprin, L. and Bums. J.• Taking Part: A Worlcshop Approoch to Collu/i.,t Crtatil'it}'. Cambridge: MIT Press. 1975, Description of workshop techniques for making urban design decisions. 127) Hfder, L.. Karen. V. and Francis, M.. Har..-ard Squ/Jre Planning Workbook. MIT Lab· oratory of Archilecture & Planning. Cambridge, MA. 1975. An applicalion of urban ecological analysis lech- niques and community p:ntidpalion workshops. 128) Lynch, Kevin. The /m,ISI' of/ht Cit),. Cambridge: MIT Press, 1960. Gcneral concepls on the way people perceive cities and lhe importance of lhese images, Anal- ysis of threi: American Cilies. suggesting a method for dealing wilh visual form al lhe urban scale. 211- REfERENCES 129) Lyoch, Kevin. Lookins at ,hl' Villqard, Virteyard Open Lmd Foundmion, 1973. Description and analysis of land usc panems anl.l form. 130) McHarg. Ian L. DtJign with Natllre. Natural HistOf)' Pre5li. 1969. Piclorial treatmcm of the aesthelic quality of l.Iif· f~ru arrangements of land U!iCS. Techniques of a:ological analysis of large scalc landscape us- ing ovcrlay mapping. 131) "Philadelphia Story." ProgrtJJ'l"t Archl- lutllrt. Vol. LVII. #4, April 1976. Effa:1S of downlown planninl! and renewal d- fOltS. Su.,'ey. bicentennial archileclure. recenl projects. 132} "The Urban SlIategy Cenler". v...,..·"tOM·n Rtdr.·tlopmtnt. Qwnbcr of Commerce of tbe Uniled States, Washinglon. D.C. 1974. Summary of tbe downlown rene....'lI1 uperience of various--sized communities. Informalion on fi- nancing strategies and bncf~ ~udlCS. 133) Tunnard, Christophc:r and Pushkomv, Bom. Ma,,·Madt AmtriC'a: ChaoJ or Control' Ne....· Haven: Yale Uni\:enilY Press. 1963. General study with an CJltCIl5I"C list of refer- ~. 134) Moorc-HCdcr Architects. "Urban Ecolog· ical Analysis Techniques." Cambridge. MA. 1m. Melhod for describing and analyzing lhe rela- lionships between lhe urban physical environ· menl and lhe activities within il (aulo and pedestrian traffic. retailing, housing. ctc.). 135) Nairn. Janel. ""The Artful Design of a Non-Building," Architectural Record. January 1979. Descriplion of the Larkspur Ferry Terminal. WATERFRONTS IJ6) Baiter, Richard. Lo..·tr Manhattan Waler- frollt. Office of Lower Manhattan Development. NYC 197.5. An oricntation to the special zoning districts lhal guide lbe dc"elapmcnt of the Lower Manhattan Waterfronl. Describes urban design controls and administralive procedures. 137) City of Cambridge. "East Cambridge Riverfronl Plan.·' Community De'"elopmcnt De- panmenl. May 1978. Issues and opportunities. de\'e1opmcnl policies. design proposal, implcmentalic:m. benefits. Pho- tograptls. plans. 138) Central Watcrfronl Planning Comminee. Tht Ctlltral Wattrfrom Pr~r~to¥' Plan- flillg. CilY of Toronto Planning Board. 1974. Background information and issues ~Iing with environmcnUlJ. land and water uses. and move- ment aspects of the Central WalCrfroot and ilS relationship to the region. Work proJ!nffi and summary of Il:C'Ommendaliorts. 