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• W221641569 abstract "A World's Fair Primer Alien Eskew When the World's Fair opens on May 12, 1984, it will owe a great deal of thanks to the Piazza d'ltalia not only as a significant architectural role model but also as a design- process teacher. The Piazza and the World's Fair have a number of things in common: the same city, the same historic neighborhood, and some of the same designers. Along with Charles W. Moore, Ron Filson, and Malcolm Heard, I shared the design excitement of making the Piazza d'ltalia. Now, nine years later, I find myself responsible for directing the master planning efforts of the World's Fair design team. While the scale of the two projects is certainly different (one acre of tight fabric and occasional pedestrian visitors defining the Piazza versus 82 acres of open riverfront property and an expected 75,000 person-per-day attendance rate for the Fair), the two projects are almost identical in design concept and spirit. While the debates surrounding the merits and/ or indignities of the Piazza will certainly continue, I , for one, am very clear on the design lessons that the project extended. I doubt very seriously whether the World's Fair master plan, as currently being executed, would produce anywhere near the same kind of result if it were not for the first­ hand experiences w i t h the Piazza d'ltalia. That is not to say that there are not other ways to do this World's Fair—certainly the pluralistic view of World's Fair vocabulary is as legitimate as the pluralistic view of architecture. Yet, when I count the influences on the Fair's work to date, there is no question of the overwhelming role of the Piazza d'ltalia. While the Piazza provided a wonderful opportunity to indulge in architectural gymnastics and free flights of fancy, there were two very important process issues that dominated the Piazza's development and subsequently shaped in a major way the characteristics of the World's Fair plan. The first was a claiming: the ability to make a set of physical spaces that not only encouraged but also demanded participation by the user. During the early design schemes for the Piazza, we discovered that opportunities existed not only for creating physical form through the expression of an elaborate fountain and a public plaza, but also for creating theater. Given the rather casual, functional requirements typically associated with the making of open, public space, we looked for every opportunity to invest the project with meaning and purpose. We were blessed with a very colorful user group in the Italian community of New Orleans. It was their ethnic heritage and love for the grand gesture that allowed us to begin projecting some of the early concepts of public pageantry upon the physical layout of the fountain. The more we worked on the fountain as a participatory water toy, the more fascinated we became with the opportunities for performance embedded therein. However, we kept running into the problem of communications; how could we translate our design fantasies into actual user patterns? In an effort to bridge the gap between the design drawings and the Italian community's interest in using the space, we began a series of studies for the peopling of the Piazza. We began producing a series of possible scenarios for the fountain's use. Strangely enough, an interesting thing happened as these scenarios developed and were shared with the Italian community: the more scenarios we developed, the more we invented. The five original scenarios acted as a catalyst for at least 20 casual possibilities. The scenarios became the tool to explain in laymen's terms how the space would be used in addition to how it would be viewed. They also helped as a communicating device in testing some early assumptions and including the user-group into the design process. This process, when adapted to World's Fair work, took on the expanded role of site organizer. The scenario techniques offer the opportunity to game-out various design options by studying architectural solutions as well as operational efficiency, entertainment venues, and pageantry possibilities. The scenarios were taken from cartoon-like diagrams of the Piazza version to fully rendered architectural images that were strung together into sets of drawings to portray walking tours through the Fair site. Only when we were able to string together a set of walking-tour images with the simplicity of hypothetical user scenarios were we able to communicate properly and forcefully the design intentions of the Fair's master planning. Prior to the use of these scenarios, the planning had been communicated as a stiff technical exercise in land use and utility infrastructure. The walking-tour scenarios became the most powerful tool for communicating design intentions. It now appears that we will also be able to test with the World's Fair some of the theoretical assumptions that we discovered and translated into those early Piazza scenarios. If the World's Fair is to be successful as a pedestrian event, the focus must be on the pageantry and parades and choreography. The second major contribution of the Piazza experience was instruction in the group-design process of Places/ Volume I , Number 2" @default.
• W221641569 created "2016-06-24" @default.
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• W221641569 date "1983-10-01" @default.
• W221641569 modified "2023-09-26" @default.
• W221641569 title "World's Fair Primer [Place Debate: Piazza d'Italia]" @default.
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