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Cities  today  face  a  profound  challenge  an< 
extraordinary  opportunity:  how  do  we  balance 
the  physical  improvements  of  urban  revitaliza- 
tion  with  the  goals  of  social  equity,  economic 
development  and  public  health  for  all  city 
inhabitants?  Our  unfinished  agenda  as  a 
society  is  to  confront  and  overcome  the  enor- 
mous disparities  that  divide  our  communities. 

This  book  proposes  a  comprehensive  solution: 
inclusive  planning  and  design  based  on 
socially,  environmentally  and  culturally  sensitive 
policies  and  processes  that  allow  communities 
to  shape  their  own  environments — so  everyone 
improves  economically  as  the  physical  realm  is 
revitalized. 

Here  is  a  practical  look  at  fourteen  successful, 
inclusive  projects  with  positive  social  impacts 
in  urban  environments — and  one  important 
result  in  common:  the  process  of  completing 
the  project  added  value  to  the  community 
beyond  the  physical  project  itself. 

The  book  also  provides  a  set  of  hands-on 
inclusive  design  guidelines  for  your  next 
project  so  that,  someday,  all  built  environments 
and  all  cities  will  be  fully  inclusive,  welcoming 
and  thriving. 


Planners,  designers,  architects,  landscape 
architects,  developers,  policy  makers  and, 
most  of  all,  community  members  who  share  a 
passion  for  great  urban  places — this  book  is 
for  you. 


the  inclusive  city 

DESIGN   SOLUTIONS   FOR   BUILDINGS, 
NEIGHBORHOODS  AND   URBAN   SPACES 


Digitized  by  the  Internet  Archive 

in  2012  with  funding  from 

Boston  Library  Consortium  Member  Libraries 


http://archive.org/details/inclusivecitydesOOgolt 


the  inclusive  city 

DESIGN   SOLUTIONS   FOR   BUILDINGS, 
NEIGHBORHOODS  AND   URBAN   SPACES 


edited  by 

SUSAN    GOLTSMAN 
DANI  EL    IACOFANO 


* 


MIG   COMMUNICATIONS 

Berkeley,  California 


2007  MIG  Communications.  All  rights  reserved. 


No  part  of  this  work  covered  by  the  copyright  hereon  may  be  reproduced  or  used  in  any 
form  or  by  any  means — graphic,  electronic,  or  mechanical,  including  photocopying, 
recording,  taping,  or  information  storage  and  retrieval  systems — without  written 
permission  of  the  publisher. 

Managing  Editor:  Joyce  Vollmer 
Jacket  design:  Ed  Canalin 
Interior  design:  Catherine  Courtenaye 
Printed  in  China 

Library  of  Congress  Cataloging-in- Publication  Data 

The  inclusive  city  :  design  solutions  for  buildings,  neighborhoods,  and  urban  spaces  / 
edited  by  Susan  Goltsman  and  Daniel  Iacofano. 

p.  cm. 
Includes  bibliographical  references  and  index. 
ISBN- 13:    978-0-944661-31-4  (cloth) 

1.  City  planning.   2.  Public  spaces.    3.  Universal  design.   4.  City  planning — Case 
studies.  I.  Goltsman,  Susan  M.  II.  Iacofano,  Daniel  S. 

NA903 1.152  2006 
711'.4-dc22 

2005053382 


MIG  Communications 

800  Hearst  Avenue 

Berkeley,  California  94710  USA 

510-845-7549  phone 

510-845-8750  fax 

www.  mipcom .  com 


This  book  is  dedicated  to  all  those  helping  to  make  cities  vital  and  healthy,  humane 
and  just. 


CONTENTS 


XI 


XV 


Preface 

Foreword    I    Andrew  Altman 

Acknowledgements 


Introduction:  The  Challenge  of  Our  Cities    \    Susan  Goltsman,  Daniel  Iacofano 


PROJECTS 

15  CELEBRATING  AN  INDEPENDENT  LIFE 

Ed  Roberts  Campus,  Berkeley,  California    j    Joan  Leon 

This  world-class  center  provides  a  home  for  the  Independent  Living  Movement  and  the  organizations 
that  helped  found  it,  demonstrating  the  principles  of  universal  design  atop  a  rail  transit  station. 

35  HELPING  CHILDREN  HEAL 

Edelman  Children's  Court,  Los  Angeles  County,  California    j    Susan  Goltsman 

The  Edelman  Dependency  Court's  child-friendly  design  contributes  to  family  healing  and 
reunification. 

61  BRINGING  NATURE  INTO  THE  URBAN  SCHOOL 

Tule  Elk  Park  Child  Development  Center,  San  Francisco,  California    |    Susan  Goltsman 

A  relatively  small  space  becomes  a  complex  urban  ecosystem  and  learning  laboratory  in  the 
middle  of  a  diverse  neighborhood. 

77  EXPANDING  THE  LEARNING  ENVIRONMENT 

St.  Coletta  of  Greater  Washington,  D.C.    |    Susan  Goltsman 

A  creative,  caring  educational  program  coupled  with  a  nontraditional  school  design  negotiates Jor 
space  in  a  dense  urban  environment. 

97         REDISCOVERING  THE  TOUCH  OF  ART 

Musees  des  Beaux  Arts,  Valenciennes  and  Calais,  France    j    Coco  Raynes 

Innovative  exhibit  design  helps  people  with  visual  disabilities  appreciate  sculpture 
at  museums  in  France. 


VII 


GROWING  CARING 

Explore!  A  Child's  Nature,  Brookjield  Zoo,  Illinois    \    Robin  Moore 

A  venerable,  world-renowned  zoo  instills  environmental  responsibility  and  stewardship  through 
interactive  exhibit  design  and  adventure  play. 


Chase  Palm  Park,  Santa  Barbara,  California    |    Susan  Goltsman 

As  mitigation  Jor  new  development,  an  oceanfront  park  recreates  city  history  and  aquatic  life, 
attracting  city  residents  and  visitors. 

COMBINING  COMMUNITY  FACILITIES 

Edison  School  I  Pacific  Park,  Glendale,  California        Susan  McKay,  Susan  Goltsman 

A  novel  grouping  of  neighborhood  facilities  draws  diverse  communities  into  one  central  location 
in  this  traditionally  underserved  area. 


193 


^iTHFRIMf;   PI  flrF? 


Central  Park,  Davis,  California    \    Stanton  Jones,  Cheryl  Sullivan 

Community  action  leads  to  a  new  central  park  and  farmers  market,  strengthening  identity  and  pride 
in  this  small  town. 

21 1  TRANSFORMING  RETAIL  SPACE  INTO  COMMUNITY  SPACE 

Davis  Commons,  Davis,  California    j    Cheryl  Sullivan 

Reconfiguring  a  neighborhood  shopping  center  provides  spaces  for  social  interaction  and  public  events. 

229  RECONNECTING  WITH  THE  STREET 

R  Street  Urban  Design  and  Development  Plan,  Sacramento,  California    j    Daniel  Iacqfano,  Mukul  Malhotra 

Pedestrians,  bicyclists  and  vehicles  share  the  road  in  the  innovative  redesign  of  this  classic  industrial  street. 

273  CONNECTING  URBAN  AND  NATURAL  SETTINGS 

Presidio  Trails  and  Bikeways,  San  Francisco,  California    |    Larry  Wight,  Sally  Mclntyre 

An  extensive  trail  network  provides  a  high  level  of  access  to  the  outdoors  Jor  this  national  park 
set  within  an  urban  area. 


VIII  CONTENTS 


295  SPANNING  THE  COMMUNITY 

Alfred  Zampa  (Carquinez)  Bridge,  San  Francisco  Bay,  California    |    Bart  Ney,  Daniel  Iacofano 

A  major  piece  of  transportation  infrastructure  becomes  a  source  of  pride  and  reunification  for  a  small  suburban  community. 

313  REMAKING  AN  AMERICAN  DOWNTOWN 

Downtown  Area,  Spokane,  Washington    |    Daniel  Iacofano,  Mukul  Malhotra,  Rosemary  Dudley 

A  series  of  community-based  plans  and  projects  revitalizes  a  major  urban  center  on  the  edge  of  decline. 


INCLUSIVE    DESIGN    GUIDELINES 


387 

LESSONS  FROM  THE  PROJECTS 

388 

DEPENDENCY  COURTS 

399 

SCHOOLS  (K-12) 

411 

MUSEUMS 

413 

CHILDREN'S  ZOOS 

417 

PLAY  AREAS 

423 

PLAZAS 

425 

TRAIL  SYSTEMS 

435 

OPEN  SPACE  PERFORMANCE  STANDARDS 

454 

CITYSCAPES 

471 

REFERENCES 

473 

CONTRIBUTORS 

CONTENTS  IX 


PREFACE 


In  the  fall  of  2005,  as  we  were  working  on  this  book,  the  Gulf  Coast  of  the  United 
States  was  devastated  by  two  major  hurricanes:  Katrina  and  Rita.  We  all  saw  the 
images  of  New  Orleans,  and  the  small  cities  of  Louisiana,  Mississippi,  Alabama  and 
Texas.  As  the  winds  stripped  the  land  bare,  they  exposed  the  hidden  underclass  that 
remained:  our  most  vulnerable — the  poor,  the  elderly,  the  disabled,  and  the  very 
young.  Perhaps  it  shouldn't  have  been  a  shock  to  see  that  they  were  the  ones  who 
suffered  most,  as  they  have  historically,  because  our  city  infrastructures  do  not  fully 
support  them. 

As  we  looked  at  those  destroyed  cities  and  torn  communities,  we  saw  that  they 
might  have  to  be  entirely  reconceived  and  rebuilt — and  that  offered  our  country  a 
redeeming  opportunity.  We  can  do  better. 

Cleveland's  great  equity-planner,  Norman  Krumholz,  said  that  urban  planning  is  a 
"perpetual  opportunity. .  .a  field  for  those  who  wish  to  shape  our  collective  future." 
As  urban  planners — and  designers,  architects,  developers,  economists,  politicians 
and  policymakers — we  can  build  inclusive  cities.  Our  built  environments  can  be 
structured  to  embrace,  welcome  and  encourage  all  members  of  our  communities  to 
thrive  and  prosper.  This  is  the  hope  for  our  collective  future;  this  is  why  we  do  what 
we  do. 

Daniel  lacofano  and  Susan  Goltsman 

October  2006 


FOREWORD 


ANDREW  ALTMAN 


While  the  predominant  pattern  of  development  in  the  United  States  continues  to  be 
characterized  by  relentless  sprawl  with  population  and  employment  decentralization, 
there  are  clear  signs  that  cities  nationwide  are  resurgent  once  again.  But  what  kind  of 
city  are  we  building?  Each  burst  of  urban  rebuilding  begs  the  question:  for  whom  is 
the  city  being  built?  Further,  what  does  the  new  form  of  the  built  environment  say 
about  our  values  as  a  society? 

Cities  at  the  turn  of  the  21st  century  are  doing  better  than  they  have  in  decades,  but 
it's  not  yet  clear  that  we  will  able  to  look  back  at  this  latest  age  of  urban  renaissance 
as  having  created  a  more  inclusive  city.  Will  changes  in  the  form,  diversity,  social 
vitality  and  health  of  our  2 1  st  century  city  be  more  profound  than  simply  having 
created  islands  of  prosperity  and  entertainment  for  a  new  urban  elite?  Or  will  the 
built  environment  being  constructed  in  this  time  of  rapid  development  and  expan- 
sion create  buildings  and  settings  reflective  of  an  inclusive  city — an  inclusive 
society — where  diverse  populations  interact  and  their  needs  and  aspirations  are 
respected  and  encouraged?  This  is  the  central  challenge  that  this  book  implores  us  to 
confront. 

City  master  plans,  planning  conferences,  architectural  competitions  and  political 
discourse  are  replete  with  laudable  and  sincere  aspirations  to  "build  the  inclusive  city" 
and  there  are  many  success  stories.  Indeed  we  have  come  a  long  way  since  the  era  of 
Urban  Renewal.  However,  if  cities  are  to  succeed  in  the  21st  century,  we  must 
sharpen  the  tools  and  instructive  cases  that  the  shapers  of  urban  environments  can 
use  to  build  the  inclusive  city.  If  the  aspiration  for  an  inclusive  city  is  to  be  more  than 
words,  the  arts  of  city  planning  and  city  building,  which  so  often  diverge  in  practice, 
will  need  to  join  again.  Because  it  is  in  the  detailed  act  of  building  the  public  and 


XI 


communal  spaces  of  the  city  where  the  translation  of  an  inclusive  vision  into  an 
actual  inclusive  city  often  goes  unrealized. 

That  is  why  this  book  is  needed  now  more  than  ever. 

Let  us  reflect  upon  this  provocative  challenge  for  a  moment.  If  left  unchecked,  what 
would  the  paradox  of  growth  sweeping  our  country  portend  for  cities?  There  is 
evidence  that  the  new  information  and  service  economy  of  the  2 1  st  century  will 
favor  urban  attributes.  The  timeless  assets  of  successful  cities — density,  urbanity, 
compactness  and  complexity — constitute  the  ingredients  of  success  in  an  economy 
where  innovation,  the  exchange  of  ideas  and  the  value  of  environments  all  become 
economic  imperatives,  not  just  niceties. 

Moreover,  there  is  a  return  to  urban  living.  People  are  moving  downtown  again, 
especially  as  empty  nesters  and  young  professionals  seek  the  dynamism  and  range  of 
social  amenities  and  interactions  that  a  city  offers.  Popular  culture  has  signaled  a 
change  in  our  prevalent  attitude  toward  cities.  From  apocalyptic  images  of  cities  in 
the  cinema  of  the  1970s  to  the  "hip"  media  favorites  "Sex  in  the  City"  and  "Friends," 
cities  are  again  described  in  the  media  as  "hot"  places  to  live,  work,  shop  and  visit.  As 
a  consequence  of  this,  some  of  the  troubling  signs  of  urban  decline  seem  to  have 
abated  and  in  many  cities  are  being  reversed:  indices  of  population  decline,  segrega- 
tion and  concentrated  poverty  are,  on  average,  improving. 

Yet  we  must  not  let  these  improved  times  for  cities  belie  the  harsh  reality  that  cities 
continue  to  house  the  majority  of  the  poor  and  segregation  continues  to  persist 
as  the  basic  form  of  the  city.  And  while  urban  downtowns  are  indeed  exciting  desti- 
nations featuring  celebrated  new  icons  of  modern  architecture  and  temples  of 
culture,  they  are  often  not  the  places  where  the  diversity  of  the  city  intersects 
and  enjoys  shared  public  space.  The  very  meaning  and  success  of  the  city  must  be 
measured  not  solely  by  growth  statistics  or  increased  tax  receipts — although  these 
are  both  vital  to  the  health  of  cities — but  more  importantly,  by  whether  we  are  in 
fact  creating  an  inclusive  city  that  overcomes  the  economic,  physical,  environmental 
and  social  barriers  that  perpetuate  inequality  and  separation. 


But  how  do  we  do  it?  We  bemoan  our  helplessness  in  achieving  an  inclusive  city 
because  its  lofty  goal  seems  too  difficult  and  overwhelming  to  actually  achieve  "on 
the  ground."  The  argument  is  that  the  forces  that  shape  the  destiny  of  the  city — the 
economic,  market  and  government  policies — are  beyond  the  influence  of  a  city. 
How  can  we  create  an  inclusive  city  in  an  environment  seemingly  aligned  against  it, 
and  that  in  fact  fosters  the  very  conditions  of  disparity  and  inequity  that  this  book 
challenges  us  to  confront,  understand  and  resolve? 

I  believe  we  can  meet  this  challenge.  Even  in  the  face  of  federal  withdrawal  from 
cities  and  the  hostility  of  many  state  governments  to  the  interests  of  cities,  there  is 
increasing  evidence  that  cities  and  urban  communities  are  seizing  control  of  their 
own  destiny.  New  models  of  entrepreneurial  urban  development  are  emerging  that, 
while  on  their  own  cannot  resolve  basic  urban  disparities,  offer  us  hope  for  seeding 
an  inclusive  city  that  can  be  replicated  on  a  larger  scale. 

My  own  experience  as  planning  director  of  Washington,  D.C.,  confirms  that  just 
such  an  urban  transformation  is  possible.  Under  the  leadership  of  a  visionary  mayor, 
Mayor  Anthony  A.  Williams,  urban  planning  was  empowered  to  think  big  again. 
Through  the  combination  of  generating  bold  ideas  for  urban  transformation,  engag- 
ing in  participatory  planning  that  attempted  to  bridge  economic,  social  and  racial 
divisions,  and  planning  with — not  against — the  market  so  that  opportunities  are 
harnessed  and  created,  Washington,  D.C.,  is  growing  and  addressing  fundamental 
urban  inequities  after  decades  of  steady  decline.  Its  new  master  plan  focuses  on 
balancing  growth,  equity  and  a  shared  sense  of  community  and  responsibility  across 
neighborhood,  racial  and  economic  fault  lines. 

But  while  attention  is  often  given  to  the  "big"  programmatic  ideas  that  are  prerequi- 
site to  building  an  inclusive  city — such  as  in  Washington,  D.C. — it  is  at  the  ground 
level  where  we  are  often  left  without  sufficient  professional  guidance  and  successful 
examples.  This  is  where  The  Inclusive  City  makes  an  important  contribution.  The 
public  spaces  and  facilities  that  have  defined  the  urbanity  of  cities  for  millennia  can 
either  be  spaces  and  buildings  that  invite  the  interaction  of  diverse  populations  and 
encourage  serendipitous  experiences,  or  they  can  be  controlled  spaces  that  enforce 


FOREWORD  XIII 


segregation  and  sterility.  Successful — inclusive — cities  are  designed  to  engage  diver- 
gent and  oft  times  conflicting  communities  in  the  civic  and  public  life  of  the  city. 
Nowhere  is  this  more  important  than  in  the  design  and  use  of  our  public  spaces — the 
streets,  squares,  schools  and  public  facilities — that  determine  the  extent  to  which  the 
daily  life  of  the  city  is  either  inclusive  or  exclusive. 

We  desperately  need  a  framework  to  provoke  us,  teach  us  and  stimulate  our  work: 
what  are  the  building  blocks,  principles  and  guidelines  that  we  should  look  to  and 
measure  ourselves  against  so  that  values  match  desired  outcomes?  This  much-needed 
book  offers  just  such  a  guide  and  inspiration.  From  the  scale  of  planning  for  down- 
town and  pedestrian  corridors,  to  the  design  of  new  parks,  and  the  detailed  layout  of 
the  interior  and  external  environments  of  community  facilities  and  schools,  this  book 
offers  us  a  toolbox  to  bridge  the  gap  between  theory  and  action. 

Having  worked  with  Daniel  and  Susan  for  many  years,  beginning  with  my  tenure  as 
planning  director  for  the  City  of  Oakland,  California,  I  know  their  work  exemplifies 
the  search  for  and  realization  of  community  and  inclusiveness  in  its  most  positive  and 
myriad  forms.  We  find  this  in  Daniel's  adroit  organization  of  inclusive  planning 
processes  that  break  down  the  barriers  separating  communities  from  each  other  and 
planning  professionals  from  the  constituents  they  serve.  And  we  find  it  in  Susan's 
work  designing  humane  environments  for  some  of  the  most  challenged  and  vulner- 
able populations  in  our  society.  The  concept  of  the  inclusive  city,  both  as  process  and 
outcome,  are  pervasive  in  every  aspect  of  their  work.  And  importantly,  if  life  is  to  be 
lived  by  example,  their  indefatigable  optimism  is  simply  an  inspiration  to  be  around, 
filling  one  with  the  belief  that,  with  the  right  attitude  and  commitment,  inclusive 
environments  and  inclusive  cities  are  possible  and  within  our  reach. 


Andrew  Altman  is  the  former  Director  of  the  Washington,  D.C.  Office  of  Planning  and 
Anacostia  Waterfront  Initiative. 


XIV  FOREWORD 


ACKNOWLEDGEMENTS 


This  book  began  with  a  vision:  an  "inclusive  city"  that  fully  supports  the  physical, 
economic,  cultural,  and  social  needs  of  all  people  of  all  abilities,  of  all  social  strata 
and  of  all  income  levels.  As  with  all  visions,  implementing  it  required  the  creativity 
and  dedication  of  a  great  many  people. 

All  of  the  book's  contributors  graciously  shared  their  projects,  their  time  and  their 
enthusiasm.  We  would  like  to  thank  them:  Coco  Raynes,  Joan  Leon  and  Stanton 
Jones,  and  those  who  worked  at  MIG  on  projects  with  us,  Robin  Moore,  Susan 
McKay,  Mukul  Malhotra,  Larry  Wight,  Sally  Mclntyre,  Bart  Ney  and  Cheryl  Sullivan. 

During  the  course  of  researching  how  built  inclusive  environments  are  actually  being 
used,  we  interviewed  over  100  community  members  and  planning  staff  from  various 
cities  who  generously  contributed  their  time  and  their  insight.  We  thank  all  of  them 
for  their  participation  in  this  project. 

We  would  also  like  to  thank  the  creative  MIG  Communications  and  Media  Services 
team:  writer  Joyce  Vollmer,  director  Carie  DeRuiter,  art  director  Ed  Canalin,  graphic 
designer  Catherine  Courtenaye  and  production  manager  Kim  Donahue. 

This  book  is  funded  in  part  by  the  National  Endowment  for  the  Arts  (grant  number 
DCA  01-04/2001-2002)  as  part  of  its  Universal  Design  Leadership  Initiative. 
Additional  funding  has  been  provided  by  PLAE,  Inc. 


Que  ^ 


NATIONAL 
ENDOWMENT 
FOR  THE  ARTS 

A  great  nation 
deserves  great  art. 


XV 


"Concepts  such  as  harmony,  beauty,  variety,  and  order  have  been  thought 
of  as  attributes  of  the  [physical  environment]  itself.  Designers  have 
unconsciously  relied  on  their  own  implicit  values  and  perceptions, 
projecting  them  on  the  physical  world  as  if  they  were  inherent  qualities. 
Not  so — one  begins  with  the  images  and  priorities  of  the  users  of  a 
place  and  must  look  at  place  and  person  together" 


KEVIN  LYNCH 
A  THEORY  OF  GOOD  CITY  FORM 


THE   CHALLENGE   OF   OUR   CITIES 


SUSAN  GOLTSMAN 
DANIEL  IACOFANO 


The  most  profound  challenges  facing  cities  today  also  offer  an  extraordinary 
opportunity:  how  will  we  confront,  understand  and  overcome  the  enormous 
economic,  social  and  physical  disparities  that  now  divide  our  communities?  As 
planners,  designers,  developers  and  managers,  how  can  we  overcome: 

■  Neighborhoods  with  vastly  different  qualities  of  life; 

■  Fundamentally  unequal  access  to  education  and  jobs; 

■  Virtually  impassable  physical  barriers  that  cut  through  many  disadvantaged  urban 
neighborhoods;  and 

■  Environmental  disasters  like  toxic  waste  sites,  a  lack  of  parks  and  open  space,  and 
rivers  that  no  longer  resemble  anything  ever  seen  in  nature? 


As  long  as  these  disparities  exist,  they 
will  restrict  and  confine  groups  of  peo- 
ple, limiting  their  ability  to  make 
choices  about  how  and  where  they  live, 
perpetuating  inequity  and  cutting  the 
social  connections  that  define  vibrant 
and  thriving  cities.  That  is  the  funda- 
mental unfinished  agenda  for  our  cities: 
balancing  the  physical  improvements  of 
urban  revitalization  with  the  goals  of 
social  equity,  economic  development 
and  environmental  protection  for  all 
city  inhabitants. 

There  have  been  many  attempts  to 
understand  what  makes  a  good  city, 
good  form  and  good  design.  It's  more 
than  simply  stating  that  a  new  building 
or  development  is  "postmodern  with 
urban  edginess" — that's  just  architec- 
tural rhetoric.  While  there  are  some 
general  concepts  that  people  agree  on, 
it  has  proven  difficult  to  define  the  exact 
typology.  We  need  a  way  of  objectifying 
criteria  of  success,  some  common 
points  of  reference  so  independent 


observers  and  evaluators  can  arrive  at 
conclusions  about  what  needs  to  happen 
as  we  plan  and  design  cities. 

Let's  take  a  brief  step  back:  how  did  we 
get  to  this  point? 

Since  the  beginning  of  U.S.  cities,  we 
have  been  challenged  to  accommodate 
and  serve  the  multitudes  of  people  liv- 
ing and  working  in  them.  Our  first  zon- 
ing laws,  in  the  early  1900s,  were 
actually  developed  for  public  health 
needs:  to  separate  commercial,  indus- 
trial and  residential  areas,  with  the  hope 
of  controlling  the  miasma  of  epidemics 
that  ran  rampant. 

After  World  War  II,  the  U.S.  government 
offered  the  GI  Bill  and  low-interest  loans 
that  allowed  so  many  people  to  buy  their 
own  homes.  That  became  the  American 
dream:  the  house  with  the  white  picket 
fence  on  a  tree-lined  curb  and  gutter 
street.  It  was  all  very  organized  and 
planned.  The  suburbs  had  arrived. 
William  Whyte,  the  great  urban  sociolo- 


gist, wrote  in  The  Organization  Man  how 
men  in  the  1 950s  were  trained  to  buy 
into  the  social  ethic  that  the  organization 
is  superior  to  the  individual.  The  suburbs 
were  the  extension  of  the  organization. 

The  new  Interstate  Highway  system — a 
huge  national  defense  project  to 
improve  mobility — also  allowed  cars 
and  trucks  to  easily  crisscross  the  coun- 
try. And  it  did  so  in  a  rather  unrelenting 
fashion.  Freeways  often  cut  through 
cities,  creating  isolated  communities  and 
pockets  of  unused  land  that  later 
became  blighted  areas. 

Downtowns,  meanwhile,  were  "messy" 
places:  high-density  and  lower-income, 
with  kids  playing  on  the  streets,  people 
living  above  shops,  street  vendors,  and 
neighbors  running  back  and  forth.  It 
was  crowded,  and  for  some — against 
the  backdrop  of  the  new  suburban 
sensibilities — downtowns  were  consid- 
ered unhealthy,  or  even  irrelevant  to  the 
new  w:ay  of  living.  We  thought:  the 


2 


NTRODUCTION 


suburbs  are  successful;  if  we  make  the 
downtowns  like  the  suburbs,  down- 
towns will  be  successful. 

The  concept  was  that  physical  planning 
could  solve  social  problems.  Planners 
embraced  the  idea  that  the  new  archi- 
tecture itself  would  save  the  city,  and 
they  called  it  Urban  Renewal.  Many 
neighborhoods  were  razed  to  make  way 
for  planned  public  housing.  But  often 
the  physical  planning  did  not  take  into 
account  how  people  actually  use  space 
as  they  live  and  work.  Planners  missed 
the  vital  community  connections  that 
"messiness"  provided.  In  fact,  the  under- 
lying design  standard  was  based  on  the 
auto  and  the  turning  radius  for  fire 
trucks.  Urban  Renewal  was  not  a 
success.  Focusing  solely  on  physical 
planning — on  buildings  and  the  spaces 
that  connect  them — did  not  work. 

In  reaction,  the  pendulum  swung  heavily 
toward  a  focus  on  social  planning:  on 
jobs,  health  care  and  social  services — all 


essential  for  people's  quality  of  life  in  the 
city.  But  classical  city  and  building  design 
were  almost  entirely  de- emphasized. 
Cities  were  left  with  suburban  style 
buildings  and  suburban  land  use  patterns 
placed  into  an  urban  context,  continued 
auto -dominance,  and  an  aging  physical 
infrastructure,  leading  to  continued 
flight  to  the  suburbs  by  those  who  could 
afford  it. 

But  against  the  trend  toward  suburbia, 
there  were  other  lines  of  thinking  that 
continued  to  focus  on  creating  urban 
vitality.  Lewis  Mumford  examined  the 
driving  force  behind  cities,  citing  four 
human  needs:  protection,  culture,  com- 
merce and  ceremony,  the  need  for 
finding  meaning  and  value.  Jane  Jacobs 
wrote  The  Death  and  Life  of  Great 
American  Cities,  detailing  how  urban 
renewal  had  created  isolated,  unnatural 
urban  spaces  that  stripped  the  life  out  of 
cities.  She  advocated  physical  planning 
for  dense,  mixed-use  neighborhoods.  In 
his  seminal  book,  A  Theory  of  Good  City 


Form,  Kevin  Lynch,  one  of  our  most 
prominent  urban  theorists,  put  forth  a 
series  of  concepts  for  measuring  the 
quality  of  the  urban  environment,  called 
"dimensions  of  performance."  Many 
planners  also  looked  back  to  the  great 
cities  of  Europe,  that  had  never  planned 
to  accommodate  cars,  and  retained 
vibrant  and  thriving  downtowns. 

When  New  Urbanism  burst  on  the 
scene  in  the  late  1980's,  it  was  a  break- 
through in  re -integrating  the  social  and 
physical  aspects  of  planning,  and  allow- 
ing communities  to  participate  in  plan- 
ning their  own  futures.  New  Urbanism 
emphasized  people  rather  than  cars, 
with  a  human  scale  "grid"  that  reduced 
the  amount  of  space  given  to  cars  and 
increased  opportunities  for  walking  and 
gathering.  It  reintroduced  the  concept  of 
the  mixed-use,  higher-density  "urban 
village"  and  neighborhoods  that  activate 
the  public  realm.  New  Urbanist  princi- 
ples aimed  for  restoring  urban  centers, 
creating  real  neighborhoods,  conserving 


INTRODUCTION 


the  environment  and  preserving  the 
built  legacy. 

But  what  about  the  new  environments 
built  under  the  rubric  of  New  Urbanism? 
Do  they  take  the  principles  far  enough — 
are  they  truly  meeting  the  needs  of  all 
residents? 

Physically,  there  are  well-designed  proj- 
ects in  many  cities:  vibrant  streetscapes, 
interesting  architecture,  housing  on  top 
of  retail,  people  walking  and  sitting  in 
cafes.  But  a  closer  look  reveals  that 
many  of  these  isolated  projects  often 
don't  connect  to  anything.  They  are  usu- 
ally designed,  still,  with  cars  in  mind — 
surrounded  by  acres  of  parking  with  no 
transit  connections.  The  housing  is 
expensive,  the  shops  even  more  expen- 
sive. The  people  who  live  there  don't 
work  there.  The  people  who  work  there 
can't  afford  to  live  there.  And  the  shop- 
pers just  come  and  go.  Where  are  the 
urban  parks,  the  true  gathering  places, 
the  grocery  stores,  the  shoe  repair — 
where  are  the  functional  services  for 


real  people?  Chic  boutiques  on  the 
corners  don't  make  a  social  community. 

And  as  people  are  attracted  back  to 
areas  with  new  housing  options,  more 
interesting  architecture  and  more  vital- 
ity, what's  becoming  of  the  people  who 
already  live  there? 

The  pendulum  seems  to  be  swinging 
once  again  to  an  over-reliance  on  a 
physical  design  approach — a  set  of 
formulaic  design  responses,  which, 
when  examined  closely,  do  not  address 
the  needs  of  all  people. 

We  need  the  pendulum  to  stop  its  swing 
right  in  the  middle,  if  we're  to  achieve 
this.  So  how  do  we  proceed? 

The  solution  is  inclusive  planning  based 
on  economic,  social,  environmental 
and  culturally  sensitive  policies  that 
allow  everyone  to  improve  economi- 
cally as  the  physical  area  improves. 
Cities  need  planning  that  recognizes 
that  every  individual  has  the  right  to 
full  and  equal  participation  in  the  built 


environment — and  that  through  their 
direct  involvement  they  can  shape  their 
own  environment  to  meet  their  own 
needs. 

HEALTHY  HUMAN  HABITATS 

Let  us  examine  for  a  moment  a  simple 
ecological  principle:  every  living  thing 
on  earth  is  part  of  an  ecosystem.  All  suc- 
cessful habitats  are  uniquely  adapted  to 
the  species  that  inhabit  them.  Our  task  is 
to  design  healthy  human  habitats.  The 
habitat  has  to  meet  the  human  needs  for: 

Physical  comfort  and  safety; 

-;  Community,  connections  and 
identity; 

a  Stimulation  and  discovery; 

■  Fun  and  joy;  and 

■  Meaning. 

How  do  we  design  the  physical  environ- 
ment to  provide  for  those  human  needs? 
Again,  we  can  examine  basic  ecological 
requirements: 


I  INTRODUCTION 


0  Sustenance:  We  need  resources  to 
sustain  us,  such  as  food,  shelter, 
water  and  sunlight. 

■  Diversity:  We  need  a  range  of  varia- 
tion in  the  habitat  that  allows  adap- 
tive potential. 

Q  Adaptability:  We  need  the  ability  to 
adapt  to  variations  in  environmental 
conditions. 

■  Complexity:  We  need  a  richness  of 
stimulation  in  the  environment  to 
promote  healthy  development. 

-  Range:  We  need  to  be  able  to  move 
through  the  habitat  to  acquire 
resources. 

n  Connectivity:  We  need  safe  pathways 
for  mobility  to  find  needed  resources 
throughout  the  entire  urban  region. 

PROJECT  DESIGN  CRITERIA 

We  can  translate  those  ecological  princi- 
ples for  a  healthy  human  habitat  into 
inclusive  design  criteria  for  the  built 
environment. 


Successful  inclusive  design  projects 
support  our  unique  physical,  social, 
cultural  and  economic  needs  with  clear 
philosophies,  strategies  and  tactics. 
From  the  outset,  these  projects  aim  for 
inclusiveness  in  all  phases.  They  push  the 
boundaries  of  creativity  and  innovation, 
energizing  and  regenerating  a  commu- 
nity. They  result  in  functional,  high- 
quality  and  aesthetically  pleasing 
environments  that  manage  impacts  and 
add  value  to  cities,  providing  residents 


with  opportunities  and  choices  to  thrive 
and  reach  their  full  potential. 

We  propose  three  criteria  that  can  help 
us  systematically  analyze  how  well 
environments  incorporate  ecological 
principles,  and  how  people  are  affected 
by  and  can  shape  development  projects. 

1 .  Functionality.  Designs  are  function- 
ally based,  incorporating  the 
physical  inclusiveness  of  universal 
design,  which  supports  the  unique 


Inclusive  design  projects  must  meet  three  criteria:  fulfill  functional  needs,  emerge  from  the 
context  of  the  community,  and  mitigate  their  own  impacts. 


INTRODUCTION 


physical  needs  of  all  types  of 
people,  and  makes  places  and 
programs  accessible  to  the  widest 
possible  audience.  Universal  design 
assumes  that  humans  have  a  diverse 
range  of  abilities,  that  this  range  is 
ordinary,  not  unique,  and  that  the 
range  is  dynamic — it  will  change 
during  our  lifespan.  Friendly,  acces- 
sible and  easy-to-use  environments 
benefit  everyone:  a  mother  holding 
a  baby,  a  very  short  or  tall  person,  a 
senior  with  low  stamina  or  a  visual 
impairment,  or  a  child  with  a 
broken  leg. 

Successful  projects  support  the  func- 
tional needs  of  their  users  such  as 
health,  safety  and  sustenance.  There 
must  be  good  transportation  and 
communication,  access  to  goods  and 
services,  and  everything  must  be  avail- 
able to  all  inhabitants  regardless  of  age, 
income,  power  or  rank. 

It  is  sized  and  positioned  correctly,  or,  as 
Lynch  says,  the  "form  and  capacity  of 
spaces,  channels  and  equipment  in  a 


settlement  match  the  pattern  and 
quantity  of  actions  that  people  custom- 
arily engage  in."  There  must  be  a  match 
between  the  environment  and  cultural 
constructs  such  as  values  and  vision. 
And  finally,  communities  must  be  able 
to  influence  and  mana  ge  the  space  and 
activities  themselves. 

2.   Context  Sensitivity.  Inclusive  design 
translates  the  vision  of  an  inclusive 
city  into  the  physical;  it  enables 
people  across  the  entire  economic 
and  social  spectrum  to  participate 
in  and  receive  value  from  the 
project. 

The  first  step  is  helping  the  client 
and  the  community  understand  and 
take  an  active  role  in  early  strategy 
and  project  planning.  The  critical 
thinking  about  the  real  source  of  a 
problem  and  potential  solutions  is 
participatory,  involving  the  entire 
community  in  hands-on  planning 
and  leveraging  resources.  The 
projects  are  always  context-driven, 
emerging  from  the  needs,  assets  and 
culture  of  the  communities  and  the 


environment  in  which  they  exist. 
With  extensive  participation, 
communities  then  feel  strong 
ownership  and  commitment  to 
the  project. 

Successful  designs  are  aesthetically 
pleasing  and  in  harmony  with  the 
surrounding  community  fabric; 
people  want  to  live  and  work  there. 
They  provide  a  sense  of  place  that 
people  identify  with  and  an 
environmental  consciousness  that 
respects  our  stewardship  of  the 
earth. 