139) McCloud. John. "lbc Regr«Iling or America." Urban DesiRn. Vol. 8. #1. SUmrDCr 1977. pp. 4Q-.-42. Examples of redeveloped waterfronts: Yeatman's CO\'e Part, Cincinnali and Biccmennial Part.. Miami. 140) Sh·e!. Dr. W.S.. Mass TransportatiOll by FtrT)' BoofS in Ba)' Rtgions. New York: Regina Press. 1968. One of a SCriCii of sludies of methods and prob- lems of mass traflsportation. Deals with 00)' cit- ies in general and San Frnncisco in panicolar. Maps. plans. 141) Bureau ofSlale Planning. Wisconsin De- panmcnl of Administration. Waterfro"l Re- newol. Madison. WI. 1966, Applicalion of rellCwaltechniqucs 10 urban waterfronlS, Planning to achievc aesthetic polcn- tial. Melhoos and proposals. -ANNOTATED BIBUOGIlAPHY - m Section 5.3 Case Study Contacts Chapter One Art In Transportation l.11 "TM ClIMr" in C...nd R.pids A Pi«e of An Ileoomcs I CIty's Symbol AluInder Calokt. Sculplllf CIIy MaRa#'"'s Offi<:e GBIXi Ripidl. Mit:hipn oI9S02 I.la "Crer Portal i Aft~ Carde"" En<:haDcia& I SUtw. y EntrlllCC ..ittl At! H&fOId Paris. SculptOr Dale O'Ocll 0akI&ral Redevelopmcnt AUiborily 1333 Brnad.....y 0Ub0d. CA 94612 I.2b 510dtWm Soob"'J Art I"rovidinl Mcmonbk WIlIm,; P1acu Ann Sand~. Inronnaticn Offi= Swedish h,fonnatioa Smi;ccc of Historic Sculpture Dougl,.. Tilden. Sculpror Mr. Myron Tatarian Deportment of Public Worb Cily lIall S3n Franci>ro. CA 94612 1.2e Ca,'<'(H"ks Park. R~yclingGianI Mochinery (010 a p",~ Chuck Greening. Artwork Richard Haag A~sociales. Land",.!", ArchlleclS 2923 Fuhnnan Avenue Seaule. WA 98102 1,2f £arth•.-oru L.o.nd R~lamalion :II Sculpmre Jerry Allen. Project Mana~er King County An. COnlm~ion (KCACl 300 King COIlnty Administration Bldg, &anle. WA 98104 m - REFEREJ'oiCES 1.31 ..LIlnd_~ of TIIM" IntOgniing Sculptlin' "'i!h ArdtiteClUre lsamu N"IllChi. Sculptor Bllild'''' M~l"f'sOflitt feden.l Build'n, 915 Second A,"mIIO Seattle. WA 98102 1.:Jb .....nWa ScIIlpNre as lmap: ..t Loao Ted JocIuoe, Sculplor Rictw'd Andn:ws. Pm;cctM~ Sc Sclllplllre Spoonla""",,, Art by lhe Hi1hway No ,"m""l "oaHable 1.5.1. V.... land·llofT'....n R.«h lng SlIbslalion Anisls and ~'DOf$ Collaborate Andrew Kellin,. SlImy MartowllZ and Le..is Simpsort. Attises HobbtIFuku. AssociateS. A.o;hitKu. Seanlc Am Cornrniuion 30S H.I.fllSOlI Street Sc.auJc. WA 98109 1.610 Art.!A.ArdIiIKhlre ~...........cSA Sponsooint Att in FaIcDl Buildiftp Gmonl Serrlco$ AdminiSIJaion WMhlnpxI. D.C 2G'O:5 Donald ThaW;or. Director (or lMlu,h.eaional offl<'e:sl 1.611 51.t." C.lif_la "T_. M~inp" A Democ:ralic An &lec:'tion~ Sym Van del' Ryn. SIale ArchiIea Offi<:. of Itoe SlaIC Artbiloa (OSA) ~ of General SerYices Sacnmcnlo. CA 95$14 1.61; S.aWe I"" for Art A SllCttloSflll1y Innovat,,'e At! Program Ridwd Andro:ws. Pn'o;ect Manavr Sanll: Arts Comm'!4ion At! in Public: Places 30S lIam"'" Sll'llel Soauk. WA 98109 1.6d MBTA Art ~u... SllC('C:Ssflll PrcKedllres Jennifer Do""ley Cambrid.e Afl' Cou",il 53 Inman Sllttl Cambridge. MA 021 J9 7Chapter Two Facility Design 2.1a I)o,,'nto,,'n C~ln~. Re~onnlJ Busy St=u to People Ma)'(Jf'~ Oflke of Trarn;ponitlion One CI.y Ilall $(juan: Bos\Qfl. MA 02107 2.1b CIId_ Clly CenlN Aiding Eronom~ Development Can>! R Jobmon & Al".'