People  can  grasp  and  understand 
the  design;  it's  navigable.  In  the 
organizational  sense,  the  project 
leaves  the  community  with  the 
capacity  to  accomplish  more  than 
before  sthe  project  was  started— 
the  process  of  doing  the  project 
provides  people  with  the  tools  they 
need  to  manage  or  control  their 
environment. 

3.  Equitable  Impacts.  Every  project  has 
consequences,  both  intended  and 
unintended.  Successful  projects 
mitigate  the  social  and  human 


I  NTRODUCTION 


impacts,  especially  on  the  most 
vulnerable  members  of  society. 

A  successful  project  manages  it  own 
impact  by  ensuring  that  the  design 
addresses  the  entire  environment, 
including  the  externalities  beyond 
the  project  area.  It  ensures  that 
there  are  minimal  or  no  negative 
impacts  and,  often,  that  the  impact 
actually  becomes  a  net  positive.  For 
example,  transportation  infrastruc- 
ture projects  that  increase  the  flow 
of  people,  goods  and  services,  are 
notorious  for  leaving  residue  such 
as  a  patchwork  of  left-over  land 
areas,  cut-up  streets  that  disrupt 
social  patterns  and  cultural 
resources,  and  increased  noise  and 
pollution.  And  those  impacts  are  far 
more  prevalent  in  low-income 
areas. 


INCLUSIVE  PROJECTS 

While  it  is  difficult  to  find  all  elements 
of  an  inclusive  city  all  in  one  place,  we 
can  find  many  successful  projects  in 
many  cities.  Here  is  just  a  sampling. 

■  A  transit  village  in  Oakland, 
California,  is  stimulating  economic 
development  and  environmental 
improvement  in  an  inner- city, 
moderate-  to  low-income  Hispanic 
community.  The  Fruitvale  Transit 
Village  above  a  multi-modal  transit 
station  is  the  result  of  the  neighbor- 
hood coming  together  and  insisting 
that  a  new  development  include 
affordable  and  senior  housing,  offices, 
neighborhood-serving  retail,  a  child- 
care  facility — right  there,  for  parents 
commuting  to  jobs — a  library,  senior 
center,  health  clinic,  multi-lingual 
human  services  offices,  and  a  public 
plaza.  Fannie  Mae  calls  it  one  of  the 
ten  "Just  Right"  affordable  housing 
markets  in  the  country. 


The  Fruitvale  Transit  Village  in  Oakland, 
California,  provides  functional  human 
services  while  stimulating  economic 
revitalization  in  an  inner-city  community. 


INTRODUCTION 


Pioneer  Courthouse  Square  in  Portland,  Oregon,  is  an  active  community  gathering  space  in 
a  fareless  transit  zone. 


Portland,  Oregon,  has  one  of  the  best 
public  spaces  in  the  country.  Pioneer 
Courthouse  Square  was  the  commu- 
nity response  to  a  planned  ten-story 


parking  lot  in  the  middle  of  town. 
There's  a  transit  mall  right  next  to  it, 
featuring  a  fareless  zone — several 
square  miles  with  free  bus,  street  car 


and  light  rail  service.  If  you  want  to 
commute  to  work  by  driving,  you'll 
pay  steep  parking  fees. 

In  Seattle,  Washington,  downtown 
property  owners  have  partnered  with 
low-income  housing  providers.  The 
City  changed  the  development  code 
to  increase  the  housing  height  limit. 
Builders  buy  the  extra  height  and  that 
money  goes  toward  affordable  hous- 
ing. And  Seattle's  Housing  Resources 
Group,  formed  by  the  Downtown 
Seattle  Association,  helps  property 
owners  or  businesses  build  housing 
for  people  who  work  in  their  busi- 
nesses. This  partnership  has  created 
thousands  of  units  of  affordable 
housing  for  people  of  all  ages. 

Vancouver,  British  Columbia,  offers  a 
model  of  true  high-density  urban 
living  with  activity  24  hours  a  day. 
The  City  created  pedestrian-scaled 
streets  with  three-story  town  homes 
closest  to  the  street.  Behind  them  are 
fifteen  30-story  high-rise  condos. 


8 


I  NTRODUCTION 


That  design  allows  light  and  views 
with  transitions  to  older,  single - 
family  residences  and  commercial 
office  towers.  And  everything  is 
within  walking  distance. 

In  Southern  California,  Interstate  710 
carries  trucks  out  from  the  huge 
ports  of  Los  Angeles  and  Long  Beach. 
Trucks  are  jammed  up,  belching  out 
pollution,  a  serious  health  problem. 
Even  worse,  trucks  go  on  local 
streets  to  connect  with  Interstate  5 
because  there's  no  other  connector. 
Community  members  came  up  with 
a  solution:  let's  not  build  a  connector 
because  it  would  take  homes  and  a 
much-needed  park.  Instead,  let's 
widen  the  freeway  with  truck-only 
lanes  and  create  a  new  truck-only 
off  ramp  that  routes  them  onto  a 
commercial  street  to  the  freight  yard. 

i  The  University  of  California  in  San 
Francisco  offers  economic  mitigations 
for  its  huge  new  campus  in  a  long- 
time economically  disadvantaged  area 


Vancouver,  British  Columbia,  offers  tree-lined  residential  streets  within  walking  distance  of 
the  commercial  center. 


just  south  of  the  City.  It  reserved 
eight  acres  for  usable  public  open 
space,  with  recreational  facilities 


open  to  the  public.  It  created  high 
school  and  college  programs  for  local 
residents  to  train  for  well-paid  staff 


INTRODUCTION 


positions.  It  helps  local  businesses 
become  vendors.  It's  planning  afford- 
able housing  for  staff,  adjacent  to  the 
campus.  And,  noting  that  over  $35 
million  in  tax  refunds  go  unclaimed 
in  the  Bay  Area,  it  now  offers  a  free 
tax  service  to  low-income  commu- 
nity members. 

In  Washington,  D.C. — where  disen- 
franchised areas  like  the  low-income 
Anacostia  Waterfront  have  borne  the 
brunt  of  political  wrangling  for 
years — an  innovative  new  compre- 
hensive plan  is  adding  jobs,  educa- 
tion, arts  and  culture  elements.  Based 
on  its  "Vision  for  Growing  an 
Inclusive  City,"  the  plan  is  being  built 
on  a  monumental  community  out- 
reach program,  benefiting  from  the 
ideas  of  thousands  of  community 
members. 


INCLUSIVE  POLICY  FRAMEWORK 

These  successful  projects  offer  choices 
and  opportunities  to  all  city  inhabitants. 
To  set  the  stage  for  formulating  projects 
that  embody  inclusive  design,  we  need  a 
broad,  inclusive  policy  framework  that 
guides  urban  area  decision-making.  We 
need  to  be  sure  that  cities  provide: 

■  Economic  Development — 

Opportunities  for  everyone  to  participate 
fully  in  the  economy  of  the  city,  with 
access  to  a  variety  of  quality  jobs.  Land 
use  decisions  must  encourage  locally 
owned,  neighborhood-serving 
businesses  and  focus  on  catalyst 
projects  that  generate  investment  and 
stimulate  further  development.  Cities 
must  insist  that  new  developments 
hire  locally  first,  develop  local 
vendors  and  develop  courses  at 
colleges  or  high  schools  to  train 
community  members.  New  or 
expanding  companies  must  provide  a 
net  gain  to  the  community,  both  in 


terms  of  numbers  of  jobs  and  quality 
of  jobs  (wages,  choices,  opportunities 
for  advancement  and  ability  to  spend 
earnings  in  the  community).  Cities 
can  explore  the  use  of  zoning  over- 
lays, square  footage  caps,  business 
improvement  districts,  parking 
assessments,  and  other  creative, 
stimulating  policies. 

Housing  and  Neighborhoods — Safe 
neighborhoods  with  a  range  of  housing 
types  and  price  levels  to  accommodate 
diverse  socio-economic  backgrounds  and 
lifestyle  choices.  Cities  can  modernize 
housing  and  building  codes  to  focus 
more  on  health,  safety  and  community 
quality  of  life.  They  can  also  adopt  in 
lieu  fees,  tax  credits,  Individual 
Development  Accounts,  developer 
incentives,  zoning  changes  and  public 
infrastructure  development  to  stimu- 
late private  investment — ensuring  a 
mix  of  affordable  and  market  rate 
housing  in  scale  with  the  surrounding 
neighborhoods. 


\o 


INTRODUCTION 


Education — Full  access  to  quality  edu- 
cation choices.  The  physical  condition 
of  a  school  does  have  an  impact  on  a 
child's  ability  to  learn — and  defines 
the  social  and  economic  characteristics 
of  a  neighborhood.  Developers  can 
contribute  to  renovation,  although  not 
in  return  for  usable  open  space.  Cities 
need  to  build  schools  near  where  chil- 
dren live,  explore  shared  use  between 
schools,  parks  and  community  facili- 
ties, maintain  those  facilities,  and  put 
their  full  weight  behind  any  bonds  or 
taxes  needed  to  properly  fund  them. 

Access  and  Mobility — Viable,  multi- 
modal and  interconnected  public  transit 
systems.  Cities  can  create  incentives  to 
promote  transit  and  disincentives  to 
discourage  single  occupancy  car  com- 
muting. They  can  promote  transporta- 
tion demand  management  measures 
and  funding  policies  that  favor  transit. 

Habitat  Protection  and  a  Safe 
Public  Realm — Connected,  safe,Junc- 
tional  and  green  connections.  Cities  can 


Urban  decision-making  should  be  guided  by  a  broad,  progessive  policy  framework. 


INTRODUCTION 


I  I 


reintroduce  the  human  scale  to  create 
pedestrian-friendly  and  bike-friendly 
streets  that  reactivate  the  public 
realm.  They  can  reintegrate  land  uses, 
rather  than  maintaining  separation. 

Community  Facilities  and 
Gathering  Spaces — Well-maintained 
and  usable  open  space.  Gathering  spaces 
are  virtually  the  only  urban  places 
where  people  of  all  socio-economic 
levels  have  equal  access.  Parks  and 
open  space  are  key  tools  for  improved 
air  and  water  quality  and  preserving 
rivers,  wetlands  and  urban  forests.  In 
return  for  development  rights,  cities 
can  ask  for  park  impact  fees,  open 
space,  pocket  parks  and  plazas,  green 
roofs,  and  private  green  space  (prop- 
erty frontages).  Cities  should  consider 
changing  operating  procedures  to 
allow  capital  improvement  dollars  to 
be  used  for  landscaping  and  mainte- 
nance and  promote  expanded  roles  for 
private  citizens  and  community 
groups  in  maintenance. 


Cultural  Meaning — Spaces  and  places 
to  create  and  display  social  and  cultural 
rituals  and  symbols  that  have  meaning 
Jor  all  residents.  Public  events,  such  as 
street  fairs  and  parades,  contribute  to 
vibrant  neighborhood  life.  Cities  can 
incorporate  one-percent  set-asides  for 
arts,  provide  space  for  grassroots  and 
community  organizations  in  non- 
traditional  settings  and  create  arts 
districts — including  culinary  arts. 

These  progressive  policies  require  us  to 
go  beyond  the  traditional  land  use 
emphasis  of  city  planning,  to  integrate 
all  the  elements  of  inclusive  design. 
Planners  must  balance  community  good 
with  the  "right  to  develop."  In  return  for 
that  right,  cities  must  require  that  devel- 
opers deliver  certain  benefits,  in  certain 
ways,  in  a  certain  amount  of  time.  Each 
project  must  be  critically  examined: 

■  Is  this  contributing  to  a  real 
neighborhood? 


Has  the  community  been  involved; 
does  the  project  actually  fulfill  the 
community's  vision? 

Does  it  respect  social  and  cultural 
preferences? 

■  Does  it  enhance  community  connec- 
tions? 

■  Is  it  environmentally  sustainable? 

■  Will  it  allow  all  residents  to  improve 
economically? 

ffl  Does  it  mitigate  its  own  impacts? 

■  Is  it  truly  inclusive? 

INCLUSIVE  DESIGN:  PROJECTS  AND 
GUIDELINES 

This  book  provides  a  practical  look  at  a 
range  of  successful  inclusive  design  proj- 
ects with  positive  social  impacts  in 
urban  environments. 

This  eclectic  mix  has  one  important 
result  in  common:  doing  the  project 
has  added  value  to  the  world  beyond 
the  project  itself.  For  example,  build- 
ing a  new  bridge  with  community 


NTRODUCTION 


involvement  led  to  new  ways  of  align- 
ing off  ramps  that  recreated  long- 
lasting  community  connections — in 
addition  to  a  stunning  new  bridge. 
Taking  a  fresh  look  at  children's  zoos 
resulted  in  a  nationwide  movement 
toward  involving  the  entire  family  in 
experiential  learning.  And  designing 
the  Ed  Roberts  Campus  led  to  new 
ways  that  the  philosophy  of  the 
Independent  Living  Movement  for 
people  with  disabilities  will  inform 
design  and  architecture  in  the  future. 

All  the  projects  demonstrate  the  belief 
that  every  individual  has  the  right  to  full 
and  equal  participation  in  the  built 
environment. 


The  book  also  offers  a  set  of  inclusive 
design  guidelines  that  build  on  lessons 
learned  from  the  projects.  Reading 
through  those  guidelines  will  help 
provide  an  intuitive  sense  of  how  to 
achieve  inclusive  design  in  other, 
similar  settings. 

Since  every  well-designed  project  grows 
out  of  its  own  context,  it's  impossible 
to  find  models  that  transfer  exactly  to 
other  projects.  But  it  is  our  hope  that 
the  reader  will  find  some  of  this  infor- 
mation useful  enough  to  take  to  the 
next  project,  so  that,  someday,  all  built 
environments  and  all  cities  are  fully 


inclusive,  welcoming  and  engaging.  The 
basic  fact  that  we  are  all  connected 
compels  us  to  do  so. 

As  we  continue  to  search  Jor  innovative 
solutions  to  creating  inclusive  environ- 
ments, we  welcome  feedback  from  planners, 
architects,  landscape  architects,  policy 
makers  and,  most  of  all,Jrom  community 
members  who  share  our  passion  Jor  great 
urban  places.  We  hope  to  create  a  clearing- 
house to  share  ideas  and  successes  from 
which  others  may  benefit.  Please  contact 
us:  www.inclusivecity.com. 


INTRODUCTION 


r 


ED  ROBERTS  CAMPUS  BERKELEY,  CALIFORNIA 


IMMIIMKM 


ik 


A  A 

Jfc         K         .,.,11 

H    j  MR;?*** 

L  I?  \ 

■ 

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/ 


'We  propose  to  build  a  new  building,  one  that  does  not  look  like 
buildings  of  the  past.  We  are  hoping  to  change  history  and  move  to 
a  brighter  future? 


BOARD  MEMBER,  ED  ROBERTS  CAMPUS 


CELEBRATING  AN 
INDEPENDENT    LIFE 


JOAN    LEON 

IN  199S,  ED  ROBERTS,  A  HERO  OF  THE  INDEPENDENT  LIVING  MOVEMENT  FOR  PEOPLE  WITH 

disabilities,  died.  The  movement  had  begun  in  Berkeley,  California,  in  the  1970s  and 
it  forever  changed  the  lives  of  people  with  disabilities.  After  Ed  died,  leaders  of  the 
movement,  the  City  of  Berkeley,  and  the  University  of  California,  Berkeley,  gathered 
to  discuss  a  suitable  memorial  to  his  legacy,  and  the  idea  for  the  Ed  Roberts  Campus 
(ERC)  was  born.  The  campus  will  be  the  world's  foremost  disability  service,  advo- 
cacy, education,  training  and  policy  center.  It  will  also  be  the  embodiment  of  inclu- 
sive design,  integrating  the  principles  of  independent  living,  universal  design, 
sustainable  design  and  transit-oriented  development. 


Ed  Roberts,  a  founder  of  the  Independent  Living  Movement. 

LYD1A  GANS 


PROJECT  Ed  Roberts  Campus      LOCATION  Berkeley,  California      DATE  DESIGNED 
2002       CONSTRUCTION  COST  $35  million       CONSTRUCTION   COMPLETED  2008 
SIZE  80,000  sq.  ft.      ARCHITECTS  PRE-DESIGN:  Siegel  Diamond  Architecture 
DESIGN:  Leddy  Maytum  Stacy      DESIGN   PROGRAMMING  MIG,  Inc.      DEVELOPER 
Equity  Community  Builders      PROJECT  MANAGER  Calib  Dardik      CLIENT  Ed  Roberts 
Campus  Partnership 


Ed  Roberts  was  born  in  1939  and 
became  disabled  in  1952  as  a  result  of 
polio.  In  1962,  he  was  the  first  severely 
disabled  student  admitted  to  the 
University  of  California.  He  was  an 
early  leader  of  the  Independent  Living 
Movement,  a  struggle  by  people  with 
disabilities  to  control  their  own  lives. 
The  movement  began  in  reaction  to  the 
dehumanizing  processes  people  with 
disabilities  were  subjected  to,  and  it 
championed  the  need  for  equal  access 
and  equal  opportunity.  It  recognized 
that  the  struggle  for  independence  was 
not  a  medical  or  functional  issue;  it  was 
a  matter  of  civil  rights.  At  a  rally  in 
front  of  the  federal  building  in  San 
Francisco,  which  ultimately  resulted  in  a 
major  change  in  federal  disability  policy, 
Ed  defined  the  problem  as  the  system's 
view  that  disabled  people  should  have  a 
"separate,  but  equal  world."  He  cap- 
tured the  sentiments  of  the  disability 
movement  when  he  declared, 
"Integration  is  the  key  word.  People 
with  disabilities  have  to  come  back  into 
our  society." 


16 


ED    ROBERTS    CAMPUS 


The  Independent  Living  Movement 
changed  the  old  paradigm  by  developing 
a  consumer-directed  approach  to 
services — people  who  use  services 
could  have  control  over  the  choices  and 
options  available  to  them.  Instead  of  a 
presumption  of  charity  and  depen- 
dence, the  movement  successfully 
empowered  people  to  become  produc- 
tive members  of  society. 

One  of  Ed's  favorite  stories  was  about 
how  his  rehabilitation  counselor, 


employed  by  the  California  Department 
of  Rehabilitation,  refused  to  serve  him 
and  opposed  his  desire  to  go  to  UC 
Berkeley.  He  was  "too  disabled  to  work," 
so  what  was  the  point  of  an  education? 
Ed  went  to  the  director  of  the 
Department  and  convinced  him  to 
reverse  the  decision.  "You  don't  let  peo- 
ple walk  all  over  you;  you  do  something 
about  it.  You  fight  for  what  you  believe 
is  right,"  Ed  commented.  Ed  earned  a 
Master's  Degree  in  Political  Science  and 


had  completed  all  the  course  work  for 
his  Ph.D.  when  he  left  campus  to  work 
in  the  nascent  Independent  Living 
Movement.  Years  later,  he  became 
the  director  of  the  Department  of 
Rehabilitation  for  the  State  of 
California,  the  same  agency  that  had 
tried  to  refuse  him  an  education. 

Ed  traveled  throughout  the  world 
promoting  the  concept  of  independent 
living  and  firmly  believed  in  the  strength 


People  with  disabilities  have  always  known  that  a  simple  architectural  design  change  can  make  all  the  difference  in  being  able  to  self- 
sufficiently  navigate  and  use  a  building.  Their  input  drove  the  design  process  for  the  Ed  Roberts  Campus. 


ED   ROBERTS   CAMPUS 


I  7 


of  collaborative  efforts — he  called  it 
"working  toward  our  preferred  future." 
In  1984,  Ed  was  awarded  a  John  D.  and 
Catherine  T.  MacArthur  Fellowship  for 
his  work  championing  the  right  of  peo- 
ple with  disabilities.  When  he  died  in 
1 995 ,  the  concept  of  developing  the  Ed 
Roberts  Campus  became  a  memorial  to 
him. 

The  Ed  Roberts  Campus  is  being  devel- 
oped by  eight  partner  organizations  who 
are  board  members  and  co-owners:  Bay 
Area  Outreach  &  Recreation  Program 
(BORP),  Center  for  Accessible 
Technology  (CforAT),  Center  for 
Independent  Living  (CIL),  Computer 
Technologies  Program  (CTP),  Disability 
Rights  Education  and  Defense  Fund 
(DREDF), Through  the  Looking  Glass 
(TLG) ,  Whirlwind  Wheelchair  Interna- 
tional (WWI),  and  the  World  Institute 
on  Disability  (WID).  Several  other  non- 
profit and  government  organizations 
will  also  be  located  on  the  campus. 


The  founding  board  agreed  on  basic 
requirements  for  the  campus — that  it 
easily  accommodate  hundreds  of  people 
with  all  types  of  disabilities  at  any  one 
time,  that  it  be  situated  at  a  transit  hub 
to  make  it  easy  for  people  to  obtain  the 
services  the  organizations  offer,  and  that 
it  be  located  in  Berkeley,  the  home  of 
the  Independent  Living  Movement.  The 
80,000-square-foot  complex  on  a  1.5- 
acre  site  will  house  the  partner  organiza- 
tions and  other  tenants,  exhibition 
space,  meeting  rooms,  a  fitness  center 
and  a  cafe.  Construction  of  the  $35  mil- 
lion facility  is  scheduled  to  begin  in 
2007;  it  is  scheduled  to  open  in  2008. 

USER  GROUPS 

■  People  with  all  types  of  abilities 
D  People  of  all  ages 

■  Students,  researchers  and  policy- 
makers from  around  the  world 


The  Ed  Roberts  Campus  presents  a  sweeping  plaza  on  Adeline  Street,  an  embracing  civic 
gesture  that  expresses  its  important  role  in  the  community  (artist's  rendition). 

ED    ROBERTS   CAMPUS 


PURPOSE 

The  Ed  Roberts  Campus  will  be  the 
home  of  eight  trailblazing  disability 
organizations;  by  collocating  they  will 
provide  services,  share  resources  and 
expertise,  and  collaborate  on  the  con- 
tinued development  of  improved  serv- 
ices for  people  with  disabilities. 

People  with  disabilities  in  the  Bay  Area, 
the  nation  and  many  other  parts  of  the 
world  have  relied  on  the  ERC  organiza- 
tions for  as  many  as  35  years.  Their 
services  and  programs  offer  assistance 
with  all  aspects  of  a  person's  life,  from 
legal  advocacy  and  computer  training  to 
parenting  support  and  wheelchair  bas- 
ketball. In  addition,  their  work  in  public 
policy  research,  advocacy  and  program 
development  has  had  a  major  impact  on 
people  in  other  countries.  Many  of  the 
programs  and  services  provided  by 
these  organizations  cannot  be  found 
elsewhere. 

The  ERC  will  take  the  popular  "one- 
stop  shopping"  concept  a  step  further, 


grouping  services  in  one  place.  People 
will  come  to  the  campus  for  a  wide 
range  of  health,  education,  recreation 
and  vocational  services,  and  for  social, 
educational  and  professional  programs. 
Many  of  the  programs  will  be  new 
collaborative  efforts  by  the  participating 
organizations  and  other  government  and 
nonprofit  entities. 

One  collaborator  is  the  University  of 
California,  Berkeley,  where,  according  to 
former  UC  Berkeley  Chancellor  Robert 
Berdahl,  "faculty  members  have  begun  to 
work  closely  with  the  ERC  and  its  part- 
ner organizations  on  ways  that  we  can 
collaborate  so  that  our  students  will 
benefit  from  the  vibrant  atmosphere, 
extraordinary  accessibility,  and  talents 
that  will  be  located  at  the  campus." 

TRANSIT-ORIENTED  PRINCIPLES 

The  ERC  site  is  a  Bay  Area  Rapid  Transit 
(BART)  parking  lot  next  to  a  BART  sta- 
tion in  a  diverse  neighborhood  of  single  - 
family  homes,  apartment  buildings  and 


larger  commercial  structures.  Half  of 
the  project  site  is  located  in  a  commer- 
cial zone  facing  Adeline  Street — a  busy 
commercial  boulevard  — and  a  large 
urban  open  space  created  by  another 
BART  parking  lot  to  the  west  (home  to 
a  popular  flea  market  on  weekends). 
The  other  half  of  the  project  is  located 
in  a  residential  zone  facing  the  remain- 
ing portion  of  the  existing  BART  park- 
ing lot  and  single-family  homes  beyond. 
As  a  result,  the  building  presents  two 
different,  but  related,  faces  to  the  sur- 
rounding community,  respecting  its 
diverse  context  while  offering  a  vitaliz- 
ing presence  to  the  neighborhood. 

Transit  agencies  in  California  and  the 
U.S.  Department  of  Transportation 
have  recognized  the  ERC  as  a  model 
of  transit-friendly  development  that 
maximizes  the  value  of  accessible  public 
transit.  People  with  disabilities  from  a 
multi- county  area,  who  have  had  little 
or  no  access  to  these  services  before, 
will  be  able  to  travel  easily  and  inex- 
pensively to  the  center.  The  transit 


The  transparent  lobby  provides  a  welcoming  view  of  the  helical  ramp  and  covered  courtyard  for  gatherings  (artist's  rendition). 


ED    ROBERTS   CAMPUS 


Project  design  committee  members  reviewed  the  building  design  concepts  to  ensure  it 
followed  a  simple  equation:  move  people  with  disabilities  from  being  dependent  to 
independent. 


location  of  the  ERC  is  one  of  its  most 
important  innovations  and  is  likely  to  be 
replicated  in  other  urban  areas.  U.S. 
Congressional  Representative  Ellen 
Tauscher,  in  written  testimony  for  a 
joint  hearing  convened  by  the  House 
Committees  on  Transportation  and 


Infrastructure  and  Education  and  the 
Workforce  in  May  2003,  said  that  the 
ERC  "will  maximize  Bay  Area  human 
services  and,  by  locating  at  a  BART 
station,  reduce  the  need  for  costly  and 
sometimes  unreliable  paratransit 


services. 


DESIGN  PROCESS 

The  relationship  between  access  and 
design  will  become  ever  more  impor- 
tant as  the  population  ages  and  the 
demand  for  accessibility  grows.  Most 
people  who  design  buildings  and  public 
spaces  do  not  have  a  disability.  It  is  peo- 
ple with  disabilities  who  know  what 
they  need  and  who  are  beginning  to 
inform  design  and  architecture  as  direct 
participants  and  co-designers. 

In  designing  this  campus,  members  of 
the  disability  organizations  carried  the 
concept  of  universal  design  for  large 
buildings  to  a  new  level  of  innovation 
and  effectiveness.  People  with  disabili- 
ties have  always  known  that  a  simple 
design  change — often  at  little  or  no 
cost — can  mean  the  difference  between 
being  able  to  do  something  themselves 
and  needing  help  from  someone  else. 
The  planning  team  advanced  a  simple 
principle:  move  people  from  being 
dependent  to  independent.  A  woman  in 


22 


D    ROBERTS    CAMPUS 


a  wheelchair  changes  the  placement  of 
the  hinges  on  her  oven  door — now  she 
can  bake.  Put  kickpads  on  an  elevator — 
she  doesn't  have  to  wait  until  someone 
comes  who  can  push  the  button.  A 
beeping  light  on  a  traffic  signal  allows 
people  without  sight  to  cross  the  street. 
Perhaps  the  most  well-known  example, 
and  the  one  that  people  most  associate 
with  disability  rights,  is  curb  cuts: 
change  the  landscape  so  that  people  in 
wheelchairs  can  navigate  sidewalks  and 
walk  to  the  store.  And,  by  the  way,  that 
helps  mothers  with  strollers,  seniors 
with  walkers  and  kids  on  tricycles,  too. 

The  disability  organizations  started 
working  with  the  City  of  Berkeley  in 
1995  to  find  a  suitable  location  for  the 
campus.  Berkeley  is  a  small,  densely 
built  city  with  little  room  for  new 
large-scale  developments.  But  in  1996, 
with  the  City's  help,  an  ideal  site  was 
found:  a  parking  lot  co-owned  by  the 
City  and  BART.  The  City  held  the  air 


Wood  screens  on  the  Adeline  Street  main  entry  integrate  warm,  natural  materials  that  also 
control  light  and  add  expressive  detail  (artist's  rendition). 


ED   ROBERTS   CAMPUS 


23 


The  eastern  entrance,  facing  a  residential  neighborhood,  is  more  compact  and  enlivened  by  a  colorful  mural  celebrating  people  with  disabilities, 
landscaping  and  an  irregular  rhythm  of  projecting  bays  in  harmony  with  the  residential  scale  of  surrounding  properties  (artist's  rendition). 


rights  to  the  lot  (BART  runs  under- 
neath) in  an  agreement  executed  when 
the  transit  system  was  built.  The  lot  had 
been  slated  for  development  for  some 
25  years,  but  no  agreement  had  been 
made  about  what  to  build. 


In  1997,  ERC  held  community 
meetings,  neighborhood  associations 
meetings  and  meetings  with  local 
merchants  associations.  The  ERC  was 
agreed  on  as  the  only  project  that  was 
both  economically  feasible  and  satisfac- 


tory to  the  neighboring  community, 
the  City  and  BART  The  way  was 
cleared  for  ERC  to  buy  the  site  from 
BART  at  the  original  1968  price. 


24- 


ED    ROBERTS    CAMPUS 


^feife 


The  partner  organizations  then  devel- 
oped a  design  program  for  the  campus 
to  visualize  how  it  might  fit  on  the  site. 
They  organized  design  charettes  to 
develop  fundamental  concepts  and  prin- 
ciples to  incorporate  in  the  design.  They 


addressed  the  unique  challenges  of 
designing  a  transit- oriented  facility  to 
accommodate  hundreds  of  people  with 
all  kinds  of  disabilities. 

The  Metropolitan  Transportation 
Commission  of  the  San  Francisco  Bay 
Area  provided  a  grant  that  paid  for  a 
series  of  community  meetings  on  the 
design  and  the  development  of  a 
newsletter  so  that  neighbors  could  be 
brought  into  the  process  in  a  meaningful 
way.  At  these  meetings,  the  architects 
presented  a  facility  that  occupied 
1 10,000  sq.  ft.  (including  a  13,000  sq. 
ft.  gym  and  fitness  center  and  a  5,500 
sq.  ft.  Early  Head  Start  Program).  It  also 
included  a  10,000  sq.  ft.  conference  cen- 
ter and  4,500  sq.  ft.  of  meeting  rooms, 
catering  kitchen,  library  and  computer 
and  media  resource  center.  The  project 
provided  parking  at  the  ratio  of  two 
spaces/ 1 ,000  sq.  ft.  of  building  (esti- 
mated to  be  220  spaces),  as  well  as 
replacement  parking  on  a  1:1  basis  for 
parking  displaced  on  the  BART  lot. 


This  plan  turned  out  to  be  very  costly, 
especially  the  BART  and  ERC  parking 
requirements.  It  also  generated  consider- 
able controversy  in  the  neighborhood 
because  of  concerns  about  traffic  and 
scale.  During  the  next  year,  the  ERC 
design  went  through  many  iterations  as 
the  partners  struggled  to  balance  space 
needs,  costs  and  the  concerns  and  wishes 
of  the  neighbors  with  the  organization's 
fundraising  capability.  Finally,  it  was 
decided  that  1 10,000  sq.  ft.  was  simply 
too  large  and,  reluctantly,  the  gym  was 
dropped  and  other  reductions  were 
made  in  the  development  program. 

FINDING  THE  FUNDS 

As  a  newly  formed  organization,  the 
ERC  did  not  have  an  endowment  to  tap 
or  a  long-standing  Board  of  Directors  to 
support  its  desire  to  build  a  campus.  It 
is  a  community-based,  consumer-led 
organization  very  much  like  the  non- 
profits that  founded  it.  These  organiza- 
tions place  the  greatest  value  on  having 
consumers  on  their  boards.  They  focus 


ED    ROBERTS   CAMPUS 


25 


The  final  design — a  transit-oriented 
facility — will  accommodate  hundreds  of 
users  with  a  wide  range  of  disabilities 
(artist's  model). 


ZD  MODELS 


so  strongly  on  using  their  resources  to 
meet  the  need  in  the  community  that 
they  do  not  have  the  time  to  build  an 
endowment.  And,  of  course,  as  non- 
profits operating  continuously  at  full 
throttle,  the  organizations  could  not 
stop  their  own  fundraising  efforts  while 
developing  the  ERC. 

The  ERC  reached  out  to  community 
leaders  to  form  a  campaign  committee 
and  decided  to  approach  government 
sources  that  support  health  and  eco- 
nomic development  and  foundations  that 
support  disability  issues.  A  major  early 


supporter  was  the  City  of  Berkeley. 
Proud  of  Berkeley's  history  with  the 
Independent  Living  Movement,  City  offi- 
cials recognized  that  the  ERC  would  not 
only  benefit  the  people  living  in  its 
boundaries  but  would  also  be  of  major 
national  and  international  significance, 
both  as  a  collaborative  model  for  non- 
profits and  as  a  beacon  for  independent 
living  for  people  with  disabilities. 

One  of  the  other  important  early  donors 
was  NEC  Foundation  of  America,  which 
provided  the  funds  for  the  design  of  a 
comprehensive  technology  system  to 
make  the  campus  fully  accessible  with 
state-of-the-art  equipment  and  facilities 
for  people  with  disabilities.  NEC  made 
the  award  in  commemoration  of  its  1  Oth 
anniversary.  An  NEC-funded  report, 
"Technology  and  Universal  Design 
Assessment  of  the  Ed  Roberts  Campus," 
describes  the  ways  technology  is  used 
now  by  the  partner  organizations  and 
presents  strategies  for  its  use  in  the 
future.  It  recommends  technological 
solutions  and  an  information  technology 


action  plan,  and  presents  a  newly  created 
Universal  Design  Tool.  (The  report  is 
available  from  the  ERC.) 

The  ERC  developed  a  long-range  finan- 
cial plan  to  support  planning  for  the  new 
organization,  as  well  as  designing,  build- 
ing and  operating  the  facility.  The  plan 
was  laid  out  in  phases  so  that  each  phase 
of  work  could  proceed  as  funds  are 
raised.  This  approach  is  working.  The 
ERC  raised  more  than  $2  million  in  pub- 
He  and  private  funds  for  the  planning. 
This  money  was  used  to  incorporate, 
secure  the  site  and  develop  the  design  to 
the  level  needed  for  the  City's  permit 
process.  While  ERC  carried  out  Phase 
2 — the  schematic  design — it  continued 
fundraising  for  Phases  3  and  4,  the  con- 
struction drawings  and  construction. 

Once  built,  the  ERC  will  be  a  self- 
sustaining  entity,  with  partners  and 
tenants  paying  rents  and  fees  that  are 
adequate  to  pay  off  the  debt  and  main- 
tain and  operate  the  facility. 


26 


ED    ROBERTS    CAMPUS 


t.  roe  wcso  www  rw  wucw 


WOOLSEY  STREET 


BOW  (0  SW  S06  - 
w.  sa  cr  old 

CfMU'  M> 


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The  site  plan  shows  access  for  BART  patron  parking  via  a  new  driveway  at  the  northwest  corner  of  the  site  at  Adeline  Street. 


ED   ROBERTS   CAMPUS  27 


This  detail  of  the  floor  plan  shows  the  entrance  to  the  reception  area  and  ramp,  cafe  with  both  indoor  and  outdoor  seating  and  the  covered 
atrium.  Glass  paving  blocks  at  the  entrance  allow  light  to  enter  the  BART  station  below. 


28  ED    ROBERTS    CAMPUS 


Inclusive  Design  Features 
and  Settings 

The  design  of  the  ERC  integrates 
advanced  elements  of  universal  and  sus- 
tainable design  in  a  transit-oriented 
development  that  serves  people  of  all 
abilities  at  many  scales  of  engagement. 
At  the  scale  of  the  City,  the  ERC  is 
designed  as  a  community  building  with  a 
distinct  civic  presence  that  celebrates  the 
collective  values  of  its  partner  organiza- 
tions. The  building  acts  as  both  commu- 
nity center  and  urban  threshold — a 
gateway  to  Berkeley — simultaneously 
positioning  the  partner  organizations  on 
a  prominent  thoroughfare  and  at  a  major 
regional  transit  portal. 

PLAZA 

The  building  presents  an  embracing, 
semicircular  plaza  to  the  City  on 
Adeline  Street.  This  serves  as  a  drop-off 
and  clearly  identifiable  entry  for  the 
ERC;  a  major  transit  plaza  for  bus,  taxi, 
bicycle  and  BART  riders;  and  a  public 
gathering  space.  A  variety  of  features, 


including  a  cafe,  a  bus  shelter  with 
interactive  transit  kiosk,  a  fully  accessi- 
ble public  elevator  to  the  BART  station 
below  street  level  and  public  art,  will 
help  create  a  vibrant  new  urban  space 
for  the  City  of  Berkeley.  The  transparent 
entry  facade  of  the  ERC  borders  the 
plaza,  revealing  a  monumental  helical 
ramp  inside.  The  ramp,  itself  a  work  of 
public  art,  is  placed  beneath  a  large  sky- 
light, and  serves  both  functional  and 
symbolic  roles,  providing  inviting  access 
to  the  upper  floor  of  the  ERC  for  all 
users,  while  offering  a  dramatic  symbol 
of  universal  design  and  independent 
living  to  the  public. 

LOBBY 

Upon  entering  the  Center  through 
motion-activated  automatic  doors,  the 
building  offers  visitors  a  simple,  easily 
understandable  organization.  To  the  left, 
two  large-capacity  elevators  with 
sophisticated,  accessible  controls  con- 
nect the  two  floors  of  the  Center  with  a 
sub-grade  garage  and  a  separate  BART 
station  lobby.  A  large  reception  and 


information  desk  offers  human,  graphic, 
Braille,  and  accessible  audio  information 
about  Center  services.  To  the  right,  the 
skylit  helical  ramp  winds  upward  to  the 
second  floor,  encircling  a  public  exhibi- 
tion area  devoted  to  issues  of  the 
Independent  Living  Movement. 

COURTYARD 

Beyond  the  lobby,  the  two  2 -story 
wings  of  the  building  form  a  central, 
covered  courtyard  that  will  provide 
natural  daylight,  ventilation  and  com- 
munity gathering  spaces  to  occupants 
and  visitors.  The  courtyard  also  serves 
as  a  simple  orienting  device,  providing 
clear  access  to  the  ERC's  various  serv- 
ices and  organizations.  The  cafe,  a  fit- 
ness center  and  two  levels  of  shared, 
flexible  meeting  rooms  open  onto  the 
space,  fostering  a  sense  of  community 
and  ensuring  easy  wayfinding. 

BART  STATION  ACCESS 

A  separate  lobby  serves  the  sub-grade 
BART  station  level,  opening  directly 


ED   ROBERTS   CAMPUS  29 


onto  the  station  concourse.  ERC 
patrons  will  ascend  from  the  train  plat- 
form by  way  of  escalators  and  accessible 
elevators  to  the  concourse  level  and 
then  proceed  via  a  short  ramp  to  the 
new  lobby.  A  curving,  skylit  gallery 
below  the  plaza — displaying  a  striking 
"Disability  Mural"  created  bv  local 
artists — connects  BART  patrons  to  an 
elevator  and  landscaped  stair  to  the 
street.  The  stair  design  features  an  inte- 
grated "wheel  channel"  that  allows 
cyclists  to  negotiate  the  stairs  without 
lifting  their  bikes.  The  adjacent  ERC 
garage  provides  secured  parking  for  staff 
and  visitors  who  must  arrive  by  car, 
including  1 8  accessible  spaces  directly 
adjacent  to  the  BART-level  lobby. 

UNIVERSAL  DESIGN 

The  design  of  the  ERC  incorporates 
additional  universal  design  features  to 
ensure  equal  access  and  service  to  all: 

■  Specially  designed,  high-contrast 
audio  wayfinding  devices 

b  Automatic,  motion-activated  doors  at 
major  exterior  and  interior  entries 


Abundant  natural  daylight  incorpo- 
rating glare  reduction  strategies  in  all 
spaces  to  enhance  visibility 

■  Seven-foot-wide  corridors  through- 
out to  allov\  easy  circulation  and 
adaptability  of  pace 

■  Restrooms  designed  for  a  range  of 
ability  levels,  including  private  rooms 
for  assisted  individuals 

Localized  temperature  controls 
within  each  space  for  the  thermally 
sensitive 

All  light  fixtures  controlled  by  hands- 
free  occupancy  sensors  and  timers 

■  Secured  garage  access  provided  by 
hands-free  electronic  transponder 
technology 

Building  life  safety  systems  incorpo- 
rating visual  and  audio  notification 
and  accessible  alarm  stations 

Acoustical  control  to  foster  maxi- 
mum voice  intelligibility 

A  fully  accessible,  south-facing 
children's  play  area 

SUSTAINABLE  DESIGN 

The  ERC  will  incorporate  a  range  of  sus- 
tainable design  techniques  to  serve  the 


diverse  needs  of  the  occupants  as  well  as 
the  larger  environment.  These  include: 

Maximum  use  of  natural  daylight  and 
sun  control  strategies  to  reduce 
energy  consumption  and  enhance 
visibility 

Natural  ventilation  and  radiant, 
hydronic  heating  in  all  public  spaces 

Rooftop  solar  water  heating  system 
for  common  space  heating  and  hot 
water  pre-heat 

■  Energy-efficient,  specially  filtered 
heating  and  cooling  systems  with 
localized  temperature  control  in 
office  areas 

Operable  windows  with  easily 
operated  hardware 

Enhanced  indoor  air  quality  through- 
out construction,  post-construction 
and  occupancy  phases 

■  Use  of  non-toxic,  recycled  and 
sustainably  harvested  materials 

■  On-site  recycling  center 

The  Ed  Roberts  Campus  embodies  a  set 
of  design  responses  to  the  diverse  needs 
of  the  community,  the  missions  of  its 
partner  organizations  and  the  varying 


30 


ED    ROBERTS    CAMPUS 


•4 


® 


-J 


*< 


I 


The  36-foot-wide  landscape  buffer  along  Woolsey  Street  respects  the  adjacent  residential  neighborhood.  It  also  provides  a  play  area  for  the 
Daycare  Center,  which  can  be  used  by  nearby  residents  as  well  (artist's  rendition). 


ED   ROBERTS   CAMPUS 


abilities  of  the  many  individuals  it  will 
serve.  Through  the  collaboration  of 
many,  it  will  create  an  environment  that 
embodies  the  spirit  of  Ed  Roberts  and 
"our  preferred  future." 


The  ERC  design  process  evolved  through  an  extensive  user  participation  process. 


User  Feedback 

Although  the  campus  has  not  yet  been 
built,  the  design  process  itself  led  to 
some  breakthrough  thinking. 

Susan  Henderson,  ERC  Board  Member 
and  Director  of  Administration 

"It's  a  beautiful  design — functional  and 
beautiful.  Accessibility  is  integrated  so 
well  that  it  is  just  another  part  of  the 
design.  It  shows  what  can  be  achieved  if 
an  architect  starts  out  with  the  idea  of 
accessibility  rather  than  incorporating  it 
as  an  afterthought.  We  were  fortunate  in 
our  choice  of  architects;  the  design  firm 
understood  the  importance  of  accessi- 
bility right  away  and  used  it  as  a  design 


theme.  Integration  in  design  is  like  inte- 
gration of  people  with  disabilities  in 
society — it's  actually  easy  if  it  is  a  part 
of  your  thinking  from  the  beginning. 

"Working  closely  with  the  community 
in  an  open  process  has  worked  very 
well  for  us.  Unlike  your  typical  devel- 
oper, we  are  nonprofits  and  we  serve 
the  community.  So  we  were  willing  to 
take  the  time  to  meet  again  and  again 
with  neighbors.  As  a  result,  the  neigh- 
bors are  happy,  the  City  is  happy,  and 
we  have  a  wonderful  building." 

Mark  Krizack, 

Whirlwind  Wheelchair  International 

"For  several  years,  as  a  Hastings  College 
of  the  Law  student,  I  walked  from  my 


flat  to  the  Ashby  BART  station  to  make 
the  trip  to  San  Francisco.  From  these 
walks  I  came  to  know  the  Ashby  BART 
neighborhood  well .  It  is  now  1 3  years 
later  and  there  has  been  relatively  little 
change  in  that  area,  although  it  has  long 
been  in  need  of  an  economic  stimulus. . . . 
The  Ed  Roberts  Campus  can  be  the 
economic  anchor  for  a  revitalization  of 
the  Ashby- Adeline  Corridor. ...  As  it  is 
now,  BART  patrons  do  not  stop  and 
linger  in  the  neighborhood  either  before 
or  after  their  workday.  The  Ed  Roberts 
Campus  will  give  them  a  reason  to 
pause  and  linger  before  they  continue 
on  their  way. 

"The  Ed  Roberts  Campus  will  be 
architecturally  pleasing.  It  will  make 


32 


ED    ROBERTS    CAMPUS 


the  area  safer  because  there  will  be 
good  street  lighting  and  many  more 
people  on  the  streets.  Surely  other 
businesses  will  see  an  advantage  in 
relocating  to  this  area." 

Ken  Stein,  Former  ADA  Unit  Manager, 
Disability  Rights  Education  and 
Defense  Fund 

"As  a  seven-year  member  and  chair  of 
the  City  of  Berkeley's  Landmarks 
Preservation  Commission,  I  am  aware 
of  how  important  it  is  for  new  develop- 
ments to  be  respectful  of  the  existing 
physical,  architectural  and  cultural  land- 
scape of  the  surrounding  neighborhood 
and  larger  community.  The  effort  that 
the  project  partners  have  made  to 
involve  the  community  in  the  planning 
process  has  resulted  in  a  facility  that  is 
both  sensitive  to  and  respectful  to  the 
fabric  of  the  existing  community,  both 
programmatically  and  architecturally." 


Jane  Berliss-  Vincent,  Director,  Adult  and 
Senior  Services,  Center  for  Accessible 
Technology 

"The  ERC  will  be  an  ideal  setting  for 
serving  seniors  with  disabilities.  The 
location  at  the  Ashby  BART  station  will 
make  the  ERC  agencies  easy  to  find  and 
visit.  The  one -stop -shop  nature  of  the 
ERC  will  provide  them  with  easy  access 
to  a  wide  variety  of  services  related  to 
computer  access,  grandparenting,  exer- 
cise and  many  other  areas  of  interest.  I 
have  spoken  with  many  seniors  about 
the  potential  of  the  ERC.  Their  response 
has  been  overwhelmingly  positive 
towards  both  the  concept  and  the  loca- 
tion of  the  campus." 

Dmitri  Reiser,  Executive  Director, 
Center  for  Accessible  Technology 

"Too  often,  services  for  people  with  dis- 
abilities are  in  remote  or  hidden  loca- 
tions, kept  on  the  sidelines  and  out  of 
the  mainstream  of  society.  By  building 


the  ERC,  the  disability  community  will 
have  a  major  resource  at  a  highly  visible 
and  central  location.  This  sends  an 
important  message:  people  with  disabil- 
ities are  a  key  part  of  the  community, 
not  an  adjunct  to  the  community." 

Stephanie  Miyashiro, 

Board  Chair,  Through  the  Looking  Glass; 

Board  Member,  ERC 

"We  propose  to  build  a  new  building, 
one  that  does  not  look  like  buildings  of 
the  past.  Those  buildings  did  not  ever 
have  us  in  mind.  I  expect  our  building 
will  become  a  historical  building — a 
part  of  the  history  of  the  disabled 
community  and  of  the  City  of  Berkeley, 
which  is  the  birthplace  of  the 
Independent  Living  Movement. 
Buildings  of  the  past,  even  the  recent 
past,  have  been  part  of  our  oppression. 
We  are  hoping  to  change  history  and 
move  to  a  brighter  future." 


ED    ROBERTS  CAMPUS  33 


'If  spaces  are  designed  around  children,  adults  never  Jbrget 
why  they  are  there." 

CHILD  ADVOCATE,  CHILDREN'S  INSTITUTE  INTERNATIONAL 


HELPING   CHILDREN    HEAL 


SUSAN   GOLTSMAN 


The  edelman  children's  court  is  THE  first  courthouse  in  the  country  DEDICATED 
solely  to  children  in  the  dependency  system.  The  entire  courthouse  is  based  on  inclu- 
sive design  principles  for  children  and  their  families:  to  help  ease  their  fears,  feel  less 
intimidated  and  begin  a  healing  and  family  reunification  process. 

This  is  the  Juvenile  Dependency  Court  for  the  County  of  Los  Angeles,  handling  child 
abuse  and  neglect  cases.  It  has  25  courtrooms  with  facilities  for  supporting  services 
and  a  jail  beneath.  Through  the  legal  process,  the  court  protects  children  from 
dangerous  or  imminently  dangerous  situations.  About  300,000  cases  of  child  abuse 


35 


were  reported  in  the  County  in  2002, 
and  nearly  100,000  children  attended  at 
least  one  hearing  in  Dependency  Court. 
Some  children  remain  with  their  families 
during  the  court  process;  others  stay  in 
foster  care  and  may  or  may  not  see  their 
families.  In  addition,  a  higher  than  aver- 
age percentage  of  these  children — about 
one-third — have  disabilities. 

The  court's  objective  is  to  work  with 
families  to  overcome  problems  and 
develop  a  stable  and  healthy  home  envi- 
ronment that  will  allow  the  child  to 
return  home — or  find  a  viable  alterna- 
tive home  environment. 

PURPOSE 

It  is  hard  to  imagine  a  more  traumatic 
experience  for  a  child  than  attending  a 


hearing  in  court  in  front  of  a  judge. 
They  may  have  been  removed  from 
home  and  placed  in  protective  custody. 
A  parent  may  be  in  jail,  leaving  the 
family  struggling  to  maintain  itself. 
Overnight,  the  children  may  have  lost 
their  support  system,  with  no  idea 
about  what  will  happen  next.  Children 
and  parents  are  upset,  angry  and  scared. 
Worse,  the  physical  environment  of  the 
old  courthouse  added  to  the  trauma. 
Children  were  literally  housed  in  cells, 
waiting  for  their  hearing.  They  had  noth- 
ing to  do  all  day  other  than  sit  and  watch 
television.  They  often  felt  that  they  were 
the  ones  who  had  done  something 
wrong  and  were  being  punished. 

The  new  facility  is  sensitive  to  the  needs 
of  children  and  parents,  communicates  a 


PROJECT  Edmund  D.  Edelman  Children's  Court      LOCATION  Monterey  Park,  California 
DATE   DESIGNED  1990       CONSTRUCTION  COMPLETED  June  1992 
CONSTRUCTION  COST  $59.6  million      SIZE  275,000  square  feet  on  4.2  acres 
CLIENT  County  of  Los  Angeles  ARCHITECT  Kajima  Associates    DESIGN  PROGRAMMING 
AND  ENVIRONMENTAL  DESIGN  MIG,  Inc.       STRUCTURAL  ENGINEER    Brandow  & 
Johnston  Associates      MECHANICAL  ENGINEER  Eli  Solon  &  Associates 
ELECTRICAL  ENGINEER  Frederick  Brown  &  Associates      GENERAL  CONTRACTOR 
Kajima  Associates      SIGNAGE  AND  GRAPHICS  CONSULTANT  Wayne  Hunt  Design,  Inc. 


serious  message  to  abusive  parents,  and 
provides  comfortable  and  functional 
workplaces. 

USER  GROUPS 

■  Children  in  protective  custody 

■  Families  with  children 

■  Parents  alone 

■  Parents  in  jail 

■  Foster  Care  parents 

■  Judges 

■  Attorneys 

■  County  Counsel 

■  Dependency  Court  administrative  staff 

■  Department  of  Children's  Services 
(DCS)  caseworkers  and  administra- 
tive staff 

■  Sheriff's  department 

■  Court  Appointed  Special  Advocates 

(CASA) 

■  Shelter  Care  staff 

■  Child  advocates /Guardian  ad  Li  turn 


The  teen  conversation  area  in  Shelter  Care 
has  age-appropriate  furniture. 


WAYNE  THOM 


36 


EDELMAN    CHILDREN    S    COURT 


Older  children  can  quietly  study  or  read  books  while  they  are  waiting  in  Shelter  Care. 


WAYNE  THOM 


DESIGN  PROCESS 

The  key  to  the  entire  design  process  was 
to  view  the  building  through  the  eyes  of 
the  children  who  are  brought  to  the 
facility  and  the  parents  who  need  help 
from  the  system.  It  was  assumed  that  if 
the  building  accommodates  those  with 
the  least  "power,"  everyone  else  would 
also  be  accommodated.  People  who 
work  in  the  facility  are  there  because  it's 
their  job.  The  families  are  there  because 
they  are  in  serious  trouble. 


At  the  time  the  project  began,  there 
was  no  research  on  children  in  a  court 
environment;  the  most  applicable 
research  addressed  children  in  hospitals. 
Although  children  experience  stress  in 
both  situations,  children  in  court  are 
not  ill.  The  design  team  needed  to 
define  child-  and  family-sensitive  design 
in  the  context  of  a  court  of  law. 

To  gather  firsthand  information,  the 
design  team  conducted  focus  groups, 
interviews,  surveys  and  field  observa- 
tions (see  table  on  facing  page) .  The 
team  followed  people  with  different  jobs 
to  see  how  they  interacted  with  chil- 
dren, families  and  the  court  system. 
Workshops  were  conducted  with  judges, 
children  and  youth  in  foster  care, 
parents,  attorneys  and  social  workers. 

Research  revealed  two  terms  that 
would  convey  the  best  atmosphere  for 
the  court:  dignified  and  friendly.  It  had 
to  be  a  serious  and  dignified  place  so 
parents  would  remember  why  they 
are  there.  Yet,  the  court  also  had  to 


38 


EDELMAN     CHILDREN    S    COURT 


empower  children,  foster  education  and 
promote  family  healing.  A  30-person 
committee,  representing  all  user 
groups,  articulated  what  "dignified  and 
friendly"  meant  in  spatial  terms. 
"Dignified"  translated  into  a  design  lan- 
guage of  clean,  simple  lines,  geometric 
symmetrical  spaces,  gateway  entrances, 


subdued  colors,  familiar  symbols,  and 
strong,  durable  building  materials. 

"Friendly"  translated  to  a  human  scale 
with  extensive  indoor  plants,  warm 
materials,  windows  and  daylight,  incan- 
descent, shaded  and  non-glare  lights, 
and  a  view  to  the  outdoors. 


The  next  step  was  the  design  and  con- 
stuction  of  a  full-scale  mock  courtroom 
to  test  hearing  room  layouts  and  config- 
urations. The  new  courtrooms  were 
designed  to  be  one-third  smaller  to  cre- 
ate a  more  intimate  setting.  A  30'  by  30' 
bare  room  was  used  as  the  prototype 


User  Groups  and  Survey  Methods 

open-ended 
interviews  with 
key  individuals 

questionnaires 

focus  groups 

field 

workshop 

observations 

Mediator 

■ 

Foster  Parents 

■ 

Shelter  Care  Children 

■ 

■ 

Parents 

County  Counsel 

■ 

■ 

Dept.  of  Children's  Services/Social  Workers 

■ 

■ 

Judge 

■ 

■ 

■ 

Child's  Advocate 

■ 

Shelter  Care  Staff 

■ 

Children/Youth  in  Foster  Care 

■ 

■ 

Panel  Lawyers 

■ 

Clerk  of  Court 

■ 

Court  Officer 

■ 

EDELMAN    CHILDREN   S  COURT 


39 


JUDGE 


WITNESS 


COURT  REPORTER 


Q 


Q 


JUDGE 

Q 


CHILD  C 


LAWYER 


Configuration  1.  Four  semicircular  desks  face  the  center  of  the 
room  with  the  judge  at  the  head.  This  creates  separation  and  pro- 
vides privacy,  ensures  children  don't  have  to  look  directly  at  their 
parents  and  offers  clear  sightlines.  However,  the  setup  feels  adver- 
sarial with  each  party  in  a  corner  and  may  not  provide  the  bailiff 
appropriate  access. 


CHILD 

LAWYER      f      Ss 
COUNTY  COUNSEL 


COURT  CLERK 


Q 


COURT  CLERK 


Q 


BAILIFF 


u 


PARENT  LAWYER 

PANEL  LAWYER  PARENT 


Configuration  2.  This  closed  semicircle  provides  clear  sightlines, 
locates  the  bailiff  in  a  solid  control  position,  ensures  that  parents 
and  children  are  in  non-confrontational  positions  and  locates  the 
court  reporter  for  easy  listening  distances.  However,  it  places  the 
public  entrance  to  the  side  rather  than  the  middle. 


40 


EDELMAN     CHILDREN    S    COURT 


REPORTER 


JUDGE 


WITNESS 

Q 

r         \ 

Q 

( 

V                 J 

\ 

a 

OURT 

) 

COURT  CLERKS     COURT  OFFICERS 

QQ     QQ 


j  v 


~\  r 


j  v 


U 


"nn~Ti[TTi  rrTj 

LAWYER       I 


D 


BAILIFF 


CHILD  ADVOCATE         LAWYER  PARENT 

CHILD        COUNTY  COUNSEL       PANEL  LAWYER         PARENT 

Configuration  3.  The  parallel  conference  table  places  the  child  and 
parent  in  non-confrontational  positions  and  locates  the  bailiff  and 
court  reporter  well.  However,  it's  quite  formal  with  little  flexibility. 


COURT  REPORTER 


COURT  OFFICER 


COURT  OFFICER 


JUDGE 

J U 


f~~\  COURT  CLERK 


PARENT 


lAWYi-H        V_y       (.        J 


PANEL  LAWYER 


PARENT 


//COURT  CLERK 


BAILIFF 


HILD  ADVOCATE 


CHILD 


LAWYER 


COUNTY  COUNSEL 


Configuration  4.  A  circular  configuration  provides  clear  sightlines 
for  all  parties  and  a  more  collaborative,  less  confrontational  envi- 
ronment, while  locating  the  bailiff  and  court  reporter  in  good 
positions.  However,  this  may  be  too  informal  and  non-traditional. 


EDELMAN    CHILDREN'S  COURT  41 


During  focus  groups,  children  worked  with 
graphic  shapes  to  help  determine  who  sits 
where  in  the  courtroom. 


WAYNE  THOM 


space.  Cut-out  plywood  furniture  with 
different  shapes  was  arranged  in  four 
different  test  configurations. 

During  a  three-hour  block  of  time, 
mock  trials  were  conducted  with  people 
representing  all  user  groups,  and  every- 
one's actions  and  comments  were 
recorded.  Participants  decided  that  a 
circular  arrangement  of  furniture, 


with  the  judge  included  in  the  circle 
(Configuration  4)  would  be  most  con- 
ducive to  personalizing  the  courtroom 
for  children. 

However,  since  the  mock  trials  did  not 
include  the  children  who  would  really 
be  in  the  courtroom  or  the  real  court 
personnel,  this  decision  needed  to  be 
verified.  Otherwise,  25  courtrooms 


42 


EDELMAN     CHILDREN    S    COURT 


would  be  built  with  very  little  research 
on  whether  the  arrangement  would 
work  the  way  the  design  committee 
expected  it  would.  A  full-scale,  circular 
courtroom  was  built  in  an  existing 
courtroom  and  evaluated  during  a  six- 
week  period.  Six  different  judges  and 
their  entire  staff  and  court  docket  each 
used  the  room  for  one  week. 

As  it  turned  out,  the  circular  arrange- 
ment actually  did  not  work  for  children 
or  the  judges.  For  children,  there  was 
too  much  eye  contact  between  them, 
their  parents  and  everyone  else,  which 
was  very  intimidating.  They  thought 
everyone  was  staring  at  them.  The 
judges  felt  the  arrangement  was  too 
egalitarian,  making  their  position  less 
authoritative. 

The  design  team  used  the  research  find- 
ings to  produce  the  final  solution  for  the 
hearing  room  design  (as  shown  in  the 
photograph  on  page  50). The  final 
arrangement  of  the  furniture  is  semi- 
circular, placing  the  judge  in  front  on  a 
raised  platform. 


Based  on  the  research,  the  team  devel- 
oped design  programming  criteria  and  a 
set  of  design  guidelines  on  which  the 
entire  building  was  based.  All  settings 
were  designed  with  inclusive  design 
principles;  many  of  the  resulting  settings 
may  be  applicable  to  other  building 
types. 


Inclusive  Design  Features 
and  Settings 

BUILDING  ENTRY/LOBBY 

Every  morning  at  8  a.m.,  over  2,500 
people  arrive  and  enter  the  court  build- 
ing. No  one  knows  what  time  their  case 
will  be  called,  so  everyone  must  arrive 
when  court  begins  and  wait  their  turn. 
That  means  2,500  people  must  enter  the 


The  building  looks  less  intimidating  than  a  traditional  courthouse,  yet  is  still  dignified. 


EDELMAN    CHILDREN   S  COURT  43 


lobby,  pass  through  security,  find  their 
way  to  the  correct  courtroom  and  wait- 
ing area,  and  wait  there  for  up  to  eight 
hours. 

The  building  does  not  look  like  a  tradi- 
tional courthouse;  it's  more  like  an 
office  building.  It's  on  a  smaller  scale, 
with  more  "house-like"  features  and 
symbols  such  as  arbors,  vegetation  and 


awnings.  There  is  a  partially  covered 
outdoor  area  near  the  entrance  that  may 
be  used  for  sitting  and  waiting  for 
someone,  or  just  to  get  some  air. 

Families  arrive  by  bus  or  car.  The  cov- 
ered bus  stop  is  near  a  covered  entry, 
with  bollards  separating  pedestrians 
from  vehicles.  The  bollards  are  far 
enough  apart  for  wheelchairs  or 


strollers  to  pass.  People  coming  from 
the  parking  garage  are  led  to  the  entry 
through  a  series  of  arbors  that  function 
like  outdoor  rooms. 

Visitors  enter  the  building  through  a 
gabled  roof — again,  to  convey  a  more 
"home-like"  feel.  The  covered  entry  area 
has  long,  generous  open  spaces  to 
accommodate  all  people  trying  to  enter, 


The  lobby  area  is  spacious  and  filled  with  friendly  artwork. 


WAYNE  THOM 


44-  EDELMAN     CHILDREN'S    COURT 


L ^__ 

jZ 

J 
i 


including  strollers  and  wheelchairs, 
without  pushing  or  squeezing.  Enough 
room  is  provided  for  kids  to  move 
around  and  fidget. 

The  lobby  is  welcoming  and  friendly, 
with  light,  artwork  and  natural  con- 
struction materials  to  soften  the  feel  of 
the  building.  Everyone  must  pass 
through  a  metal  detector,  located  at  the 
lobby  entrance,  surrounded  by  stylized 
palm  trees  so  it  does  not  feel  threaten- 
ing. Lighting  fixtures  in  the  lobby  are 
shaped  like  clouds. 

Visitors  stop  by  reception  to  find  out  to 
which  of  the  25  courtrooms  they  have 
been  assigned.  The  elevator  lobby  fea- 
tures a  floor-to-ceiling  mural  of  self- 
portrait  tiles  created  by  children  who 
were  in  the  child  welfare  system  and 
used  the  court — a  vivid  reminder  of 
why  the  court  exists. 


The  metal  detector  is  part  of  the  archway.  Light  fixtures  are  in  the  shape  of  clouds. 


WAYNE  THOM 


EDELMAN    CHILDREN   S   COURT 


45 


A  tile  mural,  produced  in  an  art  therapy 
program,  shows  self-portraits  of  children 
in  the  system — reminding  everyone  why 
they  are  in  this  building. 


46  EDELMAN     CHILDREN'S    COURT 


Direc 


\\J*  / 


Departments 
418  -  425 


Departments 
410  -  417 

Departments 
409  ■  AftO 


The  directory  is  not  language-based;  instead 
it  uses  colors,  numbers  and  symbols. 

CHARLES  ALLEN 


Signage  for  each  floor  has  a  unique  color  and  symbol. 

CHARLES  ALLEN 


WAYFINDING 

Wayfinding  and  circulation  have  been 
combined.  The  courtrooms  are  situated 
on  three  different  floors,  with  other  sup- 
port services  and  staff  on  two  additional 
floors.  Since  over  ISO  languages  are  spo- 
ken in  Los  Angeles,  wayfinding  cannot 
be  simply  language-based.  Each  floor  has 
a  number,  a  color  and  an  easily  recogniz- 


able symbol  (star,  moon,  sun,  cloud  and 
snowflake) .  Colors  and  symbols  are  also 
a  homey  element  for  children.  In  addi- 
tion, symbols  and  numbers  are  raised  for 
blind  and  sight-impaired  people  to  feel. 

Visitors  use  oversize  elevators  that 
accommodate  large  numbers  of  people, 
strollers  and  wheelchairs.  The  aim  is  to 
get  people  out  of  the  lobbies  and  into 


family  waiting  areas  as  quickly  as  possi- 
ble. When  the  elevator  doors  open,  visi- 
tors see  the  wayfinding  colors  and 
symbols  carried  on  throughout  each 
floor,  in  sculptures  and  on  columns. 

Children  coming  from  Shelter  Care 
(those  in  protective  custody)  have  their 
own  elevator  that  brings  them  directly  to 
the  courtroom;  they  don't  need  to  share 


EDELMAN    CHILDREN'S   COURT  47 


elevators  with  parents  or  the  public. 
Judges  also  have  their  own  elevator,  as  do 
prisoners  coming  from  the  jail  below. 

FAMILY  WAITING  AREA 

There  are  25  courtrooms  on  three  sepa- 
rate floors.  Each  floor  has  a  large, 
5,000-square-foot  waiting  area  outside 
the  courtroom.  In  the  morning,  parents 
go  into  their  assigned  courtroom  at  the 
same  time  as  all  other  families  assigned 
to  that  courtroom.  They  receive  an 
introduction,  then  go  back  out  to  wait 
for  as  long  as  eight  hours.  The  area  is 
organized  so  each  courtroom  has  its 
own  waiting  space,  but  all  areas  are 
open  so  they  can  be  monitored  from  a 
single  point.  The  courtroom  doors, 
viewed  from  the  waiting  area,  look  resi- 
dential, with  incandescent  light  and 
home-like  architectural  details. 

Waiting  areas  are  open  and  airy,  with 
panoramic  views  out  the  windows. 
Ordinarily,  judges  would  have  these  cov- 
eted views.  But  this  building  recognizes 
that  children  and  families  will  especially 
benefit  from  not  feeling  cooped  up.  The 


windows  also  provide  natural  light  in 
addition  to  the  overhead  lighting.  Wide, 
carpeted  aisles  accommodate  wheel- 
chairs. The  soft,  cushioned  sofas  and 
chairs  and  small  tables  can  be  moved  to 
fit  each  family's  size,  creating  opportuni- 
ties for  small  group  inter-actions. 
Children  who  are  with  their  parents  can 
eat,  sleep  and  play  in  that  area.  There  are 
also  areas  with  facilitated  play  where  a 
CAS  A  social  worker  models  child/ 
parent  play  behavior — an  opportunity 
for  teaching  parenting  skills. 


The  L  shape  of  the  building  provides  the 
waiting  areas  with  maximum  views  and 
natural  light. 


Each  courtroom  has  a  waiting  area  with  natural  light  and  movable  furniture.  The  wayfinding 
colors  and  symbols  are  carried  on  throughout  the  floor. 


WAYNE  THOM 


48 


EDELMAN     CHILDREN    S    COURT 


Families  attending  court  are  often  con- 
fused about  the  entire  process,  so  a  sub- 
stantial effort  is  made  to  convey  vital 
information.  Television  monitors  located 
throughout  the  waiting  areas  offer  multi- 
lingual programming  about  the  court 
process  and  what  to  expect  during  the 
day.  Children's  programming  is  also 
available.  Service  desks  on  each  floor 
allow  parents  to  quickly  and  easily  sign 
up  for  services  the  court  may  order, 
such  as  parenting,  anger  management  or 
drug  treatment. 

Bathrooms  are  separated:  men,  women, 
children  (with  child-size  toilets  and 
sinks)  and  an  infant  changing  area  that 
can  be  monitored. 

MEDIATION/INTERVIEW  ROOMS 

There  are  two  types  of  consultation 
spaces  where  attorneys  can  consult 
with  families  or  children  before  their 
hearing  begins.  Mediation  / Interview 
Rooms  located  off  the  public  waiting 
area  offer  privacy — a  great  improve- 
ment over  the  previous  situation,  which 


Mediation/interview  rooms  allow  attorneys 
to  consult  with  children  in  privacy. 


WAYNE  THOM 


forced  attorneys  to  conduct  private 
consultations  in  public  waiting  areas. 
These  rooms  are  also  used  when  a 
judge  orders  mediation  during  a  hear- 
ing and  puts  the  family  and  counsel  in  a 
room  to  come  to  an  agreement  on  a 
course  of  action.  Attorneys  can  also 
meet  separately  with  children  in  the 
Interview  Rooms  off  the  Shelter  Care 
area,  which  are  set  up  for  children  to 
talk  privately  with  their  attorneys. 


Family  visiting  rooms  have  interior  windows 
for  easy  monitoring.  The  furniture  is  homey 
and  comfortable. 


WAYNE  THOM 


FAMILY  VISITING  ROOMS 

After  a  court  appearance,  a  child  in  pro- 
tective custody  may  visit  with  parents 
and  relatives  they  might  not  have  seen 
since  they  were  removed  from  their 
home.  Although  these  visits  must  be 
monitored,  it's  essential  to  make  children 
feel  as  comfortable  as  possible.  A  series 
of  visiting  rooms  off  the  lobby,  connected 
to  the  Shelter  Care  area,  are  designed 
like  home  living  rooms  and  can  accom- 
modate three  to  twelve  people.  They 


EDELMAN    CHILDREN'S   COURT  49 


have  comfortable  chairs,  couches,  plants 
and  incandescent  lighting.  Each  has  a 
large  picture  window  with  shutter  details 
that  opens  onto  the  hallway  so  a  monitor 
can  view  several  families  at  the  same 
time  without  intruding  into  the  room. 

HEARING  ROOMS 

Hearing  rooms  where  court  is  held  are 
scaled  down  to  feel  less  intimidating; 
they  are  about  half  the  traditional  court- 
room size  and  ceilings  are  lower.  Colors 
are  neutral  and  the  symbology  subdued 
so  people  are  the  focus  of  the  room.  The 
seal  of  the  State  of  California,  a  required 
element  in  the  courtroom,  is  softly 
etched  in  glass.  Lighting  is  directed 
upward  to  prevent  glare.  There  is  a  deep 
contrast  between  the  floor,  furniture  and 
walls.  Wainscoting  gives  the  illusion  of 
wood  and  protects  the  walls. 

The  judge  is  at  the  front  of  the  room. 
The  bench  is  raised  1 2  inches  to  provide 
authority,  but  is  lower  than  a  standard 
1 8 -inch  bench.  The  judges  enter  the 
courtroom  through  their  own  separate 
entrance.  When  they  enter  the  building 


The  final  design  of  the  hearing  room  places  the  judge  facing  a  semicircular  arrangement  of 
key  participants. 


to  go  to  their  chambers,  they  pass  by 
the  children  in  the  Shelter  Care  area,  so 
they  are  always  reminded  of  why  they 
are  conducting  hearings.  The  presiding 
judge's  office  is  located  over  the  out- 
door children's  play  area  to  provide  a 
continual  reminder  that  this  building  is 
about  children. 

Families  and  lawyers  sit  in  a  semicircle 
facing  the  judge.  Children  and  their 
advocates  sit  on  one  side  and  parents  on 
the  other.  Or,  the  seating  arrangement 


can  be  changed  depending  on  the  needs 
of  the  child:  they  can  sit  with  parents  if 
they  wish  or  be  separated  by  attorneys 
and  advocates.  The  key  is  that  children 
may  choose  where  to  sit. 

The  witness  stand  is  not  raised  and  is  on 
rollers  so  it  can  be  moved  up  to  accom- 
modate a  wheelchair  or  turned  around 
to  the  judge  if  a  child  witness  only 
wants  to  face  the  judge. 

The  court  reporter,  who  usually  sits  in 
the  "well"  space  between  the  judge's 


50 


EDELMAN     CHILDREN    S    COURT 


The  state  seal  is  softly  etched  in  glass  to 
convey  dignity,  without  being  intimidating. 


bench  and  attorney's  table,  now  sits  at 
the  edge  of  the  semicircle.  During  the 
research  phase,  children  perceived  the 
person  sitting  in  the  middle  of  the 
courtroom  as  staring  angrily  at  them, 
not  realizing  the  court  reporter  stared 
to  concentrate  on  taking  down  what 
was  said  at  the  hearing.  As  long  as  the 
court  reporter  can  hear  all  the  parties, 
where  they  sit  isn't  critical  to  the  hear- 
ing, and  they  were  moved  out  of  the 
middle.  At  some  point,  court  reporting 


may  be  done  remotely  though  improved 
electronic  communications. 

SHELTER  CARE  AREA 

Shelter  Care  is  where  children  ages  4  to 
1 7  who  are  in  protective  custody  (those 
taken  from  their  homes)  wait  to  go  to 
court.  It's  often  the  first  impression 
children  have  of  the  court  system;  it  sets 
the  tone  for  the  entire  court  experience 
and  is  one  of  the  most  important  envi- 
ronments in  the  facility.  Children  may 
spend  up  to  8  hours  here,  waiting  for 
their  hearing — which  may  take  only  20 
minutes — and  then  waiting  for  the  bus 
ride  back  to  foster  care. 

Children  under  stress  do  not  play.  The 
goal  of  Shelter  Care  is  to  help  children 
to  understand  the  court  process,  play, 
visit  or  take  classes — and  begin  their 
healing  process. 

This  Shelter  Care  provides  more  than  a 
waiting  area.  It  is  10,000  square  feet  of 
programmed  space,  accommodating  as 
many  as  130  children  at  a  time,  with  a 


;:ft 

* 

1 

i    c 

*  * 

A 

T"*^gj 

Children  are  taken  out  of  school  every  six 
months  to  spend  an  entire  day  at  the 
courthouse.  The  library  provides  a  place 
for  schoolwork. 