<"laleli undlape A~hl1tn~ IJ3 "II Auburn St.ee1 Cambnd,e. MA 02138 2 Ie Munkb-Old Clly ~WlInlion"'lib a New Sut>..""y GerhaIdI MelJhomn I..anclrWupISlldI MUlll:1len B:owefent.SOOp/MRlunr B~~2&b liOOO M\UllCh 2. GennlIn)' 2.» " ...mo.u lf1Jh..a11.s1 Ae:SIbeIrc Onip (I( a MaJOr Hl,t......y Althur Aldnch l«M..... and Environ.....1lUI1 EIrpnett "mnom AI'"KY olTramporwron Swe Ad.runislra(lOrl BUddl"l Montpeloeo. VT 05602 2.3b Brldj:e ~.riOOl Chant"'l Feder;d Cntena Rober! G Ik>me. Mun...~p;il Manager Town Hall WoodSlOCk. VT 0S091 2.x V.il""u FnlinlJ. ll'JII....y to the Land DuaJd L Vernon. Starr 0n,sn Engineer SUI.e of Colorado. o..-.s.lDII ollliJIIWll)' 420t E. Arka_ A.'en"" Denver. CO 80222 2.4a 1l""lop Shellers. Ne.... Yurk Privale Venture Meel> I PublIC Nt:N Bu'top Shehe~. loc Willi.m Iluchar~. F're!Klcm. 10 ~$l 5Jrd Street Ne .... York. NY loon 2.5a Montreal'. Metro Innovalive Sub....ay Dl.sign M, Jean Dumonder. Chier Archite<:t Communaut6 Urbainc de Montreol Bureau de Transpon Meuopolitain 2580 St. JO$eph Iloulevard E. Montreal, Quebce. Canada IllY.2A2 2 5b BART_,\ lIigh.TNh"ol,ltO' S)'s.rm Mid",el C Healy I)il«lo< of PublIC Arralr> San Fl3IIeis<:o Bay Are. Rapid Tl3IIsll D''*n<1 800 Mad,>OIl SlftCI OaUand. CA \14607 2.x W..bin!:t.... n. c. Mftro Unified Sy>trm I>e..;.gn HanyW~ & A~wrs. ArdU'«1S Robert J. Kam. V"", Preslden. 600 Fir. s.reet. N. W. Wa.shiMllOn. D C, 20001 2_5<1 ;\IBTA M......mlr..ti08 De..ign far EffideftCy and Aeslhet~ JoiIn \\,111."",. Coord'.....nl ArdliICet Massaehu!etlS B.y Tfm!ilO"W"'" AUlhomy SO H.p. St=l Bouon. MA 02J 10 2.1_ 0uI11':o1 AH-port A Grand Symbolle Entranc-e Dultt P D;ms. Airpm: Mana;c. Dulles Intanauona) A,rport WaVl~lOn. DC 20(1ol1 l.7b SEA·TAC Alrpo<1 EfficleftC) and ""sthctleS Gerald \\,Jll.Ims. Pan""r TRA. The Ricfwdson Auocw.", 215 Columboa Sc:ar.le. WA 9lll().l 2 8.0 'The Golden G.le .-N..,. S~em ~lak.ng CommUl,ng Pleuunblt (Je"" P. Rexrode. 1'roJ«1 Engineer Golden Ga.e B"d,.,. lligh ....y .nd Tr,msportarion D.~nc:l BWl 9(l({l Presod;o Sl.lion San Ff3llCisro. CA 9-l129 291 The I'llul Dudley Whj~ Dike hth Building _ B,le P:ouh ,n _n Urban Are. Rich"'" J. Ward. Eng'nctr Melropolltan I)istriol Commi~slOfl Parks Engineeri", DlVj~"", 71h Floor 10 Somerset Sll«l Ilo5lon. MA 00218 Chapter Three Integration with the Built Environment J2a ."Tfttfl'.y Park Cooper:al..... l.ea. I"" l..and>ape A.rlIitcet. 2200 Bridre""y BouJe•...--d Sall$alilo. CA ':J4965 J» EI Cenilo ~l Norte BART SUllion S~M Design 01 a Suburban Tl'IQl.Il Facility Sa:!.al,. Will<:t A..........e.. Inc landK2pe Ardllleets 2200 Bndg;...-.ay BoulcVll'd ~1O.CA':J4965 J.Jb QuirKy C~IN. MBTA Gange Des,gn Helps 10 IIIIegraIe TfIMJ( sa-- hOD "',. Cottll""mal Cenrr John Willwm. Coordinaling A.d"leCt MusadluidlS B.ay Tfm!ilO"WlOn AlIIhon.y 50 Hip Sr=a BO!oIOfl. MA02110 J 4:a tr.oe'll:ro."" Monlreal MlUd U.., De>elopmcnl< Integ""e .",des- mill and TfIn>u N<1...orts M Rol."" Garand Plann;ng Dl.