WAYNE  THOM 


There  are  small  spaces  for  solitary  play. 


WAYNE  THOM 


EDELMAN    CHILDREN   S   COURT 


51 


Children  can  choose  from  a  variety  of  activities. 

WAYNE  THOM 


52  EDELMAN     CHILDREN'S    COURT 


staff  ratio  of  1 :4.The  entire  space,  activ- 
ities and  all  programs  are  completely 
accessible. 

Children  enter  the  building  through  the 
same  back  entrance  the  judges  use.  To 
prevent  parents  from  entering  the  area, 
it  is  unmarked,  with  no  signage  at  all. 
The  entry  area  provides  room  for 
decompression;  children  can  be  com- 
forted by  staff.  There  are  bathrooms 
and  access  to  the  eating  area  where 
healthy  snacks  are  always  available.  A 
series  of  small  rooms  allow  children  to 
meet  privately  with  their  attorneys, 
who  must  check  in  with  staff  first  and 
then  take  a  child  out  of  Shelter  Care  to 
the  private  room. 

The  main  area  is  divided,  but  not  sepa- 
rated, with  younger  kids  (4—12)  on  one 
side  and  older  kids  (13—17)  on  the 
other.  The  eating  area  is  in  the  middle 


so  that  family  members  of  different 
ages  can  visit.  Children  can  choose 
what  they  want  to  do,  and  when  and 
what  to  eat,  which  gives  them  back  a 
little  sense  of  control. 

Younger  children  can  choose  games, 
reading,  facilitated  art  and  science 
projects,  movies  and  dress-up  or  role- 
playing  activities.  Older  kids  choose 
from  aerobics,  music  and  dance,  quiet 
study,  conversation  pit,  foosball,  pool, 
ping-pong  and  video  games.  There  are 
low  walls  separating  areas,  which  also 
provide  some  intimate  spaces  for  kids 
to  be  alone  (although  those  spaces  are 
always  observed) .  The  outdoor  area 
offers  hangout  space,  a  giant  chess- 
board, basketball,  play  equipment,  open 
grassy  areas  and  a  covered  eating  area. 

This  space  and  its  program  are  designed 
to  help  children  process  the  information 


EDELMAN    CHILDREN   S   COURT 


53 


Comfortable  conversation  areas  allow  chil- 
dren to  form  groups  or  sit  alone. 

WAYNE  THOM 


Kids  can  create  their  own  games,  too.  There 
is  a  Velcro  wall  for  throwing  soft  cushions. 

WAYNE  THOM 


Kids  choose  to  play  on  traditional  play  equip- 
ment or  some  unusual  games  like  giant  chess. 


WAYNE  THOM 


The  indoor  eating  area  allows  siblings  of 
different  ages  to  eat  together. 


WAYNE  THOM 


An  outdoor  eating  area  is  a  buffer  between  A  comfortable  spot  in  the  shade  is  some- 

indoor  and  outdoor  play  areas.  times  the  best  way  to  relax. 

WAYNE  THOM  WAYNE  THOM 


54  EDELMAN    CHILDREN'S    COURT 


they  obtain  in  court,  receive  services, 
satisfy  their  material  needs,  and  begin  to 
heal.  A  comprehensive  program  guide 
was  created  as  the  basis  for  the  Shelter 
Care  program. 


Management  and 
Operational  Issues 

It  was  apparent  to  everyone  involved  in 
the  court  system  that  the  previous 
system  was  not  meeting  the  needs  of 
children  and  needed  to  be  changed.  The 
inclusive  design  approach  brought 
everyone — including  children — into  a  ' 
discussion  of  critical  operational  and 
management  issues.  Designing  the 
building  became  a  catalyst  for  change 
because  everyone  who  used  the  build- 
ing was  forced  to  think  about  what  he 
or  she  did  and  new  ways  to  do  it. 

For  the  first  time  ever,  the  court  closed 
for  one  business  day  so  all  staff,  includ- 
ing judges,  could  be  trained  in  how  to 
interact  with  and  be  sensitive  to 
children. 


1  The  new  furniture  arrangement 
brought  the  judge  physically  closer  to 
the  children,  encouraging  better 
communication  between  them. 
Judges  now  address  children  by 
name,  instead  of  referring  to  them  as 
"the  minor,"  and  include  them  in  con- 
versations. 

1  Because  there  is  a  space  dedicated  to 
attorney-child  conferences,  attorneys 
now  take  the  time  to  bring  children 
to  private  rooms  to  confer,  rather 
than  discuss  private,  intimate  details 
in  a  public  setting. 

1  Shelter  Care  staff  use  play  to  interact 
with  children  and  now  see  the  court 
experience  as  part  of  the  healing 
process.  Rather  than  allowing  chil- 
dren to  watch  television,  staff  and 
volunteers  encourage  art  and  science 
projects  and  model  good  adult-to- 
child  behavior. 

1  Because  there  is  a  place  where  children 
can  express  their  needs  or  their  frustra- 
tions, and  there  are  adults  with  author- 
ity to  intervene,  caseworkers  can  be 
more  responsive  to  individual  children. 

1  Building  staff  learned  how  to  use  the 
building:  new  ways  were  devised  to 
move  children,  parents  and  prisoners 


separately  through  the  building,  to 
maintain  the  building,  and  to  provide 
places  where  people  can  give  and 
receive  services. 

When  children  who  have  been  taken 
from  their  families  arrive  in  Juvenile 
Dependency  Court,  they  have  no  control 
over  their  situation,  are  not  living  with 
their  families,  and  have  little  or  no  idea 
what  will  happen  to  them.  Coming  to 
court  is  now  part  of  the  healing  process. 
Children  will  have  to  attend  several  hear- 
ings before  potentially  being  reunited 
with  their  family  or  placed  in  permanent 
foster  care.  Each  time  they  come  to 
court  they  can  be  helped  in  some  way, 
whether  it's  by  participating  in  an  art 
project  in  Shelter  Care,  having  an  inti- 
mate visit  with  their  family,  or  requesting 
necessary  services  to  support  their  life. 

The  physical  environment  of  the  build- 
ing became  the  container  for  change.  It 
locked  in  the  operational  and  manage- 
ment changes  through  new  spaces  that 
housed  services — no  one  could  use  the 
old  organizational  systems  in  the  new 
building.  It  became  a  place  where  new 


EDELMAN    CHILDREN   S   COURT 


55 


behaviors  could  be  learned  and  old  ones 
discouraged.  It  became  a  place  where 
new  life  could  begin  for  children  and 
their  families. 


User  Feedback 

How  spaces  are  actually  used  can  some- 
times be  different  from  original  inten- 
tions. The  following  quotes  are  taken 
from  people  who  have  used  the  court- 
house building  for  three  years. 

Presiding  Judge  Gerald  Nash 

"This  building  expresses  the  value  that  we 
want  the  court  to  convey:  children  are 
important.  The  Children's  Shelter  Care 
area  is  the  largest  part  of  the  court — it's 
also  the  most  unique  and  best  part  of  the 
court.  It  reduces  the  anxiety  children  feel 
when  they  come  to  court;  they  feel  wel- 
come. There's  also  a  bright,  expansive, 
open,  public  waiting  area.  The  hearing 
room  environment  is  warmer  and  more 
comfortable,  which  reduces  the  anxiety 


The  spacious  outdoor  area  provides  room 
to  run  and  lots  of  choices. 


of  the  adults  as  well.  It's  not  a  dehumaniz- 
ing environment  that  devalues  people;  it 
does  just  the  opposite. 

"Strangely  enough,  the  problem  is  that 
we've  outgrown  the  building.  It  would 
be  an  improvement  to  have  even  more 
services  available  to  families  on  site.  The 
courthouse  is  also  a  meeting  place  for 
many,  many  different  groups  and  com- 
mittees— we're  now  meeting  in  the 
Judge's  Lounge  or  Department  of 
Children  and  Family  Services  confer- 
ence room.  We  could  use  more  office 
and  large  meeting  places. 

"But,  without  a  doubt,  this  is  still  the 
best  facility  of  its  kind  in  the  world." 

Randall  Henderson, 
Dependency  Court  Administrator 

"There  are  31,105  children  currently 
under  jurisdiction  of  the  court,  about 
10,000  filings  a  year.  About  five  years 
ago,  the  system  started  providing  more 
services  to  families  to  prevent  removing 
children,  and  also  pursuing  adoption 


EDELMAN    CHILDREN   S   COURT 


57 


WAYNE  TIIOM 


more  actively.  Both  programs  have 
resulted  in  fewer  children  coming 
through  the  courts."  (Five  years  ago  the 
court  had  over  50,000  children  in  juris- 
diction at  a  time.) 

"This  building  sends  a  message  that  chil- 
dren matter.  It's  overwhelmingly  suc- 
cessful and  a  showcase  for  the  Superior 
Court.  It's  child-friendly  and  not  intimi- 
dating. The  functionality  is  excellent.  It's 
so  much  better  than  having  children  in 
criminal  courts  and  superior  to  anything 
I've  seen  anywhere  else. 

"The  separate  corridors  and  elevators 
for  children  coming  up  from  Shelter 
Care  are  much  more  respectful  to  the 
child.  They  don't  have  to  go  through  the 
public  areas.  And  there's  a  separate  child 
waiting  area  by  the  courtroom  in  case 
there's  a  wait  once  they  go  upstairs. 

"The  courtroom  configuration  is  very 
successful .  The  layout  works  well  in  this 
situation  where  we  don't  have  a  lot  of 
spectators,  but  we  do  have  a  lot  of 
attorneys.  The  courtrooms  now  have 


live  video  available  so  children  can  tes- 
tify from  the  judge's  chambers,  away 
from  their  parents.  Many  judges  believe 
that  seeing  children  on  a  screen  has  a 
vivid  impact  on  parents,  and  moves 
them  more  than  seeing  children  testify 
live.  Parents  often  say,  'I  see  it  now,  I  see 
what  has  happened.' 

"One  aspect  that  has  not  worked  so  well 
is  the  areas  in  the  waiting  room  for  eat- 
ing. People  just  eat  anywhere,  they  don't 
go  to  the  tables.  And  the  furniture 
choices  were  not  practical .  The  uphol- 
stery started  to  look  grungy  quickly. 
There  are  just  too  many  people.  So  the 
second  generation  of  furniture  is  more 
practical . 

"This  is  a  multi-agency  building.  Right 
after  the  building  opened,  the  judges 
decided  they  wanted  the  County's  cen- 
tralized adoption  unit  here.  So  we  had  to 
fit  them  in.  I  like  that  the  building  allows 
us  to  evolve  and  adjust.  Many  different 
agencies  need  office  space  and  you  just 
can't  get  enough  of  it.  I'd  put  in  more 


conference  and  office  space  if  I  could. 
You  have  to  be  rigorous  about  allocating 
and  controlling  space  to  avoid  compro- 
mising space  for  children's  programs. 

"Families  can  get  many  types  of  services 
here.  We  have  Free  Arts  for  Abused 
Kids,  Children's  Book  Service,  a  teddy 
bear  program,  parenting  services,  drug 
and  alcohol  services,  Parents  Beyond 
Conflict,  mental  health  services.  It's  a 
huge  list." 

Supervising  Judge  Emily  Stevens 

"Kids  and  parents  who  are  out  of  the 
system  now  often  come  back  to  talk 
with  me  and  show  me  how  well  they're 
doing.  The  court  seems  positive  and 
accessible — I  don't  think  they  would 
come  back  to  the  old  criminal  court. 

"The  less  formal  structure  of  the  court- 
room lends  itself  to  closer  physical 
contact.  I  can  talk  with  the  kids,  there's 
more  interaction  between  us.  Some- 
times they  want  a  hug,  and  I  can  easily 
reach  them." 


F.DELMAN    CHILDREN    S    COURT 


"Many  more  people  come  to  court  now 
than  before  and  they  bring  more  people 
with  them.  We  encourage  that,  and  I 
think  people  find  it  a  comfortable  place 
to  be  and  to  wait;  it's  open,  airy  and 
light  yet  still  conveys  the  serious  work 
we  do  here.  That's  a  very  positive  aspect 
of  the  building;  it's  family-friendly. 

"The  Shelter  Care  is  very  good.  It's  500 
percent  better  than  what  the  kids  had 
before.  The  kids  love  it. 

"The  building  itself  is  holding  up  very 
well.  We  maintain  it  very  carefully  so  it 
still  looks  fresh  and  new.  We  had  to 
make  some  changes;  we  used  a  higher- 
gloss  paint  to  prevent  so  many  scratches, 
and  we  needed  tougher  furniture. 

"However,  in  designing  the  building  for 
children,  I  think  they  didn't  give  quite 
enough  consideration  to  the  adults  who 
have  to  work  here.  The  courtrooms  are 
now  too  small  on  a  regular  basis. 
Sometimes  there  are  siblings  and  multi- 
ple parents,  each  with  an  attorney. 
There's  just  not  enough  space. 


"They  also  didn't  expect  anybody  to 
keep  anything  in  the  courtroom  and 
that's  just  not  practical.  We  put  built-in 
cabinets  in  the  smaller  courtrooms  and 
metal  cabinets  in  the  larger.  It  was  just 
impossible  to  work  without  storage. 
Employees  feel  they  were  given  very 
little  personal  space,  so  we  had  to  find 
them  some  space. 

"There  was  not  enough  thought  given  to 
where  the  court  reporter  would  be. 
They  didn't  have  a  desk,  just  a  little 
table  and  chair.  So  I  had  to  buy  them 
desks.  They  sit  in  different  places  in  each 
courtroom. 

"The  courtrooms  don't  take  into 
account  incarcerated  parents  and  secu- 
rity. In  my  courtroom,  the  bailiff  has  to 
walk  in  with  the  custody  through  the 
courtroom  and  there's  no  barrier 

between  the  custody  and  me I  have 

had  as  many  as  three  custodies  in  the 
courtroom  at  the  same  time.  You  can 
imagine  the  security  and  space  issues. 


"I  was  appalled  at  some  of  the  concepts 
of  this  building.  For  instance,  the  judge's 
secured  corridor  is  not  very  secure. 
There  are  no  stairs  from  lockup.  So  in 
an  emergency,  custodies  have  to  be 
taken  through  the  judge's  corridor.  And 
bringing  in  children  through  the  judge's 
corridor  is  also  problematic.  They  go  off 
in  there.  Some  of  these  kids  are  very 
upset  and  they're  in  the  hallway  scream- 
ing. Sometimes  I  have  to  go  out  to  talk 
them  down  and  get  them  back  down  to 
Shelter  Care. 

"And  it's  not  practical  to  have  judges  go 
through  the  areas  where  children  are  to 
get  to  the  courtroom.  If  they  know  me, 
they  want  to  talk  to  me.  But  I'm  not 
allowed  to  have  ex  partite  communica- 
tions with  the  minor,  so  I  can't  talk. 
That  sometimes  upsets  them." 


EDELMAN    CHILDREN   S   COURT 


59 


1 


I 


V 


■I 


TULE  ELK  PARK  CHILD  DEVELOPMENT  CENTER  SAN    FRANCISCO,  CALIFORNIA 


'Imagine  if  this  whole  asphalt  playground  were  one  big  garden." 

FORMER  DIRECTOR,  TULE  ELK  PARK  CHILD  DEVELOPMENT  CENTER 


BRINGING    NATURE    INTO 
THE    URBAN    SCHOOL 


SUSAN    GOLTSMAN 


One  day,  a  group  of  parents  and  school  staff  looked  out  at  a  little  patch  of 
bare  dirt  and  a  lot  of  black  asphalt  and  imagined  it  all  as  a  big  garden.  Through  a 
huge  collaborative  effort,  the  community  transformed  dirt,  asphalt  and  an  uninspired 
play  structure  into  a  nature-based  outdoor  learning  environment  that  offers  children 
a  wide  variety  of  choices:  vegetable  and  flower  gardens,  bike  paths,  sand  and  water 
play,  construction  area,  sculpture  and  an  art  terrace. 

The  Tule  Elk  Park  Child  Development  Center  is  a  public  school  in  the  Marina 
District  of  San  Francisco.  The  Center  is  a  fully  integrated  learning  environment  for 


The  site  plan  transformed  asphalt  into  a  natural  environment. 


PROJECT  Tule  Elk  Park  Child  Development  Center      LOCATION  San  Francisco,  California 
DATE   DESIGNED  1990-1997       CONSTRUCTION  COMPLETED   1998 
CONSTRUCTION   COST  $350,000    SIZE  2  acres       LANDSCAPE  ARCHITECT  MIG, 
Inc.      CLIENT  Lynn  Juarez  (former  director),  Alan  Brossard  (current  director),  Tule  Elk  Park 
Child  Development  Center,  San  Francisco  Unified  School  District      DESIGN  TEAM  Frank 
&  Grossman  Landscape  Contractors,  Inc.;  Michael  Olexo;  Magrane  Associates;  MIG,  Inc. 


TULE    ELK    PARK    CHILD    DEVELOPMENT    CENTER 


1 


children  with  and  without  disabilities.  It 
serves  about  360  children  in  preschool 
(ages  3—5)  and  in  kindergarten  through 
third  grade  in  an  after  school  program 
(ages  5—8)  in  eight  classrooms.  The  chil- 
dren are  primarily  from  low-income 
families,  and  many  are  learning  English 
while  they  learn  math  and  reading. 

The  renovated  play  area  supports  the 
tenets  of  inclusive  design  in  multiple 
ways.  Where  there  were  once  obstacles 
to  mobility  (stairs  to  temporary  class- 
rooms), the  new  design  of  the  space 
promotes  uninterrupted  accessibility 
from  the  classroom  to  the  playground 
and  among  the  variety  of  play  areas.  The 
new  play  areas  also  make  play  and  learn- 
ing accessible  to  a  wider  spectrum  of 
children  because  there  are  now  a  variety 
of  options  that  speak  to  children  with 
different  interests,  abilities  and  learning 
modalities. 


The  school  integrates  nature  and  the 

garden  with  standard  subjects  such 

as  science,  math  and  art. 


The  outdoor  area  includes  sculpture  and  artwork. 


Children  become  reporters  for  the  school 
newspaper. 


PURPOSE 

The  project  intent  was  to  develop  the 
schoolyard  both  as  a  resource  for  com- 
munity use  and  to  support  school  pro- 
grams. The  new  master  plan  aimed  to 
improve  physical  accessibility,  increase 
staff  morale  and  student  engagement  in 


learning,  and  amplify  the  connection 
between  the  school  and  its  surrounding 


communi 


ty. 

The  school  sought  meaningful  ways  to 
address  a  diverse  population's  needs 
and  use  the  different  outdoor  elements 


to  address  literacy.  For  example,  stu- 
dents now  use  the  garden  as  an  authen- 
tic context  for  dictation,  writing  and 
reading.  They  publish  a  regular 
newsletter  to  educate  parents  about 
activities  in  the  garden.  The  students 


64 


TULE  ELK  PARK  CHILD  DEVELOPMENT  CENTER 


Homemade  compost  becomes  a  lesson  about  the  "Lasagne  of  Life." 


observe  the  garden,  interview  each 
other  and  the  garden  teacher,  tran- 
scribe notes,  and  write  articles  for 
their  parents  and  peers  to  read. 

Teachers  and  staff  have  noticed  that  the 
outdoors  has  become  a  place  where 


students  who  have  trouble  concentrat- 
ing inside  the  classroom  become 
focused  and  calm .  Tying  the  activities  in 
the  schoolyard  to  classroom  curriculum 
addresses  those  different  learning 
modalities  and  allows  these  children  to 


focus  on  their  schoolwork  in  a  different 
way.  Outdoor  settings  also  allow 
students  to  express  themselves  in  sen- 
sory ways  in  addition  to  the  logical 
ways  that  are  emphasized  in  the 
academic  curriculum. 

The  current  school  director,  Alan 
Brossard,  says  that  children  are  more 
engaged  in  learning  when  they  can  see 
something  that  has  a  beginning,  middle 
and  end.  The  garden  presents  a  multi- 
tude of  projects  like  this.  Children  study 
birds,  watch  nests  being  built,  see  the 
eggs  hatch,  and  watch  birds  begin  to  fly. 
Or  they  create  compost,  plant  corn, 
watch  it  grow,  and  eat  it. 

The  physical  design  reflects  the  inclusive 
philosophy  of  the  school.  The  outdoor 
area  has  been  a  community-builder 
among  all  user  groups.  The  staff  work 
together  to  implement  the  curriculum; 
children  work  together  in  the  outdoor 
setting;  and  parents  see  their  children 
getting  interested  and  become 
involved  in  the  programs  themselves. 


TULE   ELK   PARK  CHILD    DEVELOPMENT   CENTER 


65 


Kids  are  encouraged  to  dig  in  and  get  dirty. 


66  TULE    ELK    PARK    CHILD    DEVELOPMENT    CENTER 


For  example,  a  recent  schoolwide  proj- 
ect focused  on  the  subject  of  "tea."  All 
classes  and  their  families  learned  about 
the  cultural  aspects  and  rituals  of  tea, 
conducted  tea  surveys,  had  tea  in  the 
garden,  and  involved  parents  and  fami- 
lies in  the  activities. 

Neighborhood  residents  and  surround- 
ing community  members  also  visit  the 
school  and  want  to  know  what's  going 
on.  This  community  building  creates 
connections  for  the  school  and  supports 
the  school's  belief  that  relationships  are 
the  core  of  education:  people  don't 
learn  in  isolation,  they  learn  with  each 
other.  The  outdoor  yard  is  a  vehicle  for 
that  to  happen. 

USER  GROUPS 

*  Preschool  students  (ages  3— S) 

•  After  school  students  (ages  5—8) 

■  Teachers 

■  Staff 

:  Community  members 


Community  members  and  parents  often 
come  to  the  school  to  work  on  art  projects. 


DESIGN  PROCESS 

Dedicated  staff,  parents,  community 
members,  foundations,  and  businesses 
pooled  their  resources  to  transform  the 
asphalt  schoolyard  into  a  play  and  learn- 
ing garden.  During  the  visioning  process 
in  1990,  then-director  Lynn  Juarez  and 
a  group  of  staff  and  parents  looked  out 
at  that  single,  fenced,  patch  of  dirt 


■     . 


The  curriculum  merges  art  and  seasonal 
plants,  such  as  pumpkins. 


within  the  asphalt  playground  and  imag- 
ined a  huge,  open  garden. 

During  the  master  plan  phase,  the 
neighborhood  and  community  were 
heavily  involved  in  contributing  design 
ideas.  A  landscape  architect  was  engaged 
to  draw  a  plan. 


TULE   ELK   PARK  CHILD    DEVELOPMENT  CENTER 


67 


-^ 


Accessible  paths  link  all  areas.  The  white  picket  fence  adds  a  homey  touch  around  the 
vegetable  garden. 


The  school  staff  then  built  a  living 
model  on  wheels  to  use  as  a  community 
development  tool. They  brought  it  to 
street  fairs  and  used  it  to  educate  people 
about  the  project.  Through  this  process, 
they  gained  monetary  donations  as  well 
as  community  connections  and  commit- 
ments of  voluntary  labor  and  in-kind 
donations  such  as  carpentry  and  con- 
crete work.  The  school  enlisted 
AmeriCorps  workers  to  remove  the 
majority  of  the  site  asphalt. 


A  contractor  donated  earth-grading 
services  to  the  school. There  were  some 
grading  problems  that  needed  to  be 
solved  for  accessible  pathways.  The 
portable  bungalow  classrooms  were  not 
accessible  from  the  playground  grade, 
and  the  school  wanted  continuous 
accessible  circulation  rather  than  sepa- 
rate ramps  leading  to  each  classroom.  A 
grading  plan  was  prepared  that  would 
achieve  this  goal  and  serve  as  the  master 
plan  to  further  develop  areas  for  out- 
door learning. 


Inclusive  Design  Features 
and  Settings 

PLAY  STRUCTURE 

The  manufactured  play  apparatus  is 
accessible  to  persons  with  disabilities 
and  provides  an  opportunity  for  active 
play  and  gross  motor  development. 

OUTDOOR  CLASSROOM  PATIOS 

Outside  each  interior  classroom  is  a 
concrete  patio  that  serves  as  a  transition 
to  the  playground.  The  patios  are  con- 
crete with  trees  nearby.  This  patio  helps 
children  make  the  psychological  transi- 
tion between  play  and  work,  and  serves 
as  additional  workspace  for  large  and 
messy  projects. 

ACCESSIBLE  PATH 

The  school  has  universal  circulation 
throughout  the  site — linking  the  play 
area,  elevated  portable  bungalow  class- 
rooms, and  amphitheater  through 
accessible  pathways  that  provide  a  con- 
tinuous, uninterrupted  play  area  for 


68 


TULE    ELK    PARK    CHILD    DEVELOPMENT    CENTER 


I> 


k 


Insects  found  in  the  garden  also  provide 
learning  opportunities  through  scientific 
observation. 


7 


tricycles  and  rollerblades  (allowed  dur- 
ing community  use  hours  of  operation, 
not  during  school  hours) . 

AMPHITHEATER/ 

OUTDOOR  GATHERING  AREA 

The  amphitheater  is  a  small  concrete 
circle,  edged  with  turf.  This  serves  as 
an  outdoor  gathering  area  as  well  as 
a  theater  for  classes  and  theater 
productions. 


GARDEN 

The  vegetable  garden  is  a  primary 
educational  resource  of  the  outdoor 
learning  environment.  It  promotes 


Children  learn  about  vegetables  by  growing 
and  eating  them. 


69 


accessibility  to  learners  of  all  languages 
and  ethnicities.  Raised  beds  and  accessi- 
ble, stabilized  decomposed  granite 
surfacing  ensure  that  persons  with 
disabilities  may  use  the  garden. 

CONSTRUCTION  AREA 

The  construction  area  is  designated  as  a 
flexible  space  where  children  can 
manipulate  their  environment  and  build 
things.  "Program  poles"  (four  vertical 
columns  at  the  corners  of  a  wood  plat- 
form) serve  as  a  structure  for  activities. 
Children  have  used  the  poles  as  play 
props  for  imaginative  play  during  recess 
(a  boat!  a  house!),  as  a  stage  for  dances 
and  plays,  as  armatures  for  Japanese  tea- 
houses during  the  curriculum  unit  on 
tea,  and  as  Sukkahs  to  celebrate  the 
Jewish  harvest  holiday  of  Sukkot. 


Children  decorate  platforms  and  poles  with  corn  stalks  to  celebrate  a  harvest  holiday. 


70  TULE    ELK    PARK    CHILD    DEVELOPMENT    CENTER 


PLAY  HOUSE 

The  play  house  provides  an  opportunity 
for  dramatic  play.  It  is  located  adjacent 
to  an  accessible  path  and  the  entry  is 
large  enough  so  that  a  person  with  a 
wheelchair  can  enter.  It  is  located  at 
ground  level  so  there  are  no  barriers  to 
entry. 

SAND  AND  WATER  PLAY  AREA 

This  play  area  is  located  so  that  it  does 
not  conflict  with  any  other  uses.  It  is 
one  of  the  most  popular  and  engaging 
play  areas.  There  are  transfer  pads  that 
allow  a  person  to  transfer  from  a  wheel- 
chair down  into  the  sand  play  area. 

STORAGE  AREA 

The  storage  area  for  wheeled  tricycles 
allows  children  to  take  on  responsibili- 
ties for  their  environment.  The  area  also 
serves  as  a  shed  for  garden  supplies. 


The  platforms  also  provide  small  areas  for  social  interaction. 


TULE    ELK   PARK  CHILD    DEVELOPMENT  CENTER 


7  I 


A  large  tree  stump  in  the  sand  play  area 
is  a  natural  play  element:  a  lily  pad,  a 
vantage  point,  or  a  throne. 


ART  PATIO 

The  art  patio  is  a  large  concrete  area 
equipped  with  a  sink,  hose  bib  and 
drain.  Here,  students  can  work  out- 
doors on  large  projects,  such  as  murals. 

ART/DINING  TERRACE 

This  area  accommodates  large  groups 
and  is  equipped  with  a  number  of  pic- 
nic tables  for  outdoor  eating  or  group 
projects. 


Children  work  on  art  projects  in  the  classroom  and  outdoors. 


Management  and 
Operational  Issues 

More  complex  outdoor  designs  require 
more  maintenance  than  the  standardized 
asphalt  surface,  although  some  design 
elements  actually  assist  with  mainte- 
nance. For  example,  a  sand  play  area  is 
edged  with  a  low  concrete  curb  that 
keeps  the  sand  from  spilling  over  the 
edges  onto  the  pathways.  The  outdoor 


Children  often  work  in  teams  on  large 
projects  such  as  this  garden-inspired  mural. 


72 


TULE    ELK    PARK    CHILD    DEVELOPMENT    CENTER 


Tile  murals  are  mounted  outdoors  and 
children  are  encouraged  to  touch. 


A  large  painted  quilt  reflects  nature  and  the  seasons. 


TULE    ELK   PARK  CHILD    DEVELOPMENT  CENTER  73 


storage  area  provided  for  wheeled  toys 
minimizes  the  clutter  on  the  play- 
ground. A  raised  curb  protects  the  plant- 
ing. However,  ongoing  maintenance  and 
care  is  still  a  major  consideration. 

The  largest  operational  issues  are  overall 
education  and  maintenance.  Operating 
the  site  as  an  environmental  education 
resource  costs  about  $35,000  to 
$40,000  per  year.  This  pays  for  an  envi- 
ronmental educator  three  and  one-half 
days  per  week  to  develop  curriculum 
and  teach  lessons,  and  for  a  gardener 
one  day  per  week. 

At  the  beginning  of  the  project,  the  City 
had  high  hopes  that  families,  staff  and 
the  community  would  be  able  to  main- 
tain the  schoolyard  through  organized 
"work  parties."  This  approach  has  not 
resulted  in  the  consistent  level  of  on- 


going maintenance  that  is  required  for 
operation.  Since  the  school  district  has 
limited  available  funding  and  staff  to 
maintain  additional  vegetation,  Tule  Elk 
Park  must  include  funding  for  mainte- 
nance as  part  of  its  fundraising  efforts 
(about  $5,000  per  year). Tule  Elk  Park 
also  maintains  relationships  with  com- 
munity organizations  and  generous  indi- 
viduals who  assist  through  in-kind 
donations  of  irrigation  maintenance  and 
specific  items  such  as  nursery  stock. 

Another  operational  issue  is  the  school's 
need  to  respond  to  academic  standards 
and  regulations.  While  some  parents  and 
administrators  believe  this  approach 
meets  children's  needs,  others  ask  ques- 
tions: "How  do  we  know  that  this  will 
translate  into  academic  and  lifelong  suc- 
cess?" and  "Will  an  investment  in  this 


approach  yield  results?"  Tule  Elk  Park 
has  therefore  developed  the  program 
into  a  full  environmental  science  pro- 
gram and  has  hired  an  outside  evaluator 
to  observe  and  analyze  the  program  to 
obtain  quantitative  data.  The  environ- 
mental education  specialist  is  charged 
with  multiple  tasks:  integrate  outdoor 
learning  activities  to  align  with  what 
children  are  learning  in  the  classroom; 
develop  schoolwide  learning  activities 
that  can  be  performed  with  the  children, 
their  families  and  the  community;  and 
maintain  the  garden.  The  school  will 
measure  and  evaluate  the  outcomes, 
institute  a  curriculum  framework  and 
formalize  the  standards  of  environmen- 
tal education. 


74 


TULE    ELK    PARK    CHILD    DEVELOPMENT    CENTER 


User  Feedback 

Tule  Elk  Park  Child  Development  Center 
has  been  in  use  for  almost  six  years. 

Alan  Brossard,  Director 

"One  of  our  biggest  challenges  has  been 
program  development — how  to  inte- 


grate the  outdoor  curriculum  with  what 
students  were  learning  in  the  classroom. 
At  first,  the  pieces  weren't  working  in 
synchronicity.  Then,  we  hired  an  envi- 
ronmental educator  to  coordinate  and 
formalize  the  integration  of  these  pieces 
using  state  curriculum  standards.  This 
has  been  the  key  to  our  success,  and 


now  the  classroom  learning  is  sup- 
ported and  inspired  by  the  garden. 

"At  the  beginning  of  the  project  we  met 
with  resistance  from  the  school  district, 
which  is  understandable  because  it's 
hard  to  have  vision  when  you're  trying 
to  survive  day-to-day.  So  we  proceeded 
with  a  grassroots  effort,  taking  risks  and 
dreaming.  We  made  presentations  and 
reached  out  to  the  community.  They 
saw  value  in  the  project  and  supported 
our  school.  Once  we  achieved  success, 
there  was  visible  support  from  the 
school  board  and  Superintendent;  the 
Mayor  even  came  to  unveil  the  new 
park  and  garden. 

"A  unique  aspect  of  our  school  is  that 
the  environmental  educator,  artist-in- 
residence  and  classroom  teachers  form 
a  collaborative  team  to  integrate  the 
curriculum  within  the  context  of  the 
outdoor  environment." 


A  leaf  can  be  whatever  a  child  makes  of  it. 


TULE   ELK   PARK  CHILD   DEVELOPMENT  CENTER 


75 


ST.    COLETTA   OF   GREATER  WASHINGTON,    D.C. 


J 


"These  children  are  not  sick,  they're  not  broken.  They're  who  they  are 
and  how  they  are. ...Schools  should  be  shrines  to  children." 

EXECUTIVE  DIRECTOR,  ST.  COLETTA  OF  GREATER  WASHINGTON,  D.C. 


EXPANDING  THE 
LEARNING    ENVIRONMENT 


SUSAN   GOLTSMAN 


ST.  COLETTA  SCHOOL'S  MISSION  STATEMENT  IS  THE  ULTIMATE  EXPRESSION  OF  INCLUSIVE 
design:  "At  St.  Coletta  we  believe  in  the  immeasurable  value  of  the  individual  human 
spirit  and  the  right  of  each  individual  to  live  as  full  and  as  independent  a  life  as  possible 
. .  .our  goal  is  to  serve  them  in  an  atmosphere  that  encourages  their  talents,  celebrates 
their  successes  and  builds  their  self-esteem." 

But  the  relationship  between  St.  Coletta  and  its  surrounding  community  has  not 
been  inclusive;  it  has  been  a  clash  between  two  critical  but  competing  needs. 


77 


Halloween  is  one  of  the  students'  favorite 
holidays. 


Founded  in  1959,  St.  Coletta  of  Greater 
Washington  is  a  private,  independent 
nonprofit  school  and  adult  day  support 
program  for  children  with  severe  mental 
retardation  or  autism  and  multiple  phys- 
ical disabilities.  Many  have  been  abused; 
most  are  in  foster  care.  The  director's 
vision  was  to  create  a  jewel  of  a  place 
for  people  who  usually  get  nothing — to 
show  these  children  they  are  valued  and 
give  them  the  kind  of  self-esteem  they 
need  to  survive  in  the  world.  Although 
the  school  was  designed  by  a  renowned 
architect,  this  is  not  a  school  for  rich 
kids.  It  exists  because  public  schools 
don't  have  the  facilities,  staff  or  pro- 
gramming to  serve  these  children.  The 
school  had  been  operating  out  of  two 


PROJECT  St.  Coletta  of  Greater  Washington      LOCATION  Washington,  D.C. 
DATE   DESIGNED  2003-2004       BUILDING  CONSTRUCTION   COMPLETED  2006 
CONSTRUCTION  COST  $350  million      SIZE  building:  approx.  96,000  sq.  feet; 
outdoor  classroom  and  recreation  areas:  approx.  1.5  acres   ARCHITECT  AND  INDOOR 
PROGRAMMING  Michael  Graves  Architect      LANDSCAPE  ARCHITECT  AND 
OUTDOOR  PROGRAMMING  MIG,  Inc.      CLIENT  St.  Coletta  of  Greater  Washington,  D.C. 


former  bank  buildings  in  Alexandria, 
Virginia,  and  looked  to  the  new 
Washington,  D.C.  site  to  expand  the 
number  of  children  it  could  serve. 
About  85  percent  of  students  at  the  new 
site  come  from  the  District,  referred  by 
their  Local  Educational  Agency. 

The  community  did  not  want  the 
school  and  they  did  not  feel  included  in 
the  planning  process.  The  neighbor- 
hood, located  in  the  District's  Anacostia 
River  area,  is  home  to  a  jail,  an  armory, 
an  abandoned  hospital,  dilapidated 
schools  and  aging  row  houses. 
Residents  wanted  housing  and  neigh- 
borhood-serving retail  that  could  stim- 
ulate economic  development.  They 
believed  that  while  St.  Coletta  may  have 
laudable  goals,  a  fancy  new  school  for 
children  with  disabilities  wouldn't  do 
much  for  them.  They  would  look  over 
at  a  beautiful  school,  while  their  own 
children  attended  schools  that  are 
substandard.  Once  again,  they  felt, 
their  needs  were  not  taken  into  account 


78 


ST.    COLETTA    OF    GREATER    WASHINGTON,     D.C. 


through  the  political  process  of  the 
nation's  capital. 

St.  Coletta  received  the  land  through  an 
act  of  Congress  because  it  receives 
appropriations  from  the  U.S.  Senate.  The 
federal  government  gave  the  District  a 
67-acre  site,  called  "Reservation  13," 
with  the  proviso  that  St.  Coletta  would 
get  a  spot  there,  along  with  other  gov- 
ernment services.  The  General  Services 
Administration  ruled  that  the  land  could 
not  be  used  for  retail.  St.  Coletta  took  a 
vacant  site,  which  also  happened  to  be 
an  excellent  site  for  retail,  on  a  corner 
and  near  the  Metro.  The  community  had 
no  say  in  what  would  be  built  on  the 
site.  In  addition,  St.  Coletta  will  pay  the 
District  just  $  1  a  year  in  rent  and  the 
District  is  required  by  law  to  provide 
schooling  for  students  with  disabilities — 
that  could  cost  about  $30,000  a  year  for 
each  student  at  St.  Coletta.  The  commu- 
nity was  very  upset. 

To  build  connections  with  the  commu- 
nity, the  school's  director  had  many 


meetings  with  community  members, 
asking  for  input  on  usage,  site  design, 
school  bus  routes,  and  even  the  height 
of  fences.  The  school  offered  to  build 
and  maintain  a  community  park  and 
offered  the  community  use  of  the 
grounds,  community  room  and  gymna- 
sium after  school  hours.  The  community 
refused  to  accept  the  park  because  of 
maintenance  concerns,  but  the  building 
facilities  will  be  made  available  to  com- 
munity-serving organizations. 

As  construction  began,  the  relationship 
remained  a  work  in  progress.  St.  Coletta 
continued  to  reach  out  to  the  commu- 
nity and  remained  dedicated  to  creating 
better  relations.  The  school  opened  in 
September  2006 — a  96,000-square-foot 
facility  that  supports  250  students  a  day 
and  almost  200  staff  members. 

PURPOSE 

St.  Coletta 's  students  have  severe  dis- 
abilities and  physical  challenges  that 
limit  their  mobility,  learning  and  social 
skills.  Students  must  meet  the  admis- 


St.  Coletta  student  enjoys  activities  at 
school. 


sions  criteria  of  "significant  cognitive 
delay."  This  can  be  coupled  with  sec- 
ondary orthopedic,  health,  hearing  and 
speech  and  language  impairments. 

Over  50  percent  of  St.  Coletta 's  stu- 
dents live  in  foster  care  or  group 
homes.  For  this  reason,  St.  Coletta 
serves  as  more  than  just  a  school  for 


ST.    COLETTA  OF   GREATER  WASHINGTON,    D.C.  79 


these  individuals — it  is  a  home  custom- 
tailored  to  their  needs,  a  place  where 
they  celebrate  birthdays  and  holidays, 
take  special  trips  and  make  friends. 

The  staff  focuses  on  the  students'  abilities, 
not  their  limitations.  St.  Coletta's  execu- 
tive director  Sharon  Raimo's  expression 
of  the  school's  respect  for  the  students  is 
refreshingly  candid  and  straightforward: 
"These  children  are  not  sick,  they're  not 
broken.  They're  who  they  are  and  how 
they  are — they're  people." 

Students  are  taught  in  classes  with  addi- 
tional individualized  and  personalized 
instruction  given  to  address  a  student's 
particular  needs  or  skills.  Therapists  and 
educators  work  together  to  integrate 
physical  therapy  into  the  students'  daily 
routine — in  the  classroom,  in  the 
lunchroom  and  in  their  excursions  into 
the  community. 

St.  Coletta  practices  an  emergent  cur- 
riculum— one  that  "emerges"  from  the 
interactions  between  the  learners  and 
their  environments — both  the  built  envi- 


Student  interests  are  incorporated  into  lessons — from  picture  books  to  computers. 


ronment  and  natural  areas.  The  immedi- 
ate school  environment,  both  indoors  and 
outdoors,  and  the  school's  surrounding 
community  therefore  play  a  very  impor- 
tant role  in  the  students'  education. 

Staff  often  assist  students  with  self- 
expression  through  nonverbal  means. 
These  methods  are  not  limited  to  tra- 
ditional assistive  technology;  teachers 
direct  students  to  take  photographs 
(visual  documentation  and  expression) 
and  practice  representation  and  simula- 


Students  learn  practical  skills,  such  as 
cooking,  and  celebrate  birthdays! 


80 


ST.    COLETTA    OF    GREATER    WASHINGTON,     D.C. 


tion  with  models  and  art.  For  example, 
after  a  field  trip  to  the  marshlands, 
teachers  encouraged  students  to  draw 
or  make  a  model  of  what  they  saw. 
Students  simulated  the  marsh  by  using 
a  plastic  bag  laid  out  on  the  ground. 
The  wrinkles  in  the  bag  formed 
"rivers"  and  "marshlands"  and  when 
water  was  poured  on  the  model,  stu- 
dents saw  how  the  water  runs  through 
the  marsh  environment. 

The  new  learning  environment  will 
expand  the  settings  in  the  school  that 
can  provide  experiences  like  the  marsh- 
lands. Student  learning  opportunities 
are  expanded  because  the  new  outdoor 
classroom  will  provide  a  safe,  enclosed 
area  where  students  can  be  supervised. 
Students  and  teachers  can  use  the  out- 
door classroom  frequently  and  therefore 
experience  an  outdoor  environment 
more  often  than  they  can  on  a  limited 
number  of  field  trips  in  a  given  year.  It 
allows  students  to  engage  with  the  envi- 
ronment in  a  way  that  supports  their 
learning. 


USER  GROUPS 

:  Children  (ages  4—8) 
■Youth  (ages  9-17) 

■  Adults  (ages  18-22) 

■  Teachers 
Staff 
Parents 

Board  members  and  guests 

DESIGN  PROCESS 

In  the  existing  former  bank  facility,  many 
of  the  current  design  choices  such  as 
paint  color  have  evolved  through  trial 


and  error  over  time,  resulting  in  an  envi- 
ronment that  works.  For  the  new  facility, 
St.  Coletta  hired  skilled  architects  and 
landscape  architects  who  folded  St. 
Coletta 's  gathered  knowledge  into  the 
design  of  the  learning  environment. 


A  workshop  with  teachers  helps  designers 
gather  information  for  the  new  school 
environment. 


Visiting  the  school  helped  designers 
understand  student  abilities  and  design 
an  environment  they  will  can  enjoy  fully. 


ST.    COLETTA  OF  GREATER  WASHINGTON,    D.C. 


81 


Reading  with  a  teacher  provides  social 
interaction  while  learning. 


Existing  classrooms  are  painted  light  green,  a  calming  color. 


There  are  few  design  standards  or  guide- 
lines on  environments  for  students  with 
special  needs,  and  each  group  of  stu- 
dents and  staff  is  unique.  Therefore,  pro- 
gramming workshops  with  the  school's 
staff  and  users,  along  with  multiple  site 
visits  for  observation  of  use  has  been  a 
priority  for  the  architects  and  designers. 
They  have  worked  very  closely  with  the 
school  during  the  design  process. 

For  the  outdoor  environment  in  the 
new  building,  designers  first  visited 


the  school  to  observe  the  typical  class- 
room and  activities.  A  workshop  was 
conducted  with  staff  and  teachers  to 
gather  ideas  about  the  outdoor  space. 
Teachers  expressed  their  learning  goals 
for  the  students  and  described  specific 
behaviors  or  needs  that  should  be 
accommodated  in  the  design  such  as 
practicing  mobility  in  wheelchairs  or 
walkers,  or  having  the  option  of  being 
in  a  quiet  natural  space  versus  a 
group  setting. 


Inclusive  Design  Features 
and  Settings 

The  new  building  design  is  multi- 
functional. It  includes  classrooms, 
kitchens,  speech  and  occupational 
therapy  rooms,  group  rooms,  a  full- 
court  gymnasium  with  locker  rooms, 
an  infirmary,  a  hydrotherapy  room, 
administrative  offices,  conference  rooms 
and  a  "village  green" — a  sky-lit  atrium 
hallway  that  runs  the  center  length  of 
the  building's  interior. 


82 


ST.    COLETTA    OF    GREATER    WASHINGTON,     D.C. 


St.  Coletta  also  plans  to  make  some 
spaces  available  for  community  use  out- 
side of  school  hours,  including  the  gym- 
nasium, kitchen  and  community  room. 

A  key  design  element  of  the  new  facility 
is  the  outdoor  classrooms  that  expand 
the  learning  areas  for  the  students.  The 
outdoor  context  allows  for  hands-on 
activities  such  as  gardening  and  dramatic 
play,  as  well  as  studying  nature,  wildlife 
and  the  seasons. 

SITE  ELEMENTS 

The  physical  environment  reflects  how 
St.  Coletta  values  its  students.  The 
school  itself  tested  many  elements  over 
many  years,  which  will  be  continued  in 
the  new  building  and  expanded  to  the 
outdoors. 

■  Art.  Framed  artwork  and  whimsical 
sculptures  are  strategically  placed  on 
walls  and  in  rooms.  Student  artwork  is 
framed  and  hung  on  the  wall  alongside 
professional  art — reflecting  that  their 
work  is  valued  and  important.  In  addi- 
tion to  the  emotional  and  psychological 


Students  hang  their  artwork  on  school  walls. 


ST.    COLETTA  OF   GREATER  WASHINGTON,    D.C. 


83 


benefits,  art  also  serves  an  interesting 
educational  purpose  for  this  student 
population.  Many  of  St.  Coletta's  stu- 
dents are  very  visual,  but  don't  speak. 
Staff  observe  many  students  staring  at 
the  art,  especially  the  autistic  children. 
They  note  that  the  art  affects  their 
mood  and  that  color  also  has  a 
tremendous  effect  on  them. 

Color.  The  school's  preferred  colors 
are  secondary  and  tertiary  colors, 
rather  than  primary  colors;  they  are 
bright  and  appealing,  but  not  jarring. 
Currently,  yellow  is  used  in  public 


hallways.  The  director  believes  it  is  an 
"alert"  color,  which  is  the  behavior 
St.  Coletta  wants  students  to  have  in 
public  areas.  The  classrooms  are 
painted  green  and  orange.  Quiet 
Rooms  are  pink  and  violet  and  "under 
the  sea"  colors,  which  seem  to  have  a 
calming  effect. 

Lighting.  Incandescent  light  is  pre- 
ferred to  fluorescent,  which  can  create 
a  glaring  and  harsh  environment. 
Autistic  children  see  and  hear  the 
"strobe"  effect  that  fluorescent  fights 
have. 


Rooms  are  painted  and  furnished  in  a 
single  color. 

MICHAEL  QUILL/ST.  COLETTA  OF  GREATER  WASHINGTON 


This  state-of-the-art  kitchen  was  designed 
to  be  functional  and  calming. 

MICHAEL  QUILL/ST.  COLETTA  OF  GREATER  WASHINGTON 


Social  spaces.  Hallways  can  promote 
socialization.  People  cross  paths,  pass 
each  other  in  the  hall  and  come 
together,  greeting  each  other.  The 
school  provides  spaces  where  people 
can  be  together  in  big  groups  and 
small  groups.  One  of  the  major  goals 
of  coming  to  school  for  these  students 
is  to  learn  how  to  be  in  a  group  set- 
ting and  interact  socially  with  others. 

Private  spaces.  At  the  same  time,  peo- 
ple need  private  areas  for  reflection. 
St.  Coletta  provides  alcoves,  window 
seats  and  places  for  kids  to  be  alone 
and  look  out  the  window. 

ARCHITECTURE 

The  new  building  by  architect  Michael 
Graves  is  designed  to  fit  in  with 
its  urban  community  context  in 
Washington,  D.C.  There  are  five  3- 
story  pavilions  along  Independence 
Avenue.  The  geometric  shapes,  evoca- 
tive of  children's  blocks,  relate  to  the 
Armory  building  across  the  street  and 
help  establish  the  school's  identity 
along  this  urban  street.  Along  the  19th 
Street  frontage,  the  character  of  the 


84-  ST.    COLETTA    OF    GREATER    WASHINGTON,    D.C. 


Geometric  shapes  bring  to  mind  children's  blocks  and  relate  to  buildings  acress  the  street,  while  establishing  the  school's  unique  identity. 

MICHAEL  QUILL/ST.  COLETTA  OF  GREATER  WASHINGTON 


ST.    COLETTA  OF   GREATER  WASHINGTON,    D.C.  85 


buildings  mimics  the  character  of  the 
residential  neighborhood  to  the  east  of 
the  site,  appearing  as  a  row  of  proto- 
typical stylized  houses. 

CLASSROOMS  AS  HOUSES 

Not  only  does  the  architectural  charac- 
ter reflect  the  program  and  specific 
nature  of  the  site  and  its  surrounding 
context,  it  takes  into  account  the  needs 
and  response  of  the  building's  users. 
The  house-like  facades  along  19th 
Street  allow  students  and  teachers  to 
identify  with  their  classrooms  in  a 
home-like  manner,  a  compositional 
strategy  that  reflects  the  school's 
functions  through  form. 


VILLAGE  GREEN 

Perpendicular  to  this  frontage  is  a 
central  three-story,  sky-lit  atrium  hall- 
way. This  hallway  organizes  the  class- 
rooms in  a  single  axis,  like  an  interior 
street  or  "village  green."  The  interior 
design  of  St.  Coletta  reinforces  the  idea 
of  individual  houses,  as  each  classroom 
adjacent  to  the  village  green  is 
designed  as  a  separate  "house."  Each 
house  corresponds  to  a  different  age 
group  and  contains  several  flexible 
classrooms,  various  offices,  tutoring 
rooms  and  elevators. 


ffl 


Above:  The  "village  green,"  a  sky-lit  atrium, 
is  a  gathering  place  for  the  St.  Coletta 
community  (artist's  rendition). 

MICHAEL  McCANN  AND  MICHAEL  GRAVES  ARCHITECT 

Below:  The  1 9th  Street  building  elevation 
mirrors  the  character  of  the  adjacent 
residential  neighborhood.  Classrooms  are 
like  "houses,"  both  in  character  and 
function  (artist's  rendition). 

MICHAEL  McCANN  AND  MICHAEL  CRAVES  ARCHITECT 


m 


COMMON  ROOMS 

Each  "house"  is  composed  of  two  class- 
rooms that  flank  a  common  room.  The 
common  room  has  a  special  purpose 
such  as  horticulture,  sensory  integration 
therapy,  physical  therapy,  weaving,  art 
and  music.  The  horticulture  room  will  be 
set  up  like  a  greenhouse  with  potting 
tables,  a  sink  and  a  large  table  for  looking 
at  plans  and  making  charts.  The  sensory 
therapy  room  is  designed  to  contain 
elements  such  as  changeable  colors  of 
light,  sound  devices,  water  features  that 
have  a  calming  effect  and  swings  and  balls 
for  bouncing.  The  physical  therapy  room 
has  a  balance  beam,  steps,  balls,  bars  to 
hold  on  to  and  a  removable  swing. 


The  sensory  therapy  room  has  changeable 
light  colors,  auditory  devices  and  water 
features  that  have  a  calming  effect. 

MICHAEL  QUILL/ST.  COLETTA  OF  GREATER  WASHINGTON 


OUTDOOR  LEARNING  ENVIRONMENT 

The  outdoor  environment  often 
becomes  the  basis  of  themes  in  the 
curriculum  at  St.  Coletta.  Students  talk 
about  what  they  see  and  experience  in 
their  surroundings.  From  these  discus- 
sions, teachers  formulate  a  curriculum. 
For  example,  students  recently  studied 
the  house.  They  explored  their  own 
houses  and  animal  houses,  built  models 
of  houses,  studied  industries  that 
support  houses,  visited  a  home  supply 
store  to  buy  nails  and  shingles  to  make 
bird  houses,  and  visited  a  construction 
site  down  the  street  to  study  the  people 
who  make  houses.  Math,  science,  read- 


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I     I     ' 


Lfflj  LfflJ  LfflJ 


Kli3i!!I 


Decorative  metal  work  and  landscaping  along  the  wall  will  provide  an  attractive  buffer  to 
the  community,  while  the  building  echoes  neighborhood  architecture. 

MICHAEL  QUILL/ST.  COLETTA  OF  GREATER  WASHINGTON 


ing,  writing  and  arts  are  all  woven  into 
the  curriculum — and  teachers  make 
the  children's  social  experiences  with 
people  in  the  community  part  of  the 
curriculum  as  well. 


The  curriculum  of  St.  Coletta  requires 
outdoor  program  areas.  The  new  build- 
ing was  designed  with  a  number  of  out- 
door settings  to  enhance  classroom 
activities.  These  settings  are  well- 


integrated  with  the  school's  program 
needs  and  have  a  strong  relationship  with 
the  architecture  and  overall  site  layout. 

The  outdoor  program  areas  will  border 
the  school's  east  and  west  sides,  adjacent 
to  each  classroom  "house"  and  will  be 
enclosed  for  the  safety  of  the  students.  A 
fence  along  the  street  will  shield  these 
outdoor  classroom  areas  from  the  street. 
The  full  length  of  the  wall  includes 
decorative  metal  work  and  trellises, 
along  with  ornamental  landscaping  on 
the  pedestrian  side  of  the  fence  to  offer 
an  attractive  buffer  to  the  community. 

OUTDOOR  CLASSROOM  PATIOS 

Each  patio  space  will  be  large  enough 
to  accommodate  25  people  (including 
wheelchairs)  at  one  time.  This  allows 
for  two  classrooms  to  gather  for  a 
shared  lesson  or  event.  The  outdoor 
classroom  patios  will  be  equipped  with 
long  tables,  a  sink,  a  storage  cabinet, 
an  overhead  shade  structure  and  a  back- 
drop wall  that  includes  a  blackboard  for 
writing  and  drawing. 


88 


ST.    COLETTA    OF    GREATER    WASHINGTON,     D.C. 


NEW  STREET  TREES 


EXISTING  STREET  TREES 
TO  REMAIN 


OUTDOOR 

CLASSROOM  STUDIO 

WOOD  TRELLIS  W/VINE: 

MURAL  WALL  (INSIDE) 

CONCRETE  PATIO  & 

MUSIC  AREA 

MIXED  PLANTING  BORDER 


OUTDOOR  CLASSROOM 

PATH W/ ART  INLAY 

(MOSAIC,  ETC.) 

CONCRETE  PATIO, 

TABLES, 

OVERHEAD  SHADE, 

RAISED  PLANTING  BEDS, 

ENVIRONMENTAL 

EDUCATION  AREAS 


INTEGRAL  COLOR 
CONCRETE  PLAZA 


The  new  campus  will  have  many  opportunities  for  outdoor  learning. 


HARD  COURT  AREA 

The  loading  and  unloading  area  is  a 
wide  driveway  that  is  fenced  at  either 
end  for  security.  During  school  hours, 
these  gates  are  closed  and  the  driveway 


serves  as  a  multi-purpose  hard  court 
area  for  play.  During  peak  drop-off 
hours,  the  gates  are  open  and  the  drive- 
way serves  that  function. 


GARDEN 

Raised  garden  beds  will  be  located 
adjacent  to  the  Horticulture  Therapy 
room  and  in  additional  locations 
throughout  the  outdoor  classrooms. 


ST.    COLETTA  OF  GREATER  WASHINGTON,    D.C. 


89 


House-type  facades  help  students  identify  with  their  classroom  in  a  home-like  manner. 


MICHAEL  QUILL/ST.  COLETTA  OF  GREATER  WASHINGTON 


Planting,  tending  and  harvesting  plants 
are  core  activities  in  the  curriculum  for 
science,  math  (measuring  growth)  and 
art.  Growing  vegetables  and  cutting 
flowers  teach  students  life  skills.  Plants 
will  be  selected  to  arouse  the  senses: 
fragrance,  bright  color,  soft  touch, 
rattles  in  the  wind,  and  edible  herbs  and 
vegetables.  A  Pizza  Garden,  located  adja- 
cent to  the  older  students'  classroom, 
will  allow  17— 2  2 -year-olds  to  grow 
vegetables  and  herbs,  and  cook  and  eat 
their  own  pizzas  in  outdoor  areas. 

PLAYHOUSE 

The  playhouse  village  will  provide  dra- 
matic play  opportunities  for  young  stu- 
dents, ages  A~ 8.  The  props  in  that  area 
(houses,  dress-up  clothing,  cars)  inspire 
and  aid  role  playing  and  dramatic  play, 
which  are  typical  activities  for  young 
children. 

SAND  AND  WATER  PLAY 

Sand  offers  a  medium  for  creative  play 
and  social  interaction.  Students  with 


90 


ST.     COLETTA    OF    GREATER    WASHINGTON,     D.C. 


OUTDOOR  CLASSROOMS  -  ENLARGED  PLAN 


PANEL  1  = 
~6'  HIGH  CONCRETE  MASONRY 
UNIT  OR  CONCRETE  WALL 
HA/INE  SPECIES  REQUIRING  NO 
SUPPORT 


PANEL  2-. 

61  TO  T  HIGH  ORNAMENTAL 
METAL  PENCE  W/CONCRETE 
MASONRY  UNIT  OR  CONCRETE 
WALL  BASE,  LOW  SHRUBS 


PANEL  3- 
~6'  HI&H  CONCRETE  MASONRY 
UNIT  OR  CONCRETE  WALL 
W/WIRE  FRAME  FOR  VI  ME 
SUPPORT 


iqTH  STREET  FENCE  -  ELEVATION 


Outdoor  classrooms  are  planned  immediately  adjacent  to  indoor  spaces. 


ST.    COLETTA  OF   GREATER  WASHINGTON,    D.C. 


The  outdoor  classroom  environment  will  support  lessons  and  activities. 


physical  limitations  can  mold,  form, 
and  shape  sand  and  water.  The  sand 
and  water  will  also  provide  sensory 
stimulation  for  students  who  rarely 
have  contact  with  natural  materials  or 
elements.  There  will  be  two  sand  play 
areas:  one  for  4— 8-year-olds  and  one 
for  9— 12-year-olds. 


ACCESSIBLE  SENSORY  PATH 

An  accessible  path  will  run  through  and 
link  the  outdoor  classrooms.  The  path 
will  be  wide  enough  to  accommodate 
two  wheelchairs  or  one  wheelchair  and 
one  ambulatory  person  side  by  side.  The 
path  will  be  relatively  flat,  so  slope  is 
not  a  mobility  constraint. 


The  path  provides  more  than  just  a  cir- 
culation route.  During  the  design 
process,  teachers  requested  that  a 
series  of  elements  be  placed  along  the 
path  to  attract  students  and  motivate 
them  to  be  mobile.  The  sensory  path 
will  have  mirrors,  wind  chimes,  mov- 
ing sculptures,  and  engaging  features 


92 


ST.    COLETTA    OF    GREATER    WASHINGTON,     D.C. 


along  the  way  to  encourage  students 
to  move. 

AMPHITHEATER/ 

OUTDOOR  GATHERING  AREA 

A  small  semicircle  will  provide  an  area 
for  small  concerts  or  presentations. 
Teachers  and  students  can  pull  off  the 
main  pathway  and  gather  in  a  somewhat 
private  area,  or  a  performer  could 
stand  on  one  side  and  an  audience  on 
the  other. 


Management  and 
Operational  Issues 

The  primary  management  and  opera- 
tional issues  of  outdoor  learning  envi- 
ronments at  a  facility  like  St.  Coletta 
are  the  staffing  and  ongoing  mainte- 
nance required  to  keep  up  the  landscape 
areas.  Since  the  student  population  at 
St.  Coletta  requires  nearly  a  1 : 1  student 
to  teacher  ratio,  staffing  is  less  of  an 
issue  in  the  outdoor  classroom  than  it  is 
at  typical  public  schools.  Some  minimal 
amount  of  planting  and  tending  will  be 


Opening  celebrations  honor  the  student  gardening  activities  that  will  expand  at  the  new 
facility. 

MICHAEL  QUILL/ST.  COLETTA  OF  GREATER  WASHINGTON 


taken  care  of  by  the  students  themselves 
as  part  of  their  classes,  recreation  and 
therapy.  In  order  to  afford  and  maintain 


a  facility  like  this,  additional  fundraising 
is  required.  This  is  an  ongoing  task  that 
is  critical  to  ensuring  its  usability. 


ST.    COLETTA  OF   GREATER  WASHINGTON,    D.C. 


93 


94  ST-    COLETTA    OF    GREATER    WASHINGTON       D.C. 


User  Feedback 

Doreen  Hodges,  parent,  as  quoted  in  The 
Washington  Post,  September  6,  2006 

"Truthfully,  I  just  wanted  to  cry.  It's  so 
beautiful  and  you  could  just  feel  the  love 
in  the  building. . .  .You  never  thought 
anything  like  that  was  ever  going  to  be 
available  to  kids  like  this  in  D.C." 

Chip  Henstenburg,  parent,  as  quoted  in 
The  Washington  Post,  September  6, 
2006 

"Everything  is  really  well  thought  out 
and  designed  to  minimize  disruption  in 
the  classroom,  and  to  be  able  to  deliver 
all  the  services  the  kids  need  in  the 
classroom." 

Sharon  Raimo,  Executive  Director, 

St.  Coletta  of  Greater  Washington,  D.C. 

"People  get  a  sense  of  what  you  think 
and  feel  about  them  by  their  surround- 


ings. Standard  school  classrooms  have 
four  walls  and  are  warm,  but  that's  not 
good  enough. 

"St.  Coletta 's  philosophy  is  to  look  at 
the  people  around  you  and  share  expe- 
riences together.  From  experiences  you 
share  together — the  experiences  a 
person  has — will  emerge  what  the 
learner  needs  to  know.  You  discern  how 
learners  learn  best  because  you  know 
them,  and  the  curriculum  will  evolve 
(based  on  experiences).  For  example: 
What's  the  point  of  memorizing  all 
the  colors,  if  the  kid  doesn't  perceive 
colors?  There's  a  different  way  to  go 
about  teaching  that. 

"We  rely  on  theme-based,  hands-on 
activities  that  emerge  from  shared 
experiences  and  interactions  with 
people  and  the  environment.  That's  why 
the  physical  things  around  the  building 


are  so  important.  This  generates  what 
the  themes  are  going  to  be,  what  we  are 
going  to  talk  about,  what  we  see,  what 
we  do  together. 

"Our  students  feel  valued  and  impor- 
tant. We  hang  their  pictures  on  the  wall. 
Beautiful  work  is  framed  and  hung  on 
the  wall  (with  respect) .  These  students 
are  the  best  they  can  be  and  deserve 
being  around  things  that  are  beautiful. 
Autistic  kids  stare  at  paintings;  paintings 
provide  food  for  the  imagination.  Many 
students  are  very  visual,  and  don't 
speak.  They're  like  little  cameras,  taking 
it  all  in.  Art  affects  their  mood.  And 
color  has  a  tremendous  effect  on  them." 


St.  Coletta  welcomed  students  to  its  new 
facility  in  September  2006. 

MICHAEL  QUILL/ST.  COLETTA  OF  GREATER  WASHINGTON 


ST.    COLETTA  OF  GREATER  WASHINGTON,    D.C. 


95 


MUSEES    DES    BEAUX  ARTS  VALENCIENNES  AND   CALAIS,    FRANCE 


"It  is  not  a  question  of  asserting  a  right,  but  quite  simply,  of  a  humane 
step  towards  equality!' 


MUSEUM  VISITOR  WHO  IS  LOSING  HER  EYESIGHT 


REDISCOVERING 
THE  TOUCH    OF  ART 

COCO   RAYNES 


Allowing  visually  impaired  people  to  experience  an  art  museum  might  seem 
paradoxical:  how  can  you  appreciate  what  you  can't  see? 

"The  Museum  at  Your  Fingertips"  program  in  the  Musees  des  Beaux  Arts  in 
Valenciennes  and  Calais  is  a  tactile  journey  for  visually  impaired  visitors.  It  is  planned 
for  all  the  national  museums  in  the  north  of  France  by  the  Ministere  de  la  Culture- 
Direction  des  Musees  de  France.  The  tactile  program,  which  is  incorporated  into  the 
general  visit  without  needing  an  appointment,  allows  blind  visitors  to  touch  selected 
sculptures  and  other  pieces.  In  some  museums,  audio  commentary  further  describes 


97 


the  artworks.  Visitors  follow  the  precise 
tactile  and  audio  information  to  move 
through  the  museum  autonomously  and 
at  their  own  pace.  By  visiting  different 
museums  throughout  the  north  of 
France,  visually  impaired  visitors  can 
discover  the  history  of  sculpture  from 
medieval  times  to  the  20th  century. 

DESIGN  GOALS 

The  long-term  goal  of  the  program  is  to 
overcome  problems  of  exclusion  by 
opening  France's  national  art  collections 
to  visually  impaired  visitors,  including 
blind  children.  It  has  been  widely  cov- 
ered in  the  press  and  became  the  subject 
of  a  documentary  sponsored  by  the 


Department  of  Cultural  Affairs,  which 
aired  on  national  television. 

Although  France  lacks  regulations  such 
as  The  Americans  with  Disabilities  Act 
(ADA)  in  the  United  States,  the 
Direction  des  Musees  de  France  had 
already  established  many  accessibility 
projects  in  its  national  museums.  The 
client  wanted  to  test  accessible  design 
concepts  in  the  museum  environment.  It 
was  understood  that  access  would  have 
to  be  universal — physical,  cultural  and 
social. 

ADA  regulations  regarding  signage  for 
visually  impaired  travelers  are  fairly 
simple.  In  addition  to  letter  size  and 


PROJECT  "The  Museum  at  Your  Fingertips"  (Le  Musee  au  bout  des  Doigts)      LOCATION 
Musees  des  Beaux  Arts  in  the  cities  of  Calais  and  Valenciennes,  France      DATE 
DESIGNED   1996,  1998       CONSTRUCTION   COMPLETED  1996,  1999       CLIENT 
Ministere  de  la  Culture— Direction  des  Musees  de  France  and  Federation  des  Amis  des 
Musees  du  Nord  Pas-de-Calais      DESIGNER  Raynes  Associates 


The  Raynes  Rail  provides  continuous 
Braille  information. 


All  visitors  can  press  buttons  to  hear  audio 
information. 


98 


MUSEES    DES    BEAUX    ARTS 


, 


►»*>* 


color  contrast,  they  require  that  rooms 
be  identified  with  Braille  by  the  doors. 
However,  they  do  not  require  any 
means  to  find  the  rooms. 

To  broaden  the  ADA  standard,  the 
design  team  developed  several 
approaches  to  navigation  for  blind 
travelers,  including  the  Raynes  Rail,  a 
patented  Braille  and  audio  handrail  sys- 
tem. The  rail  provides  the  missing  link 
from  a  point  of  arrival  to  a  desired  des- 
tination. Braille  messages  on  the  inner 
face  of  the  handrail  describe  open  areas 
and  traffic  patterns,  warn  of  stairs  and 
ramps  and  announce  turns.  Tactile  maps 
and  diagrams  on  glass  have  also  been 
incorporated. 

USER  GROUPS 

■  General  public 

■  Visually  impaired  adults 

■  Visually  impaired  children 

■  Visitors  with  reduced  mobility 


Visually  impaired  visitors  in  Valenciennes 
can  touch  selected  sculptures. 


The  1 9th  century  sculpture  gallery  includes  works  by  Auguste  Rodin  that  visually  impaired 
visitors  may  touch. 


Musee  des  Beaux  Arts  et  de 
la  Dentelle,  Calais,  France 

The  1 9th  century  sculpture  gallery  at 
the  Museum  of  Calais,  which  houses 
Rodin's  original  bronze  studies  for  the 


Burghers  of  Calais,  was  designated  the 
first  "Museum  at  Your  Fingertips"  proj- 
ect. The  design  team  worked  in  con- 
junction with  the  nonprofit  Federation 
du  Nord  de  la  France  des  Societes 


d'Amis  des  Musees  (the  Society  of 
Friends  of  the  Museums  in  the  Calais 
Region),  the  Lions  Club  International 
District  103,  and  the  museum  curator. 

DESIGN  PROCESS 

The  first  step  was  to  inventory  the 
sculptures.  Bronze  and  marble  works 
that  could  be  touched  were  identified. 
The  more  fragile  pieces  were  to  be 
placed  in  cases  along  the  walls.  Works 
were  then  rearranged  into  two  rows  of 
sculpture  with  enough  space  between 
each  pedestal  to  allow  visitors  with 
seeing-eye  dogs  or  wheelchairs  to  navi- 
gate through  the  sculptures  comfortably. 

This  simplified  floor  plan  could  be  easily 
memorized  and  would  prevent  visitors 
from  bumping  into  the  sculptures. 
Beyond  aesthetics,  several  factors  were 
considered  in  the  new  museography, 
including  chronological  order,  scale  and 
contrast. 


IOO        MUSEES     DES    BEAUX    ARTS 


r 


AUDIO  UNIT 


Bourdelle 


-t 


r 


RAYNES  RAIL 


C 


AUDIO  UNIT 


3 


12B      18B 
7C 


|_  8C 


D 

7B 


□       23B 
EC 


n< 


1GB      17B     10B     11B 

□    C    Z    D 


4B 


6A 

/ 

-1C 


4A 


./ 


I 


5A 


^F     2B-5A 
\ 


gsc 

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1B 


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14C 


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9A-8A 


11A 


12C 
22B 


13B 

5C 


AUDIO  UNIT 


Les  Bourgeois 
de  Calais 


RAYNES  RAIL 


AUDIO  UNIT 


p   j 


Introduction 


TACTILE  MAP 


Statues  are  arranged  in  two  rows  with  enough  room  for  wheelchairs  and  seeing-eye 
dogs  to  maneuver  between  them. 


Br  ' 

_£flfc 

W      ^ 

7VJ    ■  ^ 

f             '                      -          l_ 

^y      > 

I'/li 

W . 

Ie  *, 

€^k 

Visually  impaired  visitors  may  touch  the 
bronze  sculptures. 


Fragile  pieces  are  displayed  in  cases  along 
the  wall,  with  information  in  Braille  along 
the  railings. 


MUSSES  DES  BEAUX  ARTS    IOI 


Inclusive  Design  Features 
and  Settings 

ENTRANCE 

At  the  door  of  the  sculpture  gallery,  an 
audio  message,  triggered  by  a  photo- 
sensor positioned  on  the  Raynes  Rail, 


introduces  the  overall  concept  of  the 
tactile  itinerary  and  the  collection. 

WAYFINDING 

The  Braille  and  audio  handrail  system 
runs  along  both  sides  of  the  room.  The 
Braille  information  allows  the  visitor  to 


select  the  sculptures  they  wish  to  dis- 
cover. The  messages  direct  visitors  to 
specific  statues  they  may  touch,  giving 
the  distances  in  paces  and  angles.  For 
example,  it  may  state:  "The  Burghers  of 
Calais,  first  study,  is  on  your  opposite 
side,  five  steps." 


Tete  d'Eustache  de  Saint-Pierre 

Etude  pour  le  Monument 

des  Bourgeois  de  Calais  -  Vers  1886-1887 

Bronze.  Fonte  E.  Godard,  1981 

Don  des  Amis  du  Musee  de  Calais,  1981 

81.13.1 


Visitors  read  the  information  on  the 
pedestals  of  smaller  pieces. 


Glass  panels  offer  information  in  raised  text  and  Braille. 


02        MUSEES    DES    BEAUX   ARTS 


All  visitors  can  have  a  similar  satisfying 
museum  experience. 


DESCRIPTIVE  INFORMATION 

Three  additional  audio  units  along  the 
rails,  also  activated  by  photosensors, 
address  all  visitors.  The  audio  commen- 
tary describes  the  characteristics  and 
evolution  of  masterpieces  by  Auguste 
Rodin  and  Antoine  Bourdelle. 

The  heights  of  the  pedestals  were 
adapted  to  each  sculpture  to  guarantee 


The  room  layout  allows  for  groups  of  children  of  all  abilities  to  experience  the  art. 


ease  of  exploration.  The  pedestal  incor- 
porates a  glass  panel,  tilted  at  30  degrees 
to  facilitate  Braille  reading.  The  glass  is 
sandblasted  to  obtain  a  non-glare  surface 
and  includes  both  Braille  and  large 


raised  descriptive  text  for  those  who  are 
visually  impaired  but  do  not  read 
-Braille.  For  budgetary  considerations, 
the  pedestals  were  designed  to  be  man- 
ufactured by  the  in-house  carpenters. 


MUSSES    DES    BEAUX    ARTS 


03 


Musee  des  Beaux  Arts, 
Valenciennes,  France 

The  Musee  des  Beaux  Arts  in 
Valenciennes  displays  works  from  the 
1 5th  to  20th  centuries.  It  has  eleven 
galleries,  featuring  bronze  and  marble 
sculptures,  paintings,  a  cafe  and  a 
library.  Workshops  and  administrative 
facilities  are  located  at  the  lower  level. 
In  this  museum,  visually  impaired 
visitors  move  through  the  entire 
museum  independently,  at  their  own 
pace.  An  invisible  information  system 
guides  visitors  to  selected  sculptures 
throughout  the  museum. 