[I'Ulmenr M""treal Urban CommuQlly 501 Place d·An•• Room JOO M""lrul. Quebe<'. Canada J 4b The Gallen lit Markel E:.a~t Mat- ,~ Pcdrslr.... Or""'led Sr=a De,..gn Pn:rcedun;,. -""""""Office 01 Sc"'",, and Met""'c!, DrmomuarIDllU.S~ o(TransporwlOfl WiNllMpon. I) C. mw 4 2b .'fft'OI""y P.rk Thrno.Party AK'"Cftnmt A M l Joo.. Dc'do",,,",, CO'Jlnet lou A kIrby Scanle Part.! ~mm1 Scanle. WA 9lllt).l 4 ".N",,,,,,,,·pon To".. C....ter Re-_lIefpm.n, Des"n SIa"eum. l44b. A~ITRAK-NalionalRailroad Pa:ssengcr COl'ponnion. 145a. Oberlin Head Stan. 145b. Bruce Ojard. 146a. Norman Mcelors. Toromo. 124a. Stanley Mien for ~arry Weese and Associates, courtesy of the Cooper-Hewitt Museum, Picture collection. 124c. Hu= Dernoro 125.6.7,8.. ,&. Ellen Shoshkes 12gb Courr.esy of Real Ilaineaull. Communautc Urbaine de Momreal. HTM. 13 I. Courr.eilY of the Bay Area Rapid Transit District. 133. Ellen Shoshkes, 134. Phil Portlock for WMATA. 135b.e.d, Ellen Shoshkes. 136a. Ellen Shoshkes 13&. Library of Congress. 139. Ellen Shoshkes. 117b. 118a. 118b. 1191. b. 120a. 121. Ina. b. c.d. 123.1 b. 206 208b. "''' b. 196a. 198,9b. 200,2. 204~.b. Courtesy or F.:lice Brunner. USOOTtFHWA. Courte.o;y of David E. Buley. Tnborough Bridge and Tunnel Authority. New Yorli:. Courtesy or Lou Anne Kirby. Se~tde Parks and Recreation. Cuurtesy or Lou Anne Kirby, Se~lllc Parks and Recreation. Reprinted rrom San Fra/lclsco Bay Are(j Rapid TrclIIsil DiSlriC! Ullt'llr f'arkway, published by the US Department or Hoosing and Urban Development. Bay Area Rapid Transit Districl. Reprinted rrom 8a\' Ana Rapid Tranril Dis/riCI Linror Purk. published by the US Department or Housing and Urban Development. 212. Courtesy or R.T. Affleck. Arccp As!iOCiatcs. 213. Citib.mk Photograph. 214. David Cubbage. 216. Reprinled from Urb<1n SportS for Pt'dt'SlrlUns, by I._B. Pulhkarev and J. Zup~n (rd. lIS). 217b. Ellen ShO$hkes. 221. Courtesy of Ursala Reed. Roussc-Phil~dcjphiaInc. 222. Courtesy of Norbert W. Young. Bower. Fradley, Lewis. Throwcr/An;hiteLls. 226a. Environmental Communications. 226b,7a,7b,8. Ellen Shoshkes. 232. Courtesy of Felice Brunocr, USDOTtFHWA. 233. Courtesy of Mickey Klein. USOOT/Fcdcnll Ralhoad Administration (FHA). 234. Courtesy of Mr. David Vine. MCiropoliian Dade: County Av'allon l>cpMtment, Miami International Airport. Ellen Shoshkes.236. "'g. 237. Courtesy of Clark Odor. Memph's and Shelby County Office of Plannlllg and De,'clopmenl. 242,4. Ellen Shoshkes. 250. Steve Rosenthal. courtesy of Skidmore, Owings and Merrill. 252. Pcr H. Reims, <.'{Junesy of Environmental Communications. 254,6. Ellen Shoshkes. 262. Counesy of Felice Brunner. USDOT/FHWA. 264. Greg l.erevTe 266. Ellen Shoshkes. 267. Samuel Lcbo,",-,lZ. 270,3,6. Courtesy or the Kublu Collection, CoopcT-Hewllt Muso=um, Piclure Collectioo_ 278. Tom Kin-an.