DESIGN  PROCESS 

Because  the  museum  is  a  classified 
monument,  no  railing  could  be 
installed  within  the  galleries.  The 
existing  museography  could  not  be 
modified;  every  piece  had  to  remain 
where  it  was.  The  guidance  system  had 


Selected  marble  and  bronze  sculptures  may 
be  touched. 


04       MUSEES    DES    BEAUX    ARTS 


The  main  directory  is  a  tactile  map  that  can  be  used  by  all  visitors.  It  shows  the  itinerary  as 
a  raised  path  on  the  glass  surface,  with  additional  information  in  Braille  on  the  inner  side 
of  the  rail. 


to  lead  visitors  down  the  staircase  to 
the  lower  level.  And,  at  the  curator's 
request,  the  system  had  to  be  invisible. 

The  major  challenge  was  to  select 
representative  sculptures  that  could  be 
touched — within  every  gallery  and 
from  each  historical  period — forming  a 
pathway  that  would  be  simple  enough 
to  be  remembered  when  presented  on 
a  tactile  map.  Visitors  would  need  to 
remember  the  path  through  a  gallery, 
which  pieces  they  could  touch,  and 
how  to  get  to  the  next  gallery. 


Inclusive  Design  Features 
and  Settings 

ENTRANCES 

At  the  museum  entrance,  a  main  direc- 
tory made  of  a  tactile  glass  slab  with  a 
Raynes  Rail  segment  introduces  the  itin- 
erary. Braille  information  on  the  inner 


The  main  map  shows  the  simple  route  through  the  entire  museum. 


MUSSES  DES  BEAUX  ARTS   I  05 


A  detailed  tactile  map  shows  the  route 
through  each  gallery  and  into  the  next 
gallery. 


Raised  letters  and  Braille  can  be 
incorporated  onto  the  pedestal. 


side  of  the  rail  provides  direction  to  the 
information  desk  and  to  the  start  of  the 
tactile  visit. 

At  the  entrance  of  each  gallery,  a  more 
detailed  map  is  mounted  consistently  on 
the  right  side  and  at  the  same  height. 
This  map  presents  the  position  of  the 
sculptures  within  the  space  and  the 
route  to  the  next  gallery.  Raised  dots  on 
the  glass  maps  guide  visually  impaired 
visitors  to  the  works  they  may  touch. 


Visitors  can  touch  and  explore  a  sculpture,  then  navigate  to  the  next  one. 


106        MUSEES    DES    BEAUX    ARTS 


SIGNAGE 

A  discreet  glass  plaque  with  a  Braille 
description  raised  on  the  blasted  surface 
was  positioned  between  the  pedestal 
and  the  sculpture. 

STAIRCASES  AND  FLOOR  MARKINGS 

At  the  lower  level,  in  staircases,  landing 
areas  and  in  the  main  corridor,  seg- 


ments of  the  Raynes  Rail  were  installed, 
with  Braille  messages  only.  In  addition, 
in  areas  difficult  to  navigate,  a  series  of 
raised  dots  were  installed  on  the  floor 
about  six  inches  apart.  The TacDots, 
which  are  made  of  fiberglass  and  hollow 
inside,  make  a  distinctive  sound  when 
tapped  with  a  cane. 


Management  and 
Operational  Issues 

To  support  "The  Museum  at  Your 
Fingertips,"  the  museums  have  trained 
attendants,  guides  and  lecturers. 
Educational  programs  have  been  created 
in  conjunction  with  the  schools  to 
address  sighted  and  non-sighted  children 
who  learn  from  one  another — all 
equally  delighted  by  the  exchange. 
Programs  feature  artists  and  storytellers 
and  include  sculpture  workshops. 


The  Braille  and  audio  handrails  do  not 
require  any  special  maintenance.  They 
are  cleaned  like  other  surfaces.  In  the 
event  of  changes  in  the  museography, 
the  Braille  inserts  can  be  easily  updated. 
Audio  messages  can  be  recorded  on  site. 

In  some  museums,  visitors  are 
instructed  to  wear  surgical  gloves  to 
protect  the  marble  statues. 


User  Feedback 

"The  Museum  at  Your  Fingertips" 
program  received  extensive  coverage. 
The  following  users  were  quoted  in 
newspapers  and  magazines  (translated 
from  French). 

Pierre  Houiez,  Blind  Visitor 

"I  was  shocked  when  I  came  in  and  the 
docent  told  me  to  touch!  I  rediscovered 


Visitors  follow  a  series  of  raised  dots  to 
navigate  difficult  areas. 


MUSSES    DES    BEAUX    ARTS        I  07 


an  appreciation  for  beauty  and  I  spent 
three  hours  there  (Palais  des 

Papes) The  interactions  between 

those  who  can  and  cannot  see  multiply 
the  worth  of  the  art.  We  are  at  the 
beginning  of  a  change  in  the  vision  for 
works  of  art  in  museums.  Even  for 
those  who  can  see,  it  is  another 
approach  to  art."  (Mr.  Houiez  had 
stopped  visiting  his  favorite  art  muse- 
ums after  losing  his  eyesight.) 

Docent  at  the  Musee  des  Beaux  Arts 

"He  came  to  us  and  wanted  to  redis- 
cover the  museum  he  had  known 

When  you  work  with  people  with  poor 
eyesight,  you  completely  lose  your 
frame  of  reference.  We  are  used  to  see- 
ing things,  and  when  you  approach  a 
piece  by  touching  it,  your  points  of 
reference  change  completely." 


Depending  on  the  height  of  the  sculpture,  sometimes  visitors  can  explore  only  the  lower  parts. 


08        MUSEES    DES    BEAUX    ARTS 


Visitor  Who  Is  Losing  Her  Eyesight 

"I  understand  a  piece  of  work  much 
faster  by  touching  it  than  by  seeing  it. 
You  also  understand  the  approach  of  the 
artist  since  he  worked  with  his  hands! 
When  the  Rodin  Museum  organized  the 
modeling  workshop  in  addition  to  the 
tactile  tours,  the  program  enriched  our 
group,  allowing  us  to  open  up,  leading 
people  with  new  motivation.  After  a 
visit,  it  is  a  question  of  reproducing 


what  you  have  memorized,  but  also  the 
feelings  that  you  have  come  away  with 
from  discovering  a  piece  of  work. 

"You  touch  someone  else's  work  and  so 
enter  into  a  relationship  with  him.  For 
me,  art  gives  me  a  lot;  it  is  a  means  of 
sharing,  of  exploring. 

"For  me,  it  is  not  a  question  of  asserting 
a  right,  but  quite  simply,  of  a  humane 
step  towards  equality." 


MUSEES     DES     BEAUX    ARTS 


09 


EXPLORE!   A   CHILD'S    NATURE  BROOKFIELD  ZOO,    ILLINOIS 


"One  visit  to  the  Hamill  Family  Play  Zoo  affected  one  of  my  children 
enough  that  she  not  only  learned  to  love  the  animal  (a  lemur),  but 
believed  that  she  could  make  a  difference  in  its  life!" 

CHICAGO  AREA  PARENT 


GROWING   CARING   CHILDREN 

ROBIN   MOORE 

Nothing  like  this  project  had  been  tackled  before  in  the  world  of  zoos:  a  zoo 
created  as  a  place  where  children  can  connect  to  nature  emotionally,  through  play. 
Explore!  A  Child's  Nature /the  Hamill  Family  Play  Zoo  and  Play  Gardens,  part  of 
Brookfield  Zoo,  is  the  first  children's  zoo  in  the  country  to  adopt  adventure  play  as  a 
core  concept  of  its  program.  The  mission  of  the  Hamill  Family  Play  Zoo  and  Play 
Gardens  embraces  the  assumption  that  children's  experiences  at  a  zoo  can  make  a 
difference  in  their  lives  and  in  the  world.  Children  role-play  as  animals,  create  animal 


I  I 


The  Hamill  Family  Play  Zoo  entrance  announces  immediately  that  children  are  here  to  play. 


PROJECT  Explore!  A  Child's  Nature,  Hamill  Family  Play  Zoo  and  Play  Gardens      LOCATION 
Brookfield  Zoo,  Brookfield,  Illinois      DATE  DESIGNED  1998-99      CONSTRUCTION 
COMPLETED  June  2000      CONSTRUCTION  COST  $6.7  million      SIZE  10  acres  when 
completed      CLIENT  Chicago  Zoological  Society,  Brookfield  Zoo       DESIGN  TEAM 
Brookfield  Zoo;  MIG,  Inc.;  Wheeler  Kearns  Architects;  Douglas/Gallagher      ENGINEERING 
Hanscomb  Associates,  Inc.       PROJECT  MANAGEMENT  McClier  Corporation 


habitats  with  natural  materials,  search 
for  bugs,  and  participate  in  animal  care, 
feeding  and  grooming      exciting  and 
appealing  ways  to  learn  about  animals 
and  nature. 

The  two  primary  physical  components 
of  the  zoo  are : 

The  Play  Zoo,  located  in  the  redevel- 
oped and  expanded  former  Small 
Mammal  House  (which  dates  from 
the  1950s). 

The  Play  Gardens,  surrounding  the 
Play  Zoo  building  and  easily  accessible 
from  it,  providing  a  broad  range  of 
outdoor  experiences  in  both  pro- 
grammed and  non-programmed 
spaces. 

The  Play  Zoo  and  Gardens  are  the  first 
phase  of  Explore!  A  Child's  Nature. 
When  completed,  the  entire  Children's 
Play  Zoo  will  encompass  ten  acres  of 
diverse  play  settings  for  children  and 
youth. 


Children  can  strut  like  peacocks. 


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When  completed,  the  entire  Children's  Play  Zoo  will  encompass  ten  acres  of  diverse  play  settings  for  children  and  youth. 


4      explore!  a  child's  nature 


ZOO  PLAY  GARDENS 


SCALE      0  10         20  25  FEET 


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SOUTH  OASIS 


Phase  1  of  the  Children's  Play  Zoo  Master  Plan  is  the  Hamill  Family  Play  Zoo,  consisting  of  interactive  animal  exhibits  and  play  settings. 


explore!   a  child's    NATURE       II5 


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Newspapers  are  used  to  wrap  "treats"  hidden  by  the  zoo  keepers  for  the  lemurs  to  discover  and  eat,  to  the  great  delight  of  children. 


The  adventure  play  concept  has  three 
essential  components: 

A  team  of  trained  play  workers ,  or  as 
they  are  called  at  the  Hamill  Family 
Play  Zoo,  "Play  Partners."  These 
professionals  work  with  children  and 
families  in  an  educational  role  of 
facilitation  rather  than  traditional 
instruction. 

■  An  interactive,  participatory  environ- 
ment designed  to  support  experiences 


by  children  and  families  with  the  phys- 
ical settings  and  features  of  the  play 


zoo. 


An  indoor-outdoor  environment 
designed  to  offer  attractive  and  varied 
activities  year  round. 

The  zoo  provides  settings  in  which  all 
members  of  the  community,  of  all 
ages,  abilities  and  cultures,  can  partici- 
pate and  share  experiences. 


The  Play  Zoo  opened  in  the  spring  of 
2001 ,  and  rapidly  became  a  popular, 
repeat  visit  destination  for  families, 
schools  and  youth  organizations  from 
the  Chicago  region.  The  target  audience 
is  families  with  children  up  to  10  years 
old  and  their  siblings. 

Explore!  A  Child's  Nature /Hamill 
Family  Play  Zoo  is  located  within  a 
private  institution  (Brookfield  Zoo); 


explore!  a  child's  nature 


The  exhibit  design  lets  children  sit  on  the 
same  rock  as  a  lemur,  separated  by  a  glass 
panel. 


nonetheless,  it  provides  an  unmatched 
opportunity  for  assessment  within  the 
broader  frame  of  reference  of  universal 
and  inclusive  design. 

DESIGN  GOALS 

The  overall  goal  of  Explore!  A  Child's 
Nature  is  to  foster  a  love  of  animals  and 
nature  by: 

■  Offering  children  and  their  families 
year-round,  hands-on,  open-ended 


opportunities  to  play  with,  work 
with,  and  care  for  animals  and  plants; 

■  Setting  a  context  that  encourages 
families  to  experience  animals  and 
nature  in  their  everyday  lives,  wher- 
ever they  are;  and 

■  Providing  the  materials,  ideas  and 
experiences  that  help  adults  rediscover 
the  magic  and  importance  of  child- 
hood, play  and  nature;  and  encourag- 
ing them  to  integrate  these  elements 
into  their  everyday  lives. 

The  philosophy  embodied  in  this  last 
goal  focuses  on  allowing  children  to 
playfully  explore  their  environment  and 
to  make  their  own  discoveries.  This 
approach  assumes  that  the  environment 
can  be  designed  to  stimulate  children's 
intrinsic  motivation  to  explore  and 
learn  about  their  surroundings  through 
play.  The  philosophy  also  recognizes  the 
practical  reality  of  an  environment  that 
can  attract  thousands  of  visitors  on  a 
midsummer's  weekend.  With  such  high 
levels  of  use,  the  environment  must  be 
appropriately  prepared  and  managed  for 
sustainability,  while  at  the  same  time 


Play  Partners  work  with  children  and  families  in  an  educational  role  of  facilitation  rather 
than  traditional  instruction;  here  children  are  pretending  to  be  lemurs,  complete  with  tails. 


explore!   a  child's    NATURE       117 


engaging  users  of  all  ages  and  abilities  to 
play  and  learn. 

USER  GROUPS 

r  Families  with  children  10  years  old 
and  under 

■  Older  accompanying  siblings 

■  School-aged  children  on  field  visits 
and  their  teachers 


■  Children  from  preschool  centers 

■  Children  with  special  needs  from 
specialized  programs 

b  Children  enrolled  in  summer  or 
vacation  programs  and  accompanying 
staff 

Children's  birthday  groups 

■  College  students  conducting  research 


DESIGN  PROCESS 

A  key  to  the  success  of  the  Play  Zoo  was 
the  preparatory  work  the  zoo  staff  proj- 
ect team  completed  before  the  design 
consultants  were  hired.  For  two  years, 
the  Brookfield  Zoo  Southeast  Section 
Planning  Team  (SES)  organized  a  series 
of  seminars  and  workshops  with  a  broad 


The  zoo  provides  relaxing  time-out  settings  for  parents,  such  as  this  parent  resource  space  in  the  Zoo-At-Home  area. 


118      explore!  a  child's  nature 


Children's  ideas  are  integrated  into  many  aspects  of  the  zoo's  design  and  programming. 


variety  of  consultants  and  stakeholders 
to  pin  down  the  core  purpose  of  the 
project.  The  final  outcome  of  this 
process  was  the  decision  to  base  the 
Play  Zoo  on  children's  play  as  a  vehicle 
for  emotional  development  in  relation 
to  animals  and  nature. 

In  this  regard,  Brookfield  Zoo  was  a 
"perfect  client,"  meaning  that  a  fully 


articulated  mission  and  purpose  for  the 
new  children's  zoo  was  used  as  the  basis 
for  hiring  a  design  consultant  aligned 
with  these  core  values.  For  this  reason, 
the  match  between  client  and  consultant 
worked  well. 

The  design  process  engaged  a  project 
team  composed  of  selected  members 
from  the  original  SES  planning  team 


along  with  other  zoo  staff  and  the 
design  consultants.  Together,  this  group 
participated  in  the  design  process  for 
over  one  year. 

The  design  team  included  representa- 
tion of  all  major  functions  of  the  zoo 
pertaining  to  the  new  project,  including 
exhibit  design  and  fabrication,  veteri- 
nary science,  groundskeeping,  water 
quality,  docent  and  volunteer  program- 
ming, education,  safety,  development, 
operations,  communications  and  animal 
curatorship. 

A  series  of  design  workshops  carried  the 
design  team  from  general  considerations 
of  alternative  site  development  concepts 
to  detailed  layout,  materials  selection, 
lighting,  acoustics,  air  conditioning  and 
plant  materials. 

The  concept  of  behavior  or  activity  set- 
ting was  used  throughout  the  design 
process  as  the  common  framework  for 
investigating  alternative  programmatic 
themes,  functional  requirements, 
detailed  features  of  the  space,  and  the 
match  with  user  needs. 


explore!  a  child's   nature 


I  19 


Activity  Setting  Structure  of  the  Play  Zoo  and  Play  Gardens 


Indoor  Settings:  Play  Zoo 

ZOO-WITHIN-A-ZOO 

Animal  Exhibits 

■  Lemur  Exhibits 

■  Reptile  Run 

■  Bird  Exhibit/Aviary 

■  The  Mountain 

Zoo  Director's  Office 
Animal  Hospital 
Workshop 
Indoor  Garden  Play 


ZOO-AT-HOME 

Family  Room 

■  Small  Pet  Display 

■  Contact 

■  Habitat-Making  Area 

Living  Room 

■  Grooming 

■  Demo 

Dramatic  Play  Area 

Study 

■  Information 

■  Resource  Area  Stories 

■  Pet  Memories  Area 

■  Nature  Crafts 

■  Cat  Room/Storage 

Bath  Room 

■  Dog  Bathing 

■  Grooming 

■  Fish  and  Aquaria 

■  Demonstration  Area 

Child's  Room 

■  Swap  Shop 


INDOOR  SUPPORT  FACILITIES 
Stages 

Adult  Resource  Station 
Parent  Trees 
Quiet  Alcoves 
Restrooms 
Base  Office 
Real  Food  Preparation 
Basement 

Carts 

■  Visitors  Services  Cart 

■  Life  Safety  Cart 

■  Research  Cart 


Outdoor  Settings:  Play  Gardens 


MAIN  ENTRY  PLAZA 

SOUTH  ENTRY  PLAZA 

INSECT  WALK 
Willow  Tunnel 
Insect  Exhibits 
Dress  Up 
Storage 

ANIMAL  HOMES  ADVENTURE  PLAY 
Building  Material  Storage 


BACKYARD 
Patio 

Animal  Homes  Play  Garden 
Woody  Knoll 
Earth  Play  Garden 
Pet  Play  Garden 

Pond/Stream  Play  Garden 

■  Forest  Maze 

■  Demonstration  Lawn 

■  Family  Gardens 

■  Parent  Resource  Area 


CIRCULATION 
Primary  Pathways 
Secondary  Pathways 
Secret  Pathways 
Maintenance  Pathways 
Ambulance  and  Fire  Dept.  Access 

OUTDOOR  SUPPORT  FACILITIES 
Niches 
Cart  Pads  and  Vending  Carts 


I  20     explore!  a  child's  nature 


A  key  component  of  the  participatory 
design  strategy  was  the  early  involve- 
ment of  children.  A  "Kid's  Council"  was 
formed  with  children  of  the  Zoo's 
member  families.  At  Saturday  morning 
meetings,  the  Phase  I  schematic  design 
was  introduced  and  discussed.  Many  of 
the  key  components  of  the  design  pro- 
gram were  strongly  validated,  which 
was  not  surprising  as  so  much  prior 
research  and  expertise  had  been 
devoted  to  the  front  end  of  the  design 
process.  The  most  significant  Kid's 
Council  contribution  was  the  detailed 
ideas  children  presented  for  activities 
with  animals  and  nature. 

In  the  first  phase  of  the  design  process,  a 
schematic  design  program  and  concep- 

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\V~Ve<*  rfee.    houcS  ™e  sHo"Je 

cx  ffiuj 


Through  the  "Kid's  Council"  children 
presented  detailed  ideas  for  activities 
with  animals  and  nature. 


tual  master  plan  were  developed  for  the 
entire  ten-acre  site  of  Explore!  A  Child's 
Nature.  The  physical  boundaries  of  the 
project,  as  well  as  the  extent  of  the  Play 
Zoo  and  Play  Gardens,  were  defined. 

The  Play  Zoo  contains  two  main 
indoor  settings  and  twelve  subsettings. 
The  outdoor  Play  Gardens  contain 
eight  main  settings  and  seventeen  sub- 
settings.  The  complete  setting  structure 
is  presented  on  the  facing  page. 

The  large  majority  of  settings  and  sub- 
settings  were  conceptually  defined  early 
on  in  the  design  programming  process  as 
a  reflection  of  overall  project  goals. 
However,  as  detailed  functions,  adjacen- 
cies and  characteristics  became  more  and 
more  clearly  defined,  many  iterations 
and  refinements  were  added.  This  phase 
of  the  project  was  conducted,  in  essence, 
as  a  collaborative  investigation  of  design 
options  by  everyone  on  the  design  team. 

In  the  second  phase  of  work,  the  design 
program  and  designs  for  the  Play  Zoo 
and  Play  Gardens  were  developed.  Once 
the  draft  design  program  and  schematic 


design  of  building  renovation  and  land- 
scape were  complete,  a  rough  cost  esti- 
mate was  produced.  It  indicated  that  the 
project  was  substantially  over  budget. 

Understandably,  as  the  team  knew  that 
the  running  cost  of  the  Play  Zoo  would 
be  greater  than  the  existing  children's 
zoo,  some  team  members  remained 
skeptical  of  the  "play  concept."  They 
still  had  difficulty  envisioning  the  con- 
cept in  practice  and  needed  reassurance 
that  it  would  work. 

At  this  point,  the  team  suggested  the 
idea  of  prototyping — a  common 
approach  in  the  development  of  zoo 
exhibits.  A  one-week  prototyping  pro- 
gram was  set  up  with  zoo  visitors,  cov- 
ering both  outdoor  and  indoor  settings, 
using  spaces  available  in  and  around  the 
building.  Prototyping  involves  setting  up 
a  temporary  exhibit  or  experience  to 
test  a  design  before  it  is  actually  built. 
Based  on  the  prototyping  results,  the 
design  is  modified  as  appropriate,  or  it 
is  not  built  because  it  did  not  meet 
expectations. 


explore!  a  child's  nature 


The  prototyping  program  was  the  turn- 
ing point  of  the  project.  The  public 
reaction  was  extremely  positive,  as 
documented  by  the  zoo  research  staff. 
The  enthusiastic  smiles  and  visitor 
comments  were  strong  indicators 
of  encouragement  to  proceed. 
Observations  of  user  response  helped 
refine  the  design  of  several  settings  and 
articulate  programmatic  requirements. 
The  size  of  the  building  and  the  scope  of 
some  settings  were  value  engineered. 
An  acceptable  cost  estimate  eventually 
emerged.  Design  development  was 
completed.  Construction  documents 
and  building  construction  followed. 
After  painful  cost-cutting  and  a  strenu- 
ous fundraising  period,  the  project 
opened  in  2000. 

UNIVERSAL  DESIGN  AND  ADA 
REQUIREMENTS 

In  a  family-focused  facility,  should  all 
settings  be  usable  by  all  age  groups — 
even  infants?  The  design  team  con- 
cluded, "yes."  Any  other  arrangement 
would  inevitably  segregate  family  mem- 


Settings  are  designed  to  include  all  ages,  from  infants  to  adults. 


bers  from  each  other;  whoever  is  "look- 
ing after  the  baby"  is  going  to  get  left 
out  of  the  action.  For  that  reason, 
accommodations  for  infants  and  tod- 
dlers were  designed  into  each  setting. 


By  the  same  token,  care  was  taken  to 
design  each  setting  as  a  family-friendly 
environment.  This  was  achieved  on  the 
one  hand  by  making  sure  opportunities 
for  adults  and  children  to  play  together 


122     explore!  a  child's  nature 


Parents  get  involved  in  the  action,  too,  such  as  making  habitats. 


were  provided  (supporting  the  third  goal 
of  the  Play  Zoo).  On  the  other  hand, 
accommodations  were  made  to  ensure 
that  caregivers  (a  weary  grandparent,  for 
example)  could  withdraw  from  the 


action  for  a  while,  stay  on  the  sidelines, 
and  enjoy  observing  children  playing. 
Provision  of  choices  for  both  engage- 
ment and  disengagement  is  a  key  inclu- 
sive design  principle  in  family  settings. 


Access  requirements  mandated  by  the 
Americans  with  Disabilities  Act  (ADA) 
were  applied  as  a  design  variable  or 
were  interpreted  for  situations  not 
covered  by  the  ADA. 

Within  the  realm  of  the  ADA,  changes  in 
level  presented  the  greatest  design 
challenge.  For  example,  design  of  a  "tree - 
house"  setting  was  explored  early  on.  An 
elevated  ramp  would  have  made  the  tree- 
house  accessible.  However,  the  amount 
of  space  occupied  and  installation  cost  in 
relation  to  its  capacity  (i.e.,  number  of 
playing  children  at  any  one  time),  value- 
engineered  it  out  of  the  program. 

But  in  its  place,  at  a  much  lower  cost, 
came  a  miniature  "forest  maze."  This 
element  was  added  not  to  comply  with 
ADA,  but  because  of  the  commitment 
to  universal  design  principles.  The  forest 
maze  was  installed  connecting  directly 
to  the  accessible  route  via  a  narrow, 
wood  mulch  path — more  challenging  to 
access  by  wheelchair  but  potentially 
usable  by  all  visitors.  The  maze  was 
scaled  to  preschool  children  and  placed 


explore!  a  child's   nature      123 


in  the  same  vicinity  as  other  settings  for 
this  age  group,  easily  accessible  by  care- 
givers, and  more  usable  than  the  tree- 
house  by  a  broader  range  of  visitors.  In 
addition,  while  many  caregivers  would 
have  been  apprehensive  about  allowing 
young  preschoolers  out  of  sight  playing 
in  a  treehouse,  they  could  keep  tabs  on 
them  more  easily  in  the  maze. 

Other  design  variables  not  discussed 
here,  but  nonetheless  important, 
include  issues  of  management,  mainte- 
nance, consumables,  materials  selection 
and  staff  training.  All  these  issues  pre- 
sented trade-offs  which  needed  to  be 
resolved  through  the  design  process. 


Inclusive  Design  Features 
and  Settings 

Any  place  that  embraces  the  broad 
community  has  great  value,  especially 
at  this  point  in  human  history,  when 
it  has  become  imperative  for  global 
human  society  to  understand  its 


dependency  on  the  biosphere.  Design 
that  supports  that  aim  is  truly  inclusive. 
The  broader  the  spread  of  shared  expe- 
rience through  the  community  and  the 
deeper  the  meaning,  the  greater  the 
possible  impact  on  conserving  the 
planet  for  future  generations. 

Inclusive  design  is  a  powerful  concept 
that  looks  beyond  accessible  design  and 
the  prevailing  disability  focus  to 
embrace  the  broader  realm  of  social 
equity  and  inclusion  in  design. 
Fundamentally,  inclusive  design  is  design 
that  meets  the  basic  tenets  of  democ- 
racy, which  in  public  environments 
means  social  access  that  does  not  dis- 
criminate between  users.  This  is  the 
function  of  the  great  public  open  spaces 
and  the  role  of  the  world's  greatest 
parks  and  children's  learning  environ- 
ments. They  share  the  same  social  trait: 
openness  to  all  comers. 

PLAY  ZOO  MAIN  ENTRY 

The  Play  Zoo  faces  the  broad  lawns  of 
Brookfield  Zoo's  main  axis.  The 


approaching  visitor  sees  the  Play  Zoo 
facility  from  afar  and  notices  immedi- 
ately an  active  area  in  front,  enclosed  by 
open  railings,  festooned  with  colorful 
signs  and  banners.  "This  must  be  some- 
thing special,  something  different,"  the 
new  visitor  might  muse.  Signs  announce 
iamily,    children,    nature,    learn  and 
"play!"  Closer  in,  animated  children  can 
be  seen  looking  intently  at  two  bulbous, 
transparent  enclosures  on  each  side  of 
the  main  entrance.  The  entry  message  is 
simple  and  direct.  It  says,  "all  welcome." 

A  small,  natural  timber  booth  has  a 
friendly  feel,  welcomes  visitors,  and 
perhaps  even  reduces  the  painful 
surprise  of  having  to  pay  extra  to  enter 
the  Play  Zoo.  From  the  entry  booth, 
broad  paths  sweep  around  a  central 
"Stroller  Park"  bringing  the  visitor  to 
the  main  doors.  The  old,  stepped 
entrance  plaza  was  redesigned  to 
accommodate  strollers  and  at  the  same 
time  provide  a  generous  sloping 
entrance — easily  navigable  by  all.  No 
more  icy  steps  to  tumble  down,  no 


124     explore!  a  child's   nature 


more  pedestrian  "traffic  blocks"  outside 
the  main  door. 

The  renovated  Play  Zoo  building  is  sur- 
rounded on  all  four  sides  by  outdoor 
settings.  The  building  entrance  is  on 
the  west  end  just  beyond  the  site 
entrance  and  stroller  park.  The  "rear" 
building  entrance  is  at  the  other  (east) 
end  facing  the  more  extensive  outdoor 
settings.  The  narrow,  sunny,  south  side 
is  designed  as  a  Bug  Walk,  full  of 
perennial  flowering  plants.  The  north 
side  is  the  site  of  Animal  Homes 
Adventure  Play,  under  huge  elm  and 
maple  trees. 

Animal  settings,  enclosed  with  light 
steel  netting,  bulge  out  on  each  side  of 
the  main  building  entrance — on  one 
side,  playful  lemurs;  on  the  other,  noisy 
Lory  birds.  Entering  visitors  receive 
immediate  live  animal  cues  about  the 
essence  of  the  Play  Zoo. 

For  security  reasons,  all  visitors  enter 
and  leave  the  building  at  one  of  two 
points  (of  course,  additional  emergency 


The  attractive  boundary  fence  expresses  a  sense  of  security  as  parents  with  young  children 
approach  the  entry. 


exits  are  available) .  What  is  the  social 
effect  of  few  entries  and  exits  versus 
many?  Perceptually,  single  nodal  entry 
and  exit  points  produce  a  clear  mental 


image  connected  to  the  rest  of  the  zoo. 
Socially,  all  visitors  share  the  same  spaces 
and  the  comings  and  goings  of  each 
other.  While  waiting  or  taking  a  rest,  all 


explore!  a  child's  nature 


25 


have  the  same  possibility  of  making  con- 
versation with  a  neighbor  sitting  on  one 
of  several  sitting  walls  near  the  entrance. 
An  open  site  without  a  boundary  fence 
would  not  afford  these  social  opportuni- 
ties. Psychologically,  parents  feel  safer 
knowing  their  children  are  in  a  bounded 
space  and  can  be  easily  tracked. 

INDOOR  PEDESTRIAN  SETTINGS 

The  design  team  hotly  debated  the 
stroller  issue.  The  fact  is,  strollers  take 
up  lots  of  space  inside  zoo  buildings — 
space  that  could  be  used  by  visitors  and 
programs.  Indeed,  they  were  not 
allowed  in  other  Brookfield  Zoo  exhibit 
buildings.  The  design  team  argued  that  a 
Play  Zoo  would  attract  so  many  families 
with  strollers  that  the  quality  of  the 
experience  of  all  would  be  lessened  by 
navigating  through  bunches  of  strollers. 
A  positive  consequence  of  this  policy 
has  been  that  all  children  who  can  walk 
or  toddle  do  so,  in  a  fully  bounded  safe 
environment  with  varied  floor  surfaces, 
innumerable  small  cul-de-sac  spaces  to 
explore  off  the  main  circulation  routes, 


and  visual  interest  at  low  eye  level. 

As  the  Play  Zoo  design  was  executed 
before  the  issue  of  children's  increasingly 
sedentary  life  styles  hit  the  national 
press,  this  benefit  was  not  appreciated 
until  later.  Now,  the  Play  Zoo  can  be 
viewed  as  contributing  to  the  solution 
of  this  health  problem .  Emphasizing 
pedestrian  activity  of  toddlers  and 
preschoolers  is  essential,  instead  of 
encouraging  "wheeled  mobility"  habits 
by  unnecessarily  keeping  young  children 
in  strollers  at  an  early  age.  What  could 
be  more  universal,  equitable  and  demo- 
cratic than  an  environment  where  every- 
one who  can  must  walk? 

WAYFINDING 

Wayfinding  is  crucial  for  new  visitors  to 
a  complex  environment.  Immediately 
after  entering  the  Play  Zoo's  main 
entrance  airlock,  visitors  face  three 
choices:  left,  right  or  straight  ahead. 
Only  once,  for  the  first  visit,  are  the 
sensory  circumstances  of  this  choice  rel- 
evant and  important.  Wayfinding  success 
helps  define  the  first  impression  of  the 


Bold,  colorful  graphics,  created  by  Brookfield 
Zoo  staff,  add  playful  expression. 


place  for,  at  least,  the  adult  visitor. 
Parents  who  have  a  successful  first  visit 
will  return. 

Signs  reinforce  the  choices:  left  ("Reptile 
Run"  and  "Bird  Play")  and  right  ("Lemur 
Leap") .  Straight  ahead  the  "Mountain" 
rises  up,  dominating  the  central,  glazed 
roofed  area.  Here,  wayfinding  offers 
three  choices:  into  the  Mountain  or 
along  either  side  of  it. 

Signage  reinforces  the  identity  of  each 
setting.  As  visitors  move  around, 
uniquely  styled  signs  and  expressive 


126     explore!  a  child's  nature 


Words  are  recognizable  as  objects  (differentiated  by  word  shape,  color,  texture  and  material)  and  serve  as  a  system  of  landmarks  that  help 
guide  visitors  through  the  space. 


explore!   a  child's    NATURE      127 


This  sign  simply  announces  a  grove  of  trees. 


Signage  is  part  of  the  identity  of  each  setting 


Signage  incorporates  expressive  children's  drawings. 


128     explore!  a  child's  nature 


What  child  hasn't  drawn  in  the  mud? 


custom  graphics  identify  each  setting. 
The  "Garden  Play"  sign  looks  very  dif- 
ferent from  the  "Workshop"  sign.  Bold 
and  easy  to  read,  these  words  are  rec- 
ognizable as  objects  (differentiated  by 
word  shape,  color,  texture  and  mate- 
rial) and  thus  serve  as  a  system  of  land- 


marks that  help  guide  visitors  through 
the  space.  This  attribute  of  identity 
helps  children  with  learning  disabilities 
and  partially  sighted  children  by 
increasing  the  perceptual  function  and 
reducing  the  cognitive  burden  of 
wayfinding. 


The  rustic  pet  play  area  holds  bunnies  and 
guinea  pigs. 


explore!   a  child's    NATURE      129 


ZOO-WITHIN-A-ZOO 

Zoo-Within-A-Zoo  presents  children 
with  opportunities  to  experience 
aspects  of  running  the  bigger  Brookfield 
Zoo — it's  not  called  the  "real"  zoo, 
because  the  Play  Zoo  is  also  real .  The 
universal  message  throughout  is  "anyone 
can  do  it." 

In  the  Zoo  Director's  Office,  children 
sit  behind  the  director's  desk  pretend- 
ing to  give  and  take  calls,  and  issue 
instructions. 

In  the  Workshop,  children  and  adults 
can  collaborate  on  construction  and 
exhibit  design  projects — making  signs, 
animal  sculptures,  cultural  artifacts 
linked  to  the  zoo,  and  other  imaginable 
items. 

In  the  Animal  Hospital,  children  can 
care  for  plush  animals,  invent  illnesses 
and  cures,  conduct  surgical  procedures, 
check  x-rays,  and  look  up  computer 
animal  health  records.  Everyone  is 
included  as  a  participant. 


Even  the  insides  of  animals  come  alive  for  older  children. 


30     explore!  a  child's  nature 


A  child  becomes  a  zoo  worker. 


Collectively,  in  their  dramatic  play  and 
imaginations,  the  children  are  running 
the  zoo.  Each  of  these  settings — 
Director's  Office,  Workshop  and 
Hospital — is  universally  appealing  and 
inclusive  because  of  the  setting  flexibil- 
ity of  movable  features  and  loose  parts. 
These  characteristics  provide  many 
dramatic  play  options  for  all  types  of 
children  regardless  of  developmental 
level,  physical  ability,  personality, 
mother  tongue  and  gender.  In  a  corner 
of  the  Animal  Hospital,  a  four-year-old 
is  quietly  examining  a  plush  rabbit  with 
a  stethoscope,  while  a  group  of  girls 
scurry  around  organizing  a  "surgical 
procedure"  on  one  of  the  operating 
tables.  In  the  Workshop,  half  a  dozen 
children  from  different  family  groups 
are  making  masks  for  an  "animal 
parade." 

The  most  universally  expressive,  dra- 
matic play  activity  is  pretending  to  be 
an  animal,  which  also  most  directly 
supports  the  Play  Zoo  educational 


In  the  Workshop,  children  can  make  all 
manner  of  zoo-related  artifacts. 


mission.  Prepared  loose  part  props 
(lemur  tails,  bird  wings  and  the  face- 
painting  station)  stimulate  young 
children's  animal  role-playing. 

The  lemur  exhibit  takes  inclusive  design 
into  a  new  domain  of  integration  of 
exotic  animals  and  children.  The  con- 
cept was  solidified  in  the  prototyping 
phase  when  children  expressed  great 
enthusiasm  for  being  in  the  cage  with 
the  animals.  Glazed  panels  subdivide  the 
outdoor  enclosure  of  Lemur  Leap — one 
for  lemurs  and  the  other  for  children 


explore!  a  child's  nature 


131 


Children  can  talk  with  vets  and  help  treat  real  animals,  too. 


playing  like  lemurs.  At  feeding  time, 
little  food  treats  are  hidden  by  the  keep- 
ers for  the  lemurs  to  find.  This  always 
attracts  crowds  of  curious  children  and 
stimulates  fun  lemur  play. 

Dramatic  play  activity  with  loose  parts 
provides  special  opportunities  for 
adults  and  children  to  play  together 
creatively,  bolstered  by  an  ambience 
that  gives  adults  permission  to  step 
outside  the  constraining  frame  of  refer- 
ence of  everyday  life  at  home.  Some 
families  come  to  the  Play  Zoo  every 
week  and  always  find  or  invent  some- 
thing new  to  do.  Part  of  the  attraction 
is  the  emphasis  on  full -body  play,  like 
the  nest  building  at  the  Lory  bird 
exhibit.  A  permanent  nest-shaped 
armature  is  turned  into  a  "real"  nest 
with  loose  parts  that  simulate  nest- 
building  materials.  Giant  bird  eggs 
liberate  imaginations  as  children  play 
mommy  and  daddy  bird,  sitting  on  the 
eggs,  hatching  young  chicks,  teaching 


132     explore!  a  child's  nature 


To  children,  a  stuffed  animal  is  just  as  real  as  a  live  animal. 


explore!   a  child's    NATURE      133 


Children  can  climb  into  the  nest  and  help  "hatch"  eggs. 


first  flight,  and  away  we  go!  A  child 
using  a  wheelchair  joins  in  the  nest 
building.  Helped  out  of  her  chair,  she 
becomes  the  mother  bird  in  the  nest. 
Another  child  lets  friends  bind  his 
chair  up  like  a  nest,  an  egg  in  his  lap. 

Full-body  play  is  more  participatory 
and  inclusive  than  traditional  tabletop 
games  or  games  of  physical  skill  that 
inevitably  discriminate  against  the  less 
skilled.  All  children  have  imagination. 
This  is  the  key  ingredient  that  brings 
them  together. 

Inside  the  Mountain,  behind-the-scenes, 
children  experience  the  backside  of  ani- 
mal tanks  and  cages.  They  can  sweep  the 
floor  and  begin  to  appreciate  what's 
involved  in  creating  the  public  view  of 
animal  exhibits.  Again,  the  setting  is 
inclusive.  All  can  participate  and  define 
their  own  role,  their  own  level  of  com- 
fort. The  other  end  of  the  Mountain 
terminates  in  a  small  gathering  and 
demonstration  setting,  which  is  open 
to  all. 


Parents  feed  "worms"  to  the  "birds"  in  the  nest. 


134     explore!  a  child's  nature 


Children  get  a  taste  of  behind-the-scenes  work  in  animal  cages. 


ZOO-AT-HOME 

As  its  name  implies,  Zoo-At-Home  is  all 
about  domestic  pets.  A  front  porch  and 
rocking  chairs  welcome  visitors.  Inside, 
cats  and  dogs  visit.  Children  can  build 
habitat  trails  for  gerbils  on  a  large,  low, 
edged  tabletop.  A  walk-in  play  aquarium 
invites  children  to  play  like  fish  while 
playmates  on  the  outside  interact.  Cats 
play  behind  a  screened  backdoor  to  the 
kitchen.  Windows  on  either  side  of  the 


fireplace  provide  glimpses  of  the  out- 
door settings,  beckoning  further  fun. 

During  the  design  process,  this  setting 
took  the  longest  time  to  resolve.  The 
design  team  agreed  unanimously  that 
linking  the  Play  Zoo  and  home  was  fun- 
damental. But  how  to  do  it?  What  style 
of  house?  Inner-city  apartment? 
Townhouse?  Suburban  ranch?  Working- 
class  or  middle-class,  or  both?  And 
what  about  ethnic  expression?  These 
fundamental  questions  of  inclusive 
design  were  difficult  to  resolve.  The 
final  decor  is  best  described  as  an  eclec- 
tic, uncluttered  background  to  the  real 
action:  children's  play. 

Architecturally,  the  front  of  the  home 
has  an  attractive  inclusive  design  feature, 
the  quintessential,  classless  element  of 
North  American  domestic  architec- 
ture— a  porch.  Here,  parents  can  rest 
their  feet  and  chat  with  a  neighbor  while 
children  enjoy  pet  play  indoors.  The 


Children  make  packages  of  "food"  for  the 
animals. 


explore!  a  child's   nature     135 


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Zoo-At-Home  looks  like  a  home,  with  a 
quintessential  American  porch. 


Domestic  animals  link  the  zoo  to  animals 
at  home. 


Inside  the  living  room,  children  design 
"habitrails"  for  gerbils. 


A  walk-in  aquarium  invites  children  to 
become  fish. 


The  Nature  Swap  area  is  designed  like  a 
child's  bedroom. 


Older  children  classify  and  collect  natural 
items  in  the  Nature  Swap  area. 


136     explore!  a  child's  nature 


The  Greenhouse  offers  fun-filled  warmth  on  a  cold  Chicago  day. 


The  Greenhouse  extends  to  an  outdoor 
garden  where  children  can  help  grow 
plants  and  take  seedlings  home. 


Nature  Swap  is  a  subsetting  of  Zoo-At- 
Home,  added  later  after  a  member  of 
the  design  team  saw  it  at  another  institu- 
tion. For  the  upper  age  level  of  the  Play 
Zoo  target  audience,  the  Nature  Swap 
responds  to  a  desire  to  collect  and 
classify  the  natural  world — like  all  good 
scientists.  In  this  case,  natural  objects 
become  the  universal  medium  of  curios- 
ity that  brings  children  together  to  share 


knowledge.  The  Swap  Shop  decor  is 
arranged  like  a  child's  bedroom,  care- 
fully assembled  with  a  non-gendered 
style. 

THE  GREENHOUSE 

In  response  to  the  harsh  Chicago  winter, 
part  of  the  concept  of  Indoor  Garden 
Play  was  to  attract  winter  visitors  to  the 
Play  Zoo  by  providing  a  warm  green 


place.  This  spot  is  open  to  all,  especially 
those  without  time  or  money  for  a  win- 
ter trip  to  southern  latitudes. 

How  to  make  a  garden  setting  function- 
ally accessible  and  usable  by  all?  Care 
was  taken  to  ensure  plants  were 
installed  at  various  heights  above  the 
floor  level  so  visitors  from  preschoolers 
to  adults  could  make  tactile  contact.  To 
accommodate  infants  and  toddlers 


EXPLORE!    A    CHILD'S    NATURE        137 


Children  are  encouraged  to  touch  and 
water  plants. 


whose  parents  were  apprehensive  about 
them  putting  soil  and  vegetation  in  their 
mouths,  a  play  deck  was  installed  in  one 
corner  near  the  Garden  Play  entrance, 
furnished  with  appropriate  play  objects 
fashioned  from  natural  materials. 
Families  were  thus  accommodated  in  a 
way  that  allowed  older  siblings  to  play 
freely. 


Spray  bottles  are  very  popular.  Varied  heights  of  tabletops  provide  access  for  children  of 
different  heights  and  those  in  wheelchairs. 


38     explore!  a  child's  nature 


Functional  access  for  children  partici- 
pating in  planting  and  other  tabletop 
activities  with  plants  was  accommo- 
dated by  a  wonderful  feature  invented 
by  the  zoo  staff:  a  great  slab  of  thick 
particle  board  cut  into  a  fun,  amoeba- 
like  shape  and  supported  on  a  slice  of 
old  tree  trunk.  The  height  is  suitable  for 
wheelchairs,  which  works  fine  for  most 
standing  children  (or  they  stand  on 
boosters) . 

One  loose  part  universally  enjoyed  by 
children  of  all  ages  is  a  simple  spray 
bottle.  Some  children  do  nothing  else 
in  Garden  Play  except  go  around 
spraying  every  plant  in  sight.  How  can 
this  behavior  be  explained?  The  answer 
most  likely  is  a  combination  of  factors: 
the  cause-and-effect  delight  of  the 
spray  bottle  function,  the  sensory  stim- 
ulation of  the  interaction  of  misty 
water  and  light,  the  intriguing  change 
in  state  from  liquid  to  mist,  the  further 
intrigue  of  mist  turning  to  droplets  on 


the  shiny  leaves,  the  sense  of  control 
over  the  whole  process,  and  the  satis- 
faction of  caring  for  the  plants  by 
watering.  Any  child  whose  index  finger 
is  strong  enough  can  participate  in 
bottle  spraying.  And  if  not,  ball-like 
spray  devices  are  available  that  can  be 
squeezed  with  the  whole  hand.  They 
are  especially  useful  for  participants  in 
the  zoo's  intergenerational  playgroup 
when  preschoolers  and  seniors  play 
together  in  the  Greenhouse. 

PARENT  RESOURCE  AREAS  AND 
QUIET  ALCOVES 

Two  settings,  Parent  Resource  Areas 
and  Quiet  Alcoves,  are  repeated 
throughout  the  Play  Zoo  and  serve  sev- 
eral purposes.  Both  function  as  gather- 
ing points,  as  minor  nodes. 

Parent  Resource  Areas  are  located  at 
seven  indoor  and  outdoor  settings  and 
serve  as  informational  landmarks  where 
parents  can  read  permanent  graphics 


The  Backyard  of  Zoo-At-Home  offers 
information  for  families... 


...and  a  resting  place. 


explore!   a   child's    NATURE      139 


about  the  importance  of  play  and  tips 
for  playing  at  the  zoo. 

As  this  base  information  is  fundamental 
to  the  philosophy  of  the  Play  Zoo, 
repeated  outlets  reinforce  a  sense  of 
shared  meaning  of  the  place  among  the 
adult  visitors  to  take  away  and  continue 
to  work  with  at  home.  Shared,  universal 
experiences  and  meanings  tie  communi- 
ties together,  and  increase  our  under- 
standing of  the  interconnectedness  of 
life.  The  broader  the  spread  of  shared 
experience  throughout  the  community, 
the  greater  the  likelihood  of  shared 
environmental  values. 

Quiet  Alcoves  have  a  more  modest 
aim:  rest  and  recuperation,  a  universal 
need.  These  are  places  where  families 
and  small  groups  can  get  away  from 
high-level  activity,  places  to  nurse  a 
baby  or  feed  a  toddler.  Open  to  all, 
Quiet  Alcoves  offer  additional  visitor 
opportunities  for  building  shared 


values  that  come  from  positive  social 
contact  in  an  environment  that  symbol- 
izes those  values. 

ZOO  PLAY  GARDENS 

Outdoors,  the  Zoo  Play  Gardens  com- 
prise six  main  settings  and  fourteen 
subsettings.  There  are  four  entrances. 
From  the  Main  Entry  Plaza,  visitors 
can  bypass  the  Play  Zoo  and  go  directly 
to  Animal  Homes  Adventure  Play  (left) 
or  Bug  Walk  (right).  Alternatively,  one 
can  enter  from  the  other  end  of  the 
Play  Zoo  or  directly  via  the  South  Plaza 
Entry. 

Wayfinding  outdoors  at  either  end  of 
the  Play  Zoo  building  is  direct.  At  the 
front  (west)  end,  visitors  can  go  left  or 
right.  At  the  back  (east)  end,  the  same 
choices  are  offered  plus  a  central  path- 
way (which  eventually  will  connect 
with  Phase  2  of  Explore!  A  Child's 
Nature). 


ANIMAL  HOMES  ADVENTURE  PLAY 

This  setting  supports  the  play  philoso- 
phy of  Explore!  A  Child's  Nature  in  its 
most  classic  form:  adventure  play  using 
loose  materials  to  construct  shelters,  in 
this  case  for  animals.  Since  this  is  an 
open-ended  activity,  anyone  can  join  in 
and  lead  it  wherever  collective  desires 
go.  Above  all  others,  this  is  the  setting 
that  became  better  understood  by  the 
design  team  through  prototyping.  Once 
the  team  saw  the  adventure  play  process 
in  action,  they  understood  the  potential 
for  engagement  and  inclusion.  Anyone 
can  join  in,  like  a  barn-raising — the  more 
the  merrier.  The  only  limit  is  human 
imagination.  Three  children  roof  one  of 
the  cubicles  used  to  store  building  mate- 
rials with  tree  branches.  They  are  making 
a  tiger  cage.  One,  her  face  painted  with 
tiger  whiskers  (from  the  indoor  face 
painting) ,  puts  on  her  fiercest  expression 
and  growls.  She  "eats"  a  small  wooden 
log  in  the  cubicle  and  paces  back  and 


40     explore!  a  child's  nature 


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explore!  a  child's  nature 


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Children  enjoy  inhabiting  the  new  animal 
homes. 


There's  no  limit  to  materials  that  can  be  used. 


Even  the  youngest  visitor  can  enjoy 
pounding  away. 


42     explore!  a  child's  nature 


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forth  on  all  fours,  tiger-like.  Almost 
nothing  is  required  to  set  such  imagina- 
tive processes  in  motion,  except  a  few 
rudimentary  props.  Adventure  Play  is  not 
a  new  idea,  but  for  the  first  time,  it  has 
been  applied  in  a  children's  zoo.  (The 
Playgrounds  for  Children  with  Special 
Needs  in  the  United  Kingdom  have 
applied  the  adventure  play  approach 
successfully  for  more  than  40  years.) 

BUG  WALK 

On  the  other  (south)  side  of  the  Play 
Zoo,  a  richly  planted  perennial  garden 
offers  a  sensory  walk  replete  with 
insects  of  many  types,  depending  on 
the  season.  "Lift-ups"  (boxes  planted  in 
the  raised  bed  with  lids  that  house  the 
bug  collection)  offer  critters  that  like 
damp,  dark  places  underground.  An 
elevated  pool  offers  dragonflies  and 
their  cousins  that  love  damp  places.  A 
curvy,  living  willow  tunnel  engulfs 


Children  can  find  secret  places  for  a  moment  of  calm. 


explore!  a  child's  nature 


A3 


Spiderman  is  spotted  in  the  willow  tunnel! 


Ladybugs  bring  good  luck — the  more  the 
merrier. 


Children  investigate  leaf  litter  on  the 
ground,  looking  for  bugs. 


The  dark  cavity  of  a  "Lift-up"  offers  insects 
in  their  natural  habitat. 


"imkvBT-' 


And  why  not  be  a  butterfly  in  the  garden? 


144     explore!  a  child's  nature 


children  in  vegetation.  The  Bug  Walk  is 
a  quiet  spot  for  reverie,  where  children 
are  engaged  by  the  colors,  fragrances, 
textures  and  movement  of  a  myriad  of 
flowers.  Because  of  its  quietness  and 
sensory  richness,  the  Bug  Walk  is  a 
favorite  destination  of  autistic  children 
and  their  caregivers. 

BACKYARD 

Eight  subsettings  comprise  the 
Backyard,  which  is  intended  to  have  a 
domestic  feel  so  that  caring  behaviors 
can  be  transferred  and  modeled  at 
home.  "Backyard"  means  different  things 
to  different  people.  Casual  observation 
on  a  warm,  sunny  afternoon  indicates 
happy,  family  enjoyment.  A  grandfather, 
his  pant  legs  rolled  up,  is  padding  back 
and  forth  in  the  stream  with  his  grand- 
daughter, perhaps  recalling  similar 
childhood  pleasures — a  beautiful  exam- 
ple of  universal  design  spanning  the 
generations.  The  feel  of  running  water 


The  Backyard  stream  is  a  favorite  setting  on  hot  summer  days. 


explore!   a  child's    NATURE      145 


Children  can  wade  in  the  water  and  play 
with  small  rocks. 


Parents  sit  on  boulders  while  children  play 
in  the  Earth  Play  Garden. 


The  dirt  is  a  mix  of  peat  moss  and  sand  so 
children  don't  get  too  muddy. 


on  naked  feet  is  elemental.  At  one  and 
the  same  time,  it  is  a  delicious  sensory 
experience,  perhaps  experienced  for  the 
first  time  by  a  very  young  child.  Sharing 
across  generations  adds  immeasurable 
value. 

Meanwhile,  on  the  Demonstration 
Lawn,  a  group  has  been  called  together 
by  one  of  the  Play  Partners  to  "cele- 
brate life  ."Adults  and  children  lie  on 


their  backs  in  a  circle,  stand  up,  move 
to  a  tree  and  stand  around  it  holding 
hands.  It  is  a  beautiful  sight.  Strangers 
ten  minutes  ago,  children  and  adults 
now  trust  each  other's  affirmation  of 
life.  The  Play  Partner  receives  an  affir- 
mation as  well:  that  the  risk  she  took  to 
lead  this  activity  paid  off.  Participants 
feel  enriched  and  empowered  with  an 
increased  sense  of  shared  Play  Zoo 


values.  Maybe  they  will  be  stronger 
protectors  of  the  planet. 

Along  one  side  of  the  Demonstration 
Lawn,  zoo  staff  installed  a  series  of 
small  window  boxes  (6"  x  6"  x  12")  at 
different  heights  on  a  lattice  fence  to 
create  a  raised  garden  accessible  to  sen- 
iors and  preschoolers  doing  planting 
activities  together. 


146     explore!  a  child's  nature 


In  the  Earth  Play  Garden,  parents  sit  on 
a  circle  of  large  boulders  while  their 
toddler- aged  children  play  in  the 
enclosed  "play  soil"  (a  specially  con- 
cocted non-soil  mix  of  peat  moss  and 
sand  to  prevent  very  young  children 
from  getting  too  muddy) .  An  elevated 
wheelchair  accessible  play  table  is  part 
of  the  installation. 

Pet  Play  is  another  universal  experience 
for  young  children;  what  more  needs  to 
be  said?  Everyone  can  be  involved.  The 
main  problem  is  not  to  overstress  the 
animals.  For  this  reason,  a  holding  pen 
where  the  bunnies  and  guinea  pigs  can 
rest  is  located  alongside  the  public 
enclosure  where  the  playing  takes  place. 

A  pre-existing  natural  feature  of  the 
Play  Gardens  is  the  Woody  Knoll,  a 
tree-covered  hillock  on  the  eastern 
boundary  of  the  site.  Invasive  shrubs 
were  cleared  off  to  reveal  the  form  of 
the  hill,  and  a  circle  of  logs  was  installed 
on  the  summit.  There  are  two  ways  up: 
a  direct  climb  up  a  large  log  laid  on  the 


side  of  the  hill  with  steps  notched  out, 
and  a  longer,  ramped  pathway,  winding 
around  the  back  of  the  hill.  Liz  Heller,  a 
wheelchair-using  zoo  intern,  noted  that 
she  could  access  the  pathway  to  the  top 
of  the  hill  using  a  manual  wheelchair 
with  help  and  with  a  power  chair  inde- 
pendently. 

PROGRAMMING  ELEMENTS 

In  association  with  the  Illinois  Autism 
Society,  Ann  Roth,  Access  Coordinator, 


*i 


J    < 


A  collection  of  fall  leaves  becomes  a  work 
of  art. 


helped  design  a  Visual  Schedule  Book 
for  families  with  autistic  children  as  a 
tool  to  help  with  communication. 
Autistic  children  are  nonverbal,  but  can 
communicate  visually.  The  book  looks  a 
bit  like  a  stamp  album,  with  movable 
icons  representing  each  play  setting. 
Child  and  family  members  use  the  book 
to  plan  the  Play  Zoo  trip,  as  well  as  for 
deciding  changes  in  the  schedule  once 
there.  As  autistic  children  often  have 
difficulty  transitioning  from  one  activity 
to  another,  the  toolbook  is  used  as  a  ref- 
erence to  keep  things  on  track.  For  the 
Reptile  Run  setting,  for  example,  there 
are  photos  of  all  the  items  needed  to 
build  a  "herp  home,"  so  the  activity  can 
be  reviewed  pictorially  step-by-step 
beforehand.  Similarly,  the  toolbook  is 
used  to  introduce  putting  on  a  tail  at 
Lemur  Leap  or  doing  things  in  the 
Animal  Hospital.  The  idea  is  to  use  the 
book  for  practice  a  few  times,  then 
wean  individual  children  away  from  it 
into  a  more  independent  realm  of 
behavior. 


explore!  a  child's  nature 


47 


Management  and 
Operational  Issues 

During  the  initial  stages  of  the  master 
planning  process,  Brookfield  Zoo  made 
an  impressive  commitment  to  support- 
ing a  Play  Partner  Troupe  because  it  was 
seen  as  an  essential  component  to 
implement  the  Play  Zoo  mission.  The 
operational  economic  equation  was  a 
challenge,  one  side  of  which  must  be 
measured  by  the  number  of  admissions. 
The  books  must  balance.  The  Play  Zoo 
enhances  the  larger  zoo's  reputation  and 
visibility,  which  is  an  added  value.  Most 
importantly,  the  Play  Zoo  appears  to  be 
addressing  its  mission.  This  is  indicated 
by  visitor  behavioral  research  conducted 
during  the  summer  of  2003.  Preliminary 
results  show  child  visitors  exhibit  signifi- 
cant levels  of  "caring  behavior." 

Nursing  the  new  landscape  was  a  man- 
agement challenge  at  Explore!  A  Child's 
Nature.  Because  interaction  with  nature 
is  fundamental  to  the  mission,  the 
installed  landscape  contains  many  more 


horticultural  species  than  is  typical  in 
other  Brookfield  Zoo  exhibits  (even 
though  they  are  well  endowed  with 
attractive  landscape  treatments) .  The  zoo 
has  a  fine  professional  horticultural  staff 
with  decades  of  landscape  management 
experience,  who  enthusiastically  rose  to 
the  challenge  of  nursing  the  establish- 
ment of  the  new  Explore!  A  Child's 
Nature  landscape.  Existing  plantings 
were  conserved  in  the  new  play  settings 
or  moved  from  other  locations  to  pro- 
vide a  foundation  of  older  plantings. 

The  south  side  of  Bug  Walk  was  more 
challenging,  as  the  landscape  was  com- 
pletely new.  But  after  two  growing  sea- 
sons, the  perennial  gardens  were  well 
established.  Lack  of  shade  was  a  major 
problem  in  the  hot  Illinois  summer.  This 
was  addressed  by  adding  two  large 
shade  trees  on  the  south  side  of  the 
walkway.  The  original  design  had 
included  a  number  of  wide  arbors  over 
the  walkway  as  shading  devices,  but 
these  were  omitted  as  a  cost- saving 


measure.  They  could  still  be  installed  to 
add  further  shade  and  extend  the  diver- 
sity of  Bug  Walk  plantings. 

Consumables  can  easily  become  a  signif- 
icant cost  factor  in  play-based  programs. 
During  the  design-programming  phase, 
this  issue  was  carefully  monitored,  so 
that  only  essential  consumables  were 
designed  in.  For  example,  plush  animals 
had  to  be  available  as  play  props  in  the 
Hospital.  Although  not  strictly  a  con- 
sumable, they  wear  out  fast  and  have  to 
be  replaced.  In  Animal  Homes 
Adventure  Play,  only  scrap  materials  are 
used,  including  recycled  prunings  from 
the  horticulture  department.  The 
Workshop  uses  paper  and  paint  that 
must  be  purchased,  but  also  all  manner 
of  recycled  "scrap"  (cardboard,  cans, 
plastic  bottles,  lumber,  etc.).  Green- 
house consumables  include  seeds  and 
planting  mix  that  children  take  home  in 
(recycled)  pots. 

The  most  substantial  management  issue 
by  far  is  the  use  of  live  animals  with 


1-48     explore!  a  child's  nature 


children.  The  main  considerations  are 
the  health  and  safety  of  both  children 
and  animals.  Having  operated  a  chil- 
dren's zoo  since  the  1950s,  the  Play  Zoo 
staff  had  extensive  experience  in  these 
areas.  That  history  helped  enormously 
to  deal  with  these  issues  during  the 
design  phase,  but  still  much  time  was 
required  to  make  final  decisions  about 
specific  species  and  their  environmental 
requirements.  For  example,  sanitation 
requirements  for  Pet  Play  meant  using 
concrete  that  could  be  hosed  down  each 
day  as  a  substrate  with  straw. 

Play  Partners  are  trained  to  handle  the 
floor  animals  in  Reptile  Run,  Zoo-At- 
Home  and  Pet  Play.  Partners  walk  or 
carry  animals  around  on  a  regular 
schedule,  so  that  hands-on  animal  expe- 
riences are  always  available  on  the  floor 
as  well  as  in  the  permanent  exhibits 
(Lemur  Leap,  Lory  Bird,  Reptile  Run 
and  the  Mountain). 


Play  Partners  will  help  plan  a  family's  visit 
and  provide  tools  they'll  need. 


explore!  a  child's    NATURE      149 


Liz  Heller:  "It's  useful  for  people  to  see  someone  in  a  wheelchair  working...." 


50     explore!  a  child's  nature 


User  Feedback 

The  zoo  has  been  open  for  four  years, 
with  many  visitors  making  multiple 
visits — some  even  come  every  week. 

Dave  Fuentes,  Chicago  Area  Parent 

". .  .The  whole  project  sounded  silly.  An 
exhibit  without  a  lot  of  animals?  Who 
wants  to  see  that?  How  is  that  going  to 
help  children  understand  the  impor- 
tance of  nature? 

"I  took  my  wife  and  children  to  the 
exhibit's  employee  premiere. .  .My  chil- 
dren played  away,  uninterested  in  what 
the  adults  thought.  Leia,  my  three-year- 
old,  began  talking  about  lemurs.  We 
bought  her  a  play  lemur  tail  from  the 
zoo  and  she  wore  it  all  the 
time. .  .When  relatives  and  friends  asked 
her  what  she  was,  she  would  yell,  'A 
lemur!  I  made  it  better!'  When  asked  to 
explain,  she  would  simply  restate,  'I 
made  it  better!' 


"(On  another  visit)  Leia  began  working 
with  a  stuffed  owl.  After  several  minutes 
she  yelled,  'Dada!  I  made  it  better!' 
That's  when  it  clicked. .  .There,  in  my 
snapshots  (from  the  first  visit),  was  a 
photograph  of  Leia  wearing  a  lab  coat 
and  holding  a  stethoscope  to  a  stuffed 
lemur's  heart.  Although  it  had  been  over 
a  year  ago,  she  remembered  that  she 
had  indeed  'made  it  better.' 

"That  one  visit  to  the  Hamill  Family 
Play  Zoo  affected  one  of  my  children 
enough  that  she  not  only  learned  to 
love  the  animal,  but  believe  that  she 
could  make  a  difference  in  its  life!  She 
never  had  to  hear  the  words  'endan- 
gered,' 'extinct,'  or  'killed.'  In  a  two- 
year-old's  world,  a  stuffed  animal  is  as 
alive  as  a  real  one  is.  Through  her  play 
she  had  felt  empowered  and  was  not 
made  to  feel  helpless,  as  a  lecture  on 
animal  endangerment  might  have  made 
her.  I  am  a  true  convert." 


Liz  Heller,  Intern 

Liz  Heller  started  volunteering  at 
Explore!  A  Child's  Nature  as  a  high 
school  student  when  the  facility  opened 
in  2000.  Earlier,  she  was  a  manual 
wheelchair  user  but  now  uses  a  power 
chair.  Asked  about  the  working  environ- 
ment at  Explore!  A  Child's  Nature,  she 
was  mostly  very  complimentary.  She 
mentioned  the  low  cabinets  that  were 
easy  to  use.  Even  in  a  manual  chair  she 
said  it  was  "easy  to  get  around,"  includ- 
ing the  outdoors,  which  she  said  was 
"well  done,  with  flat,  easy  grades." 

She  made  specific  mention  of  the  occa- 
sional drop  in  level  where  concrete  path 
and  lawn  come  together  as  a  problem. 
She  noted  the  woodchip  ground  surface 
in  Animal  Homes  Adventure  Play  that 
she  could  not  access  in  a  manual  chair 
without  help.  "I  can  live  with  that,"  she 
said,  recognizing  that  the  setting  needed 
to  feel  natural  (the  pervious  surface  was 
also  critical  for  the  health  of  the  mature 
trees  in  that  zone). 


explore!  a  child's  nature 


15 


She  commented  that,  "Everyone  is  so 
caring  here,  and  willing  to  help — but 
are  subtle  about  it."  Heller  also  reflected 
on  her  experiences  as  a  worker  at  the 
zoo.  "It's  useful  for  people  to  see  some- 
one in  a  wheelchair  working,  it's  good 
exposure.  It  helps  counter  their  precon- 
ceptions." 

Summing  up,  Heller  noted  that 
"Explore!  A  Child's  Nature  has  taken 
the  concept  of  universal  access  further 
than  most  places.  It  is  open  to  every- 
thing. I  love  working  here,  it  is  so  great." 

Ann  Roth,  Brookfield  Zoo, 
Access  Coordinator 

"As  all  the  basic  ADA-type  access  issues 
were  already  covered  in  the  design  of 
the  Play  Zoo,  I  have  been  able  to  devote 
my  energies  to  responding  to  the  special 
needs  of  specific  audiences  in  different 
program  areas. 


"The  Play  Zoo  is  built  for  all  the  senses, 
so  some  of  the  classes  we  do  are  very 
attractive  to  children  with  sight  disabili- 
ties." Roth  mentioned  a  class  called 
"How  Things  Are  Wrapped,"  which  deals 
with  all  types  of  animal  coverings. 
Children  handle  samples,  as  well  as  live 
animals  (snakes,  turtles,  bunnies). The 
class  is  open  to  all  children.  "Sight- 
impaired  kids  love  it,"  she  said. 

"Hard  of  Hearing  Days"  is  a  zoo-wide 
event  for  which  zoo  staff  are  trained  in 
basic  sign  language.  This  means  signing 
is  going  on  in  the  Play  Zoo  with  the 
Play  Partners,  which  makes  it  more 
attractive  and  comfortable  to  the  deaf 
culture.  "The  Play  Partners  love  that 
stuff,"  Roth  comments.  She  describes 
the  "Good  Works  Program,"  which 
enables  students  with  disabilities  to 
volunteer  at  the  zoo.  Some  have  cogni- 
tive impairments;  some  are  deaf.  "Job 
Coaches"  help  participants  train  to  get 


jobs  (at  the  zoo  and  elsewhere).  "The 
Play  Zoo  is  an  ideal  place  for  children 
with  disabilities,"  Roth  emphasizes, 


"b 


ecause 


there 


is  so 


much 


foinp  on. 


David  Becker,  Play  Manager 

"The  Play  Zoo  has  developed  a  strong 
internal  partnership  with  the  Zoo's 
access  programs.  Several  factors  make 
this  possible.  Because  principles  of  uni- 
versal design  have  been  applied  to  the 
space  itself,  it  is  user-friendly  for  a  vari- 
ety of  visitors  including  families.  The 
space  encourages  open-ended  explo- 
ration, which  creates  a  powerful  context 
for  program  development  and  facilita- 
tion of  learning.  In  the  world-renowned 
Reggio  Emilia  schools,  the  educators 
refer  to  the  built  environment  as  'the 
third  teacher.' 


152     explore!  a  child's  nature 


"Similarly,  the  Play  Zoo  functions  in  col- 
laboration with  the  Play  Partners,  who 
are  equally  important  in  enabling  a 
growing  collaboration  with  the  zoo's 
access  programs.  It  is  the  staff  that  acti- 
vates the  space  and  pushes  it  beyond  the 
surface  potential.  Beyond  creative  pro- 
gramming, Play  Partners  are  committed 
to  creating  relationships.  To  this  end, 
they  facilitate  interactions  between  fam- 
ilies and  nature,  support  family  interac- 
tions with  each  other  and  become  a  part 
of  the  place  attachment  that  families 
develop  with  the  Play  Zoo.  This  highly 
individualized  process  extends  equally 
to  families  who  have  children  with  dis- 
abilities because  they  know  their  child 
will  be  valued  when  they  visit.  This  is 
incredibly  empowering  for  everyone." 


The  Play  Zoo  is  built  for  all  the  senses. 


explore!   a   child's    NATURE      153 


I 


CHASE  PALM  PARK     SANTA  BARBARA,  CALIFORNIA 


N* 


"This  park  has  been  adopted  into  the  community's  heart.. ..it's  a 
town  square  right  on  the  waterfront!' 

CITY  OF  SANTA  BARBARA  LANDSCAPE  ARCHITECT 


ADOPTING  A    NEW    HEART 


SUSAN  GOLTSMAN 


This  highly  used  park  was  once  a  derelict  piece  of  unused  land,  the  last  bit  of 
open  space  in  the  City  of  Santa  Barbara,  California.  Chase  Palm  Park  is  now  a 
nine-acre  linear  park  with  a  one-acre  children's  play  area.  It's  located  across  the 
roadway  from  the  beach,  adjacent  to  railroad  tracks,  with  views  of  Santa  Barbara's 
golden  hills.  The  park  land  was  given  to  the  City  as  a  trade-off  for  an  expanded 
development  at  the  nearby  resort  and  conference  center. 


155 


The  City  wanted  a  play  area  that  would 
serve  as  a  community  focal  point  and 
link  to  the  ocean.  The  new  play  area 
setting  contains  an  underwater  garden 
of  sea  life,  a  full-size  pod  of  anatomi- 
cally correct  whales  spouting  water,  sea 
caves,  a  marooned  village,  a  large  ship- 
wreck, a  lighthouse  with  kaleidoscope, 
fishing  pier,  and  docks  with  the  facade 
of  a  child-sized  City  of  Santa  Barbara  in 
the  background. 

The  park  includes  many  community 
uses  such  as  a  gathering  plaza  adjacent 
to  a  restored  historic  carousel,  a  lawn 
area,  a  small  stage  for  community 
events  and  a  park  support  building  (for 


storage  and  rentals)  across  from  the  play 
area.  The  play  area  and  park  are  linked 
by  a  pedestrian  path  (the  paseo)  and 
stream  "creeklets"  that  wind  through. 
The  creeklets  are  a  unifying  design 
element  of  the  park  and  are  part  of  the 
overall  drainage  system. 

DESIGN  GOALS 

The  play  area  facilitates  recreational 
programming  and  stimulates  children's 
imaginations.  Thematic  settings  help 
children  learn  about  the  general  context 
and  character  of  their  city  through  play. 
Play  elements  have  a  strong  marine 
character  and  are  tied  to  local  historical 
and  cultural  events. 


PROJECT  Chase  Palm  Park— Children's  Play  Area      LOCATION  Santa  Barbara, 
California    DATE   DESIGNED  1997-1998      CONSTRUCTION  COMPLETED   1998 
CONSTRUCTION  COST  $500,000      SIZE  9  acres  (entire  park);  1  acre  (play  area) 
CLIENT  City  of  Santa  Barbara      PLAY  AREA  LANDSCAPE  ARCHITECT  AND 
DESIGN   PROGRAMMER  MIG,  Inc.        PARK  DESIGN  George  Girvin  Associates 
ARTISTS  Susan  Jordan  and  Scott  Peterson      CIVIL  ENGINEERS  Penfield  &  Smith 


Park  and  recreational  programming  is 
integral  to  the  project.  The  play  area  is 
more  than  just  play  equipment.  The 
recreation  staff  have  support  facilities 
adjacent  to  the  play  area,  especially 
needed  for  public  attendance  at  summer 
day  camps.  The  entire  park  provides  a 
great  setting  for  play  programming, 
imaginative  play  and  community  gather- 
ing. For  example,  summer  evening 
concerts  draw  4,000  to  5,000  people 
to  hear  music  and  play  in  the  park. 

USER  GROUPS 

Children 

■  Adults 

■  Schoolteachers  (local  field  trips) 
Tourists 


56       CHASE    PALM     PARK 


The  children's  play  area  in  Chase  Palm 

Park  is  based  on  a  marine  life  theme  and 

includes  elements  such  as  this  giant 

nautilus  and  the  wave  wall  behind 

it  with  a  fish  emerging. 


Children  developed  the  idea  of  including  a  shipwreck  to  play  on. 


DESIGN  PROCESS 

The  design  team  was  selected  through  a 
design  competition.  The  project 
included  design  programming,  concep- 
tual design,  participation  by  children  as 
well  as  community  members,  and  play 
area  design  and  development.  Santa 


Barbara's  Parks  and  Recreation 
Department  went  into  classrooms  to 
talk  with  schoolchildren  about  their 
ideas  for  the  park.  Based  on  the  input 
from  these  children,  the  play  and  learn- 
ing environment  was  designed  with  the 
theme  of  life  in  and  by  the  sea. 


The  design  team  worked  with  local 
artists  to  develop  a  design  concept  for 
the  park  that  reflects  the  City  and  the 
site's  history,  including  a  shipwreck  that 
once  occurred  off  the  coast.  The  artists 
developed  sculptural  elements  that  are 
both  artistic  and  functional. 

During  one  brainstorming  session,  a 
desire  to  create  a  whale  quickly  became 
"an  entire  pod  of  whales  swimming 
through  the  park." 

Recreational  programming  was  consid- 
ered throughout  the  design  process. 
The  design  team  worked  with  the 
Parks  and  Recreation  Department  to 
develop  an  activity  program  for  recre- 
ation leaders  to  use  during  summer  day 
camp  sessions.  The  park  lends  itself  to 
creating  theme -based  programs  and 
activities  such  as  making  treasure 
maps,  dressing  like  pirates  for  a  day, 
and  making  telescopes  to  explore  the 
shipwreck  play  area. 


158       CHASE    PALM     PARK 


Inclusive  Design  Features 
and  Settings 

Accessibility  and  connections  are  inte- 
grated and  expanded  in  a  thematic  way 
throughout  the  park.  For  example,  the 
blue  "ocean"  rubberized  safety  surfacing 
serves  as  a  context  for  the  whales  and 
provides  an  accessible  pathway  through 
the  play  area.  This  design  element  pro- 
vides more  than  a  walkway  or  ramp  up 
to  a  play  element.  It  integrates  access 


for  everyone  into  the  theme  of  the  play 
area.  Transfer  platforms  are  more  than 
single-purpose  assistive  devices;  they 
are  integrated  into  the  theme  and  the 
sitting  areas  and  are  usable  by  all  kinds 
of  people. 

OCEAN  PATHWAY  AND 
A  POD  OF  WHALES 

A  pathway  of  blue  rubberized  safety 
surfacing  meanders  through  the  play 
area  to  define  the  ocean.  The  pod  of 


sculptural  whales  flows  through  the 
park  at  various  points  throughout  the 
ocean  pathway.  The  whales  are  realistic 
and  true  to  form  and  size,  but  the 
materials  are  expressed  artistically  and 
creatively.  The  whales  swim  in  the  ocean 
around  the  shipwreck,  enhancing  the 
theme.  They  breach  and  curve  through- 
out the  play  area  and  sporadically  spray 
water  through  their  blowholes,  adding 
an  interactive  element  of  surprise. 


Full-size  whales  swim  through  the  area. 


CHASE    PALM     PARK         159 


'%    Nfc   ftA£ 


Randomly  timed  water  spouts  add  a  surprising  and  entrancing  element  as  whales  swim 
through  blue  rubberized  safety  surfaces. 


Children  wait  by  the  whales  to  catch  the 
water  spray. 

The  whales  serve  as  climbing  objects 
and  as  transfer  points  onto  the  grass. 
They're  integrated  with  seat  walls  to 
provide  points  of  access  and  transfer. 
Some  whales  are  not  accessible  but  still 
add  to  the  variety  of  experiences.  The 


whales  also  tie  the  play  area  into  the  rest 
of  the  park,  because  some  of  the  whales 
actually  sit  on  the  turf,  entering  and 
exiting  the  play  area. 

SAND  AND  WATER  PLAY  AREA 

In  this  area,  children  explore  and 
manipulate  sand.  There  are  two  water 


features:  a  raised  nautilus  with  tide 
pools  and  a  fish  head  fountain  that 
spouts  water  into  a  basin.  The  nautilus 
simulates  a  tide  pool  experience  and  is 
completely  accessible  because  the  tide 
pools  and  water  are  raised.  A  concrete 
wave  wall  curves  up  overhead  like  the 
curl  of  a  wave  and  provides  seating  for 
parents. 

The  starfish  is  a  three-dimensional, 
oversized  sculpture  in  the  sand,  coated 
in  rubberized  safety  surfacing.  It  serves 
two  purposes:  it  is  a  play  element  that 
supports  the  theme,  and  it  is  a  place  to 
sit  and  play  in  the  sand.  The  starfish 
offers  back  support  for  small  children 
with  limited  upper  body  strength,  or  a 
slightly  elevated  place  to  sit  for  parents 
who  don't  want  to  sit  in  the  sand. 

PLAY  VILLAGE/FISHING  PIER 

The  play  village  and  fishing  pier  serve  as 
a  reference  to  the  City.  Located  on  the 
side  of  the  park  adjacent  to  the  commu- 
nity, they  add  the  look  and  feel  of  Santa 
Barbara.  The  play  village,  based  on  tradi- 


60       CHASE    PALM     PARK 


This  whale  is  about  to  breach  as  a  mother  sits  on  the  back  of  the  wave  wall. 


The  nautilus  is  completely  accessible. 


Rocks  in  the  nautilus  are  similar  to  those 
found  in  tidepools. 


A  spouting  fish  is  an  interactive  water 
element. 


CHASE    PALM     PARK  161 


An  oversized  starfish  provides  opportunities  for  climbing  and  sitting  and  to  play  in  the  sand. 


162       CHASE    PALM     PARK 


Local  artist  Susan  Jordan  painted  a  mural 
of  the  Santa  Barbara  mountains  and 
foothills. 


The  child-size  play  village  is  based  on  the  architecture  of  Santa  Barbara. 


tional  Santa  Barbara  building  facades,  is 
like  a  stage  set:  stucco  building  facades 
are  set  at  angles  so  children  can  imagine 
their  own  settings.  Local  artist  Susan 
Jordan  also  painted  a  mural  on  the  adja- 
cent sound  wall  to  create  a  backdrop  to 


the  play  village  that  looks  like  the  moun- 
tains behind  Santa  Barbara.  The  setting 
inspires  imaginative  play — children 
pretend  the  buildings  are  storefronts 
and  homes  while  interacting  with 
parents  and  play  leaders. 


CREEKLETS 

The  creeklets  are  veins  of  boulder-lined 
channels  that  run  through  the  park.  They 
are  especially  popular  in  the  summertime 
for  small  children  and  parents  who  sit 
nearby  and  talk.  They  are  closely  linked 


CHASE    PALM     PARK 


163 


to  the  play  village,  enhancing  their 
programmatic  contributions.  During 
summer  day  camps,  play  leaders  seed  the 
creeklets  with  "gold-plated"  rocks.  They 
set  up  an  assay  office  in  the  play  village 
where  the  children  trade  in  their  gold  for 
some  other  prize.  It  encourages  children 
to  explore  and  discover  their  environ- 
ment. The  play  village  facades  are  wheel- 
chair accessible  through  relatively  flat 
surfaces. 

A  wood  fishing  pier  extends  into  the 
shipwreck  play  area;  it  is  suggestive  of 
the  real  pier  in  Santa  Barbara.  The  pier  is 
wide  enough  to  accommodate  wheel- 
chairs. Play  leaders  put  metal  fish  in  the 
sand  around  the  pier,  and  children  use 
fishing  poles  with  magnets  on  the  end. 

SHIPWRECK  PLAYGROUND 

The  strong  theme  enhances  the  oppor- 
tunities for  universal  design.  From  the 
play  village  and  lighthouse,  a  ramp 


Children  love  the  creeklets  and  often  pan  for 
gold  like  the  '49ers  of  early  California. 


164       CHASE    PALM     PARK 


Children  and  play  leaders  use  the  play 
village  to  role  play,  such  as  exchanging 
gold  for  prizes  at  an  assay  office. 


■SBErer'V-  '-.x 


The  back  of  the  shipwreck  is  a  wide  inclined 
plane  for  going  down — and  climbing  up. 


slopes  down  into  the  play  area  and  a 
swath  of  ocean-blue  rubberized  safety 
surfacing  connects  the  ramp  to  the  sink- 
ing ship.  The  theme  transforms  this 


The  fishing  pier  is  wide  enough  to  accommodate  wheelchairs. 


entrance  route  from  a  single-purpose 
accessible  ramp  to  an  imaginary  boat 
ramp  leading  into  the  ocean  that  every- 
one can  use  for  play. 

The  shipwreck  climbing  structure  is 
the  central  element  of  the  play  area. 
The  play  apparatus  is  tilted  to  give  the 
impression  that  it  is  sinking  into  the 
sand.  This  slanted  ship  stern  is  the  most 
active  portion  of  the  play  structure. 
Groups  of  five  or  six  children  often 
work  together  to  form  a  human  chain, 
holding  hands  so  they  can  climb  up  the 


slant.  Ramps,  bridges  and  ground  plane 
elements  are  located  at  multiple  levels 
so  children  can  transfer  to  the  ship 
from  seating  areas  and  from  the  ocean, 
and  access  a  variety  of  play  experiences 
on  different  parts  of  the  ship.  All  levels 
of  the  ship  are  wheelchair  accessible. 

WOODEN  POLE  FOREST 

A  quieter  area  is  nestled  among  euca- 
lyptus trees  across  the  ocean  pathway 
from  the  shipwreck.  Here,  a  series  of 
vertical  wooden  poles  of  varying 


CHASE    PALM     PARK 


65 


heights  can  serve  as  a  framework  for 
construction  games  and  theater  sets  to 
be  used  by  the  play  leaders  in  summer 
day  camps.  The  ground  surface  is  engi- 
neered wood  fibre — an  accessible 
loose  fill  material  that  accommodates 
wheelchairs. 

LIGHTHOUSE  AND  SEATING  AREA 

Between  the  play  village  and  the  ship- 
wreck playground  is  a  seating  overlook 
area.  Here,  parents  and  caregivers  can 
rest  on  a  bench  or  steps  while  they 
watch  their  children  play.  There  is  also 
a  transfer  plank  that  children  can  use 
to  access  the  shipwreck  play  structure. 
The  lighthouse  is  designed  with  enough 
space  inside  to  accommodate  wheel- 
chairs, and  children  of  varying  heights 
can  access  the  handle  to  turn  the  light 
on  top. 


Children  can  enter  the  lighthouse  and  cooperatively  turn  the  pole  to  rotate  the  light. 


66       CHASE    PALM     PARK 


The  lighthouse  has  a  prism  light,  visible  from  the  inside. 


CHASE    PALM     PARK         167 


Management  and 
Operational  Issues 

IMAGINATIVE  PLAY 

Settings  that  support  fantasy  play  and 
physical  gross  motor  development  pres- 
ent several  management  and  operational 
challenges  if  play  value  is  to  be  maxi- 
mized. The  same  regular  maintenance 
and  attention  to  safety  is  required  as  a 


typical  playground.  However,  the  park 
works  best  with  play  leaders  who 
engage  children  in  activities  and  pro- 
grams that  relate  to  the  theme.  Play 
leaders  place  "gold"  in  creeks,  perform 
roles  and  talk  with  children  to  inspire 
play.  It  can  be  a  challenge  to  get  the  play 
leaders  to  fully  use  the  settings.  The  play 
village,  for  example,  is  not  as  active  as 
other  areas.  Young  children  play  hide 


and  seek,  but  without  play  leaders,  the 
play  doesn't  progress  much  beyond 
that. 

DESIGN  ELEMENTS 

The  wooden  pole  area  for  younger  kids 
has  not  functioned  as  originally  intended. 
The  design  intent  of  the  forest  of  poles 
was  to  be  a  flexible  retreat  space  that 
play  leaders  could  modify  by  stringing 
cloth  or  ribbons  from  one  pole  to  the 
next.  Now,  the  poles  are  more  of  a 
curiosity.  The  balance  beam,  cargo  net 
and  platforms  are  de  facto  picnic  tables, 
and  places  for  parents  to  sit  and  stash 
their  belongings. 

PLAY  EQUIPMENT 

The  designers  worked  with  a  play 
equipment  manufacturer  to  develop  the 
custom  shipwreck  apparatus.  This 
ensures  that  the  structure  complies  with 
current  accessibility  and  safety  laws. 
Two  spring  play  elements  have  become 
a  problem.  The  buoy  rocker  was 
removed  because  the  spring  was  too  soft 


Parents  can  use  the  whales  for  back  support  while  children  hitch  a  ride. 


168       CHASE    PALM     PARK 


and  it  was  hazardous,  while  the  escape 
raft  spring  benches  in  the  shipwreck 
area  are  too  stiff  and  don't  get  enough 
motion  to  be  an  exciting  play  element. 

WATER 

Water  always  presents  a  management 
and  operational  issue  in  play  areas.  In 
Chase  Palm  Park,  some  of  the  water 
features  were  experimental.  The  whale 
spray  needed  to  be  realistic  and  evoca- 
tive of  real  spouting,  and  still  be  safe 
and  workable.  The  plumbing  required 
intricate  engineering  to  adequately 
handle  the  water  flow  so  it  would  not 
be  too  forceful. 

The  expectation  was  that  a  park  with  so 
much  community  focus,  pride  and  visi- 
bility could  afford  this  higher  level  of 
maintenance.  Water  features  need  to  be 
tested  over  a  long  period  of  time.  The 
lesson  learned  is  to  assume  that  all 
maintenance  will  be  performed  in- 
house,  and  to  design  with  that  in  mind 
by  specifying  parts  and  maintenance 
methods  that  are  consistent  with  a 


The  spouting  fish,  by  local  artist  Scott  Peterson,  is  a  favorite  with  small  children,  and 
located  within  easy  reach  of  children  using  wheelchairs. 


maintenance  department's  operations. 
Another  lesson  learned  is  that  a  park 
like  this  will  be  so  popular  and  well- 
used  that  the  normal  level  of  mainte- 
nance must  be  increased. 


WORKING  WITH  ARTISTS 

Including  artists  on  the  design  team 
adds  unique  elements  to  the  park.  In 
the  design  and  construction  process, 
working  with  artists  differs  from  work- 
ing with  trade  contractors.  Artists' 


CHASE    PALM     PARK 


169 


work  requires  both  creative  design  and 
fabrication  processes  beyond  typical 
construction.  The  City  also  needed  to 
provide  special  contracting  procedures, 
insurance  and  liability  for  the  artists. 

For  the  elements  designed  by  artists  to 
be  acceptable  in  a  children's  play  envi- 
ronment, they  must  meet  all  safety, 
accessibility  and  maintenance  require- 
ments. A  greater  level  of  engineering 
detail  (including  consideration  of  main- 
tenance, service  and  parts  required  to 
keep  the  elements  functioning)  should 
be  an  intentional  part  of  the  design 
process.  Ideally,  artists  will  have  creative 
input  and  then  work  with  an  engineer 
to  design  the  mechanics  and  prepare  the 
technical  drawings  required  to  build  and 
maintain  the  element. 


User  Feedback 

The  following  comments  are  from  staff 
who  have  used  the  play  area  for  over 
three  years. 

hilly  Goodnick,  City  of  Santa  Barbara 
Landscape  Architect 

"This  park  has  been  adopted  into  the 
community's  heart:  family  celebrations, 
weddings,  tree  dedications  to  commem- 
orate special  events  in  peoples'  lives, 
and  as  a  destination  to  show  off  to  visi- 
tors. The  park  provides  a  needed  venue 
for  many  daily  activities  and  special 
events,  both  public  and  private.  The 
well-executed  design  and  high  caliber 
of  maintenance  are  a  source  of  pride;  a 
top-notch  project  creates  a  higher 
standard  for  other  community  improve- 
ments. This  park  has  become  the  bench- 
mark. 


"The  community-based  design  charette 

was  invaluable The  community's 

insight  was  the  impetus  for  a  workable 
design  and  they  got  it  right.  The  com- 
munity process  also  asked  for  integrat- 
ing art  into  the  design,  which  was 
successfully  achieved  by  local  artists 
who  created  a  strong  sense  of  place  and 
conveyed  Santa  Barbara's  unique  loca- 
tion and  character.  Santa  Barbara  is  a 
beach  community,  but  we  never  had  a 
place  to  celebrate  our  strong  coastal 
character.  Chase  Palm  Park  provides  the 
equivalent  of  a  multi-use  town  square, 
right  on  the  waterfront. 

"The  totally  unique,  art-filled  play  area 
is  a  source  of  hours  of  play  and  explo- 
ration for  children.  The  summertime 
creeklets  are  a  huge  hit  with  toddlers 
and  young  kids.  And  there  are  clutches 
of  kids  hanging  by  the  whales,  waiting 
for  the  spout  to  go  off,  which  makes  the 


170       CHASE    PALM     PARK 


place  exciting.  There's  a  lot  of  fun,  wet 
sand  play  by  the  nautilus.  Most  of  the 
play  centers  on  the  sand  areas  and  the 
shipwreck;  not  a  lot  of  kids  go  to  the 
end  of  the  pier,  and  the  wooden  poles 
haven't  really  worked  out. 

"The  style  is  a  perfect  fit  with  the  rest 
of  the  distinctive  architecture  of  Santa 
Barbara  and  has  a  timeless  feel.  All  the 
materials  seem  to  have  sprung  from  one 
design  vision  and  integrate  well  with 
the  givens  of  the  site.  The  final  key  is 
that  the  designers  and  City  staff  truly 
collaborated  down  to  the  minute  details 
that  allow  the  park  to  remain  well- 
maintained  without  overburdening  our 
perennially  tight  budgets." 


Jerri  Brown,  Assistant  Parks  and 
Recreation  Supervisor,Youth  Activities 

"We  have  programming  for  ten  weeks  in 
the  summer.  We  set  the  stage  up  as  a 
frontier  village  and  use  the  creeklets  as 
part  of  a  frontier  village  to  pan  for  gold. 
We  trade  for  play  money  and  set  up 
frontier  businesses.  The  shipwreck  lets 
us  create  a  treasure  quest,  telling  the 
story  of  a  pirate  who  left  buried  treas- 
ure. Kids  find  the  map,  find  treasures 
and  paint  their  faces  like  pirates.  We  can 
also  turn  the  stage  into  a  circus.  During 
the  year,  we  have  other  special  events, 
like  an  egg  hunt  for  thousands  of  kids." 


CHASE    PALM     PARK 


17  I 


EDISON    SCHOOL/ PACIFIC    PARK  GLENDALE,    CALIFORNIA 


"This  facility  feels  like  a  park,  not  just  a  typical  school.  It's  a  joy  to  see 
kids  running  and  playing  tag. ..just  being  kids." 

PRINCIPAL,  EDISON  SCHOOL 


COMBINING   COMMUNITY 
FACILITIES 

SUSAN   MCKAY 

SUSAN   GOLTSMAN  THE  NEW  EDISON  SCHOOL/PACIFIC  PARK  IS  THE  RESULT  OF  A  UNIQUE  COLLABORATION 

between  the  City  of  Glendale,  the  Glendale  Unified  School  District  and  residents 

of  the  Edison-Pacific  neighborhood. The  concept,  design  and  construction  were  all 

guided  and  sustained  by  local  community  energy.  The  school  is  a  community  focal 

point,  bustling  with  activity  fifteen  hours  a  day,  seven  days  a  week.  Residents  now 

enjoy  using  a  new  elementary  school,  library,  community  center,  and  a  completely 

renovated  and  expanded  park. 

The  park  facilities  include  a  little  league  ballpark,  multi-purpose  field  and  hard  court, 
children's  playground,  group  picnic  area,  water  play  area,  and  outdoor  theater  in  the 


173 


The  new  community  center  and  public  library  share  many  common  facilities. 


CITY  OF  GLENDALE 


PROJECT  Edison  School/Pacific  Park  Revitalization      LOCATION  Glendale,  California 
DATE  DESIGNED  1994  (community  process  began);  1996-1997  (design  process) 
CONSTRUCTION  COMPLETED    2003       CONSTRUCTION   COST  $26  million 
(including  land  acquisition)      SIZE  9.5  acres      CLIENT  City  of  Glendale  and  Glendale 
Unified  School  District      NEIGHBORHOOD  PLANNING  Community  Involvement  and 
MIG,  Inc.      DESIGN  ARCHITECT  Siegel  Diamond  Architects      ARCHITECT  OF 
RECORD  Leidenfrost/Horowitz  &  Associates,  Inc.      DESIGN  LANDSCAPE  ARCHITECT 
MIG,  Inc.      LANDSCAPE  ARCHITECT  OF  RECORD  Takata  Associates 


74        EDISON    SCHOOL/PACIFIC    PARK 


school  playground.  The  community 
center  also  incorporates  a  special  area 
for  youth  and  teens. 

DESIGN  GOALS 

The  City  of  Glendale  faced  a  set  of 
critical  community  needs:  an  old,  over- 
crowded school,  the  lack  of  libraries  and 
a  park  needing  renovation.  The  student 
population  at  Edison  School  is  very 
diverse.  Enrollment  for  the  2002—03 
school  year  was  over  800  children  in 
grades  kindergarten  through  6,  with 
approximately  54  percent  Hispanic,  33 
percent  Caucasian  (mainly  Armenian 
immigrants),  6  percent  Filipino,  5 
percent  Asian,  and  2  percent  African 
American.  About  72  percent  of  students 
are  English  language  learners  and  almost 
84  percent  are  eligible  for  free  or 
reduced-price  meals. 

The  City  decided  to  enlist  the  whole 
community  through  neighborhood  plan- 
ning, a  comprehensive  approach  that 
involved  the  community  in  the  entire 
planning  process.  As  a  result  of  the  three - 


Building  the  new  elementary  school  was  fueled  by  the  passion  of  parents,  the  school  principal  and  staff. 

CITY  OF  GLENDALE 


EDISON    SCHOOL/PACIFIC    PARK        175 


176 


?ive"da:a 


The  school  is  surrounded  by  dense  urban  area.  Final  siting  of  buildings  and  park  elements 
reflected  community  input. 

CITY  OF  GLENDALE 


The  fully  equipped  computer  lab  is  used 
by  the  school  during  the  day  and  by  the 
community  in  the  evenings. 

CITY  OF  GLENDALE 


year  planning  process,  the  City  and  the 
Glendale  Unified  School  District 
embarked  on  the  joint  project.  Neither 
the  City  nor  the  school  district  had 
enough  funds  to  create  two  separate 
facilities.  But  by  pooling  and  leveraging 
City  and  school  resources,  they  achieved 
sufficient  financial  capability  to  create  a 
shared-use  facility  that  could  serve  the 

The  conceptual  master  plan  contained  a 
rich  and  diverse  array  of  community 
facilities,  spaces  and  amenities. 


entire  community.  The  school  and  adja- 
cent park  now  share  the  library,  a 
multi-purpose  cafeteria  and  gymna- 
sium, hard  court  and  turf  play  areas, 
and  parking.  Separate  entrances  and 
designated  access  for  the  school  and 
for  the  community  facilitate  shared 
use. The  mixed-use  facility  is  now  the 
"focal  point  of  identity  and  activity  for 


the  surrounding  residential  neighbor- 
hood," as  stated  in  the  Pacific- Edison 
model  neighborhood  plan. 

The  new  Edison  Elementary  School 
replaced  the  existing  building  with  a 
fully  modernized  facility.  School 
resources  are  expanded  during  school 
hours  with  student  and  staff  access  to 


EDISON    SCHOOL/PACIFIC    PARK        177 


^— ■*=»*, 


Many  children  and  youth  visit  the  park  after  school  hours. 


Neighborhood  residents  take  advantage  of  the  toddler  area,  which  is  open  at  all  times. 


the  shared-use  facilities  such  as  the 
library,  gymnasium,  indoor /outdoor 
stage,  athletic  fields  and  food  services. 

The  shared-use  Pacific  Community 
Center  is  designed  to  serve  every  age 
group  in  the  community,  from  infants  to 
elders.  The  facility  itself  includes  a  multi- 
purpose gymnasium,  game  room,  com- 
puter lab,  arts  and  science  room, 
conference  room,  and  meeting  rooms — 
all  of  which  are  used  by  the  school  and 
open  to  the  public  during  non- school 
hours.  Community  members  can  take  a 
variety  of  classes  and  participate  in  pro- 
grams such  as  driver  education,  English 
as  a  second  language,  parenting  and 
computer  classes.  Babysitting  services 
are  available  during  class  times  to 
encourage  participation. 

The  project  also  includes  a  new  neigh- 
borhood branch  of  the  Glendale  Public 
Library.  The  Pacific  Park  Branch  Library 
is  open  to  students  during  school  hours 
and  to  the  community  during  non- 
school  hours.  Materials  at  the  library  are 


78        EDISON    SCHOOL/PACIFIC    PARK 


available  in  the  languages  represented  in 
the  community,  including  Armenian, 
Spanish  and  Korean.  Library  use  is 
extremely  high.  In  addition  to  basic 
reading  and  book-related  services,  the 
library  provides  a  place  for  children  to 


study  after  school,  job-seeking  assis- 
tance for  community  members  and 
health-related  materials  for  seniors. 

All  areas  indoors  and  outdoors  are  fully 
accessible.  Buildings  and  park  areas 
were  sited  and  designed  at  grade  to 


avoid  ramps  and  stairs.  Play  areas  were 
designed  with  accessible  play  equipment 
and  safety  surfacing  so  that  wheelchair 
users  or  persons  with  mobility  impair- 
ments have  access  to  all  play  elements. 

USER  GROUPS 

J  Preschool  children 

■  Schoolchildren  (K— 6) 
_i  Teachers 

■  Staff 

■  Community  members  (children, 
teens,  adults,  seniors) 


Young  people  use  the  community  center  after  school  and  on  weekends. 


All  paths  are  fully  accessible. 


EDISON    SCHOOL/PACIFIC     PARK        179 


The  school  operates  on  a  year-round 
calendar  so  students  use  the  community 
facilities  throughout  the  year. 

DESIGN  PROCESS 

Neighborhood-based  planning  brings 
together  all  points  of  view  to  develop 
a  shared  vision  for  community  devel- 
opment. The  City  of  Glendale  adopted 
this  inclusive  approach  for  its  Strategic 
Plan  process  to  revitalize  neighbor- 
hoods City  wide.  This  process  required 
the  active  participation  of  local  resi- 
dents through  a  neighborhood  task 
force. The  City,  the  school,  businesses 
and  community  organizations  commit- 
ted their  resources  to  the  process.  In 
this  case,  two  usually  underrepresented 
minority  communities  (Armenian  and 
Mexican)  formed  a  strong  coalition. 
Teachers  spoke  with  students,  who  in 
turn  got  their  parents  involved.  A 
dynamic  principal  and  staff  made  par- 
ents feel  included  and  involved,  and 


Armenian  and  Mexican  design  motifs  on  the  building  facade  reflect  the  ethnic  make-up  of 
the  neighborhood. 


KATE  DIAMOND 


the  community  soon  became  the  driv- 
ing force  behind  the  project.  All  out- 
reach materials  were  produced  in 
English,  Spanish  and  Armenian. 


The  City  identified  the  Edison-Pacific 
area  as  a  model  neighborhood  in  its 
Strategic  Plan.  The  City  coordinated  the 
project  financing  and  property  acquisi- 
tion, acquiring  new  parcels  within  the 


A  new  water  play  feature  replaced  the  out- 
dated (and  expensive!)  swimming  pool. 


CITY  OF  GLENDALE 


EDISON    SCHOOL/PACIFIC    PARK 


81 


■y 


&< 


:w 


v     *<;Z 


■  mm 


:.',■■  ■-'  •■  i 


i 


—    \ 


{•".■*•-■>*  -;:■ 


This  mature  heritage  oak  tree  was  preserved,  becoming  a  focal  point  of  the  courtyard. 
Some  classrooms  and  labs,  as  well  as  the  library  and  outdoor  eating  area,  surround  the 
courtyard  and  are  connected  by  a  covered  arcade. 


EDISON    SCHOOL/PACIFIC    PARK        183 


■I 


An  accessible  ramp  leads  to  play  equipment 
in  the  children's  play  area. 


The  interior  of  the  library  reflects  the 
colors  and  design  of  the  exterior. 


The  plaza  contains  sitting  areas  with  a  lion's  head  fountain  and  shade  trees,  and  serves  as 
the  public  entry  to  the  library. 


two-acre  block  and  relocating  150  resi- 
dents. The  Neighborhood  Task  Force, 
City  departments  and  school  district 
planned  the  project.  Broader  commu- 
nity participation  occurred  at  neighbor- 
hood workshops  and  community 
festivals. 

The  design  team  provided  drawings  and 
renderings  of  the  park  to  help  commu- 
nity members  visualize  this  large, 
complex  development  project.  The 
illustrations  showed  how  the  existing 
park  would  be  enhanced,  and  its  rela- 
tionship to  the  new  school.  The  work- 
shops galvanized  the  community  and 
gave  voice  to  its  ideas  and  needs. 

The  architect  played  a  strong  role  in 
shepherding  the  community  and  City 
through  the  process,  explaining  the 
complicated  project  to  each  City  offi- 
cial, including  the  operational  details  of 
how  the  library,  school  district,  and 
City  would  share  responsibility  and 
benefit  from  the  project.  City  officials 
and  school  district  staff  produced  the 


184        EDISON    SCHOOL/PACIFIC    PARK 


The  school  playground  includes  amphitheater-style  seating  that  is  fully  accessible  by  a  gently  sloping  walkway. 


program  for  the  site,  as  well  as  opera- 
tions and  maintenance  plans,  through  a 
series  of  intensive  working  sessions. 

As  with  any  design  process,  existing 
conditions  and  constraints  influenced 
the  design.  The  existing  school  on  the 
site  needed  to  remain  open  during  con- 
struction of  the  new  school.  The  new 
school  was  located  on  the  other  side  of 


the  street  in  the  existing  park,  so  the 
old  school  could  stay  open.  The  old 
school  site  will  eventually  become  new, 
badly  needed  housing. 

Land  use  issues  also  greatly  influenced 
the  design.  The  mixed-use  community 
facility  required  a  significant  effort  to 
purchase  the  land  and  relocate  about 
1  50  residents,  resulting  in  the  entire 


project  being  contained  within  one 
block.  A  major  benefit  of  this  scheme  is 
that  children  do  not  need  to  cross  busy 
streets  to  get  from  place  to  place  as 
they  would  if  uses  were  dispersed 
throughout  the  neighborhood. 

Legal  issues  also  played  a  role  as 
contracts  were  negotiated  to  bring 
together  the  school  district  and  the 


EDISON    SCHOOL/PACIFIC    PARK        185 


The  group  picnic  area  is  used  by  the  school  and  is  open  to  the  public  after  hours. 


A  large  shade  structure  keeps  eating  areas 
cooler. 


City  to  determine  responsibility  for 
property  maintenance.  This  established 
where  the  shared-use  facilities  and 
fences  were  located.  Now  that  the 
school  district  and  the  City  have  a  joint 
use  agreement,  the  stage  is  set  for 
additional  projects  and  opportunities 
throughout  the  City. 


This  process  illustrates  the  power  of 
inclusive  design  as  a  framework  for 
planning  that  precedes  actual  design: 
involving  all  users  in  creating  an  envi- 
ronment results  in  a  project  that  is 
usable  by  the  greatest  possible  number 
of  people. 


Inclusive  Design  Features 
and  Settings 

ARCHITECTURAL  USE 

The  school  operates  year  round  so  there 
are  always  children  using  the  shared 
facilities  (park,  library,  ball  fields). The 
site  is  flat  and  designed  for  convenient 
access  with  wide  stairs,  a  visible  elevator 
and  gentle  slopes.  Spaces  flow  smoothly 


86        EDISON    SCHOOL/PACIFIC    PARK 


The  kindergarten  play  area  includes  a  "village"  for  fantasy  play. 


from  one  area  to  the  next.  The  site  is 
planned  for  age-focused  activities  while 
still  being  viewable  and  accessible  to  all 
ages.  Fences  are  transparent,  which  helps 
with  security  issues  and  prevents  groups 
from  being  completely  segregated  from 
each  other. 

Spaces  throughout  the  site  will  eventu- 
ally be  filled  with  public  art.  A  com- 


munity center  lobby  project  by  an 
Armenian  youth  group  is  in  the  works. 

SCHOOL  BUILDINGS 

The  school  has  an  intimate  feeling  that 
is  achieved  through  design.  Classrooms 
have  peaked  ceilings,  rather  than  the 
traditionally  flat  ones  prevalent  in  most 
schools.  Rooms  are  not  entirely  rectan- 
gular; there  are  built-in  nooks  and  other 


"hidden"  places.  Ground  floor  class- 
rooms open  directly  to  outdoor  patios. 
Second  floor  rooms  open  to  bridged 
corridors  that  orient  students  to  the 
ground  level  areas  below. 

The  courtyard  between  building  wings  is 
a  landscaped  outdoor  space  that  supports 
instructional  programs. 


EDISON    SCHOOL/PACIFIC    PARK        187 


Classrooms  have  peaked  roofs  and  built-in  nooks. 


KATE  DIAMOND 


The  design  of  the  reading  and  story  area 
within  the  library  is  based  on  a  round 
building  architectural  feature  found  in 
Armenia. 

A  poured-in-place,  tilt-up  construction 
method  was  used  to  form  the  commu- 
nity center  and  school  buildings.  This 
allowed  for  relief  motifs  expressing 
community  cultures  on  exterior  walls. 

COMMUNITY  CENTER 

The  Community  Center  has  a  large, 
shared  lobby  and  courtyard  space  for  a 
cafe,  a  future  police  substation  and 
other  community  activities.  Community 
members  are  comfortable  with  all  ages 
interacting.  Senior  activities  are  on  the 
second  floor,  overlooking  adolescents 
below.  There  is  one  entry  which  every- 
one uses. 

MULTI-PURPOSE  FIELD 

The  multi-purpose  field  is  a  large  rec- 
tangular turf  area  (approximately  200 


The  gymnasium  opens  onto  an  outdoor  stage  with  amphitheater  seating  for 
community  events. 


188        EDISON    SCHOOL/PACIFIC    PARK 


The  community  uses  the  gymnasium  during 
non-school  hours. 


CITY  OF  GLENDALE 


feet  by  300  feet).  Students  and  commu- 
nity members  use  this  field  both  for 
organized  and  free  play  sports. 

GROUP  PICNIC  AREA 

The  group  picnic  area  is  located 
between  the  field  and  the  little  league 
ball  field.  Surrounded  by  pine  trees,  it 
contains  tables  and  barbecues  under- 
neath shelters,  plus  benches  and  trash 
receptacles.  Users  can  access  the  picnic 
area  either  by  the  adjacent  parking  lot 


or  by  a  gently  sloped  concrete  path 
connecting  the  rest  of  the  park  and  the 
schoolyard. 

BALL  FIELD 

The  renovated  ball  field  is  a  standard  size 
little  league  field.  It  is  located  adjacent 
to  the  picnic  area  and  the  restrooms  and 
concession  stand.  An  accessible  entrance 
connects  adjacent  streets  and  parking 
area  to  the  ball  field. 

MULTI-PURPOSE  HARD  COURT 

The  multi-purpose  hard  court  is  sized 
for  volleyball  and  basketball.  It  is  adja- 
cent to  the  community  center  entry  and 
youth  and  teenage  area  to  be  convenient 
for  after-school  programs. 

SCHOOL  PLAY  YARD 

Children  have  access  to  the  multi- 
purpose turf  field,  a  composite  play 
structure  and  hard  court  asphalt  area 
during  recess  and  lunchtime.  After 
school,  all  children  are  welcome  to  use 
the  area  with  adult  supervision. 


CHILDREN'S  PLAY  AREA  AND 
WATER  PLAY 

The  children's  play  area  has  several  dif- 
ferent settings,  including  a  water  spray 
area  (in  which  sprinklers  in  the  guise 
of  life-sized  palm  trees  rain  down  on 
children),  swings,  and  a  village  with 
small  play  houses.  All  areas  are  accessi- 
ble; safety  surfacing  is  either  rubber- 
ized surfacing  or  engineered  wood 
fiber. 

PUBLIC  GARDEN  AND  PLAZA 

The  public  garden  has  benches,  a  lion's 
head  fountain  and  shade  trees.  This 
garden  is  located  at  the  corner  of  the 
site  and  serves  as  the  public  entry  to  the 
community  center  and  library.  This 
space  was  designed  to  accommodate 
large  community-wide  events. 


Management  and 
Operational  Issues 

The  project  is  heralded  as  a  template  for 
a  successful  joint  venture  between  a  city 
and  school  district. 


EDISON    SCHOOL/PACIFIC    PARK        189 


After  just  the  first  year  of  operation,  the 
public  library  circulation  matched  other 
established  branch  libraries.  The  school 
principal  reports  this  is  partially  due  to 
an  influx  of  more  children  reading  after 
school  hours. 

No  additional  staffing  has  been 
required  at  the  school.  The  City's  Parks 
and  Recreation  Department  has  an 
affiliation  with  a  neighborhood  church 
and  they  have  developed  a  joint  use 
agreement  to  help  maintain  the  prop- 
erty. This  has  resulted  in  additional 
community  involvement  and  support. 
Since  the  school  is  open  from  5:30 
a.m.  to  1 1  p.m.,  wear  and  tear  is 
higher  than  most  schools,  further 
evidence  of  the  project's  success. 


Lively  building  colors  and  an  articulated  facade  contribute  to  the  vitality  of  the  new 
community  project. 


I  90        EDISON    SCHOOL/PACIFIC    PARK 


User  Feedback 

Linda  Conover,  Principal 

"The  project  is  a  great  success.  The  col- 
laboration with  the  City  has  been  very 
good  and  a  growth  experience  for 
everyone  involved.  There  is  an  overall 
feeling  that  the  facility  serves  the  com- 
munity well.  The  increased  number  of 
on-site  programs  in  the  family  center 
and  library  brings  parents  to  the  school. 

"Students  are  so  proud  to  be  at  the 
school.  The  first  few  weeks  after  it 


opened,  students  came  up  to  me  in  the 
hallways  and  said,  'Thank  you  for  the 
school!'  They  are  excited  about  all  the 
new  facilities:  the  computer  lab,  library, 
field  and  play  apparatus. 

"The  outdoor  spaces,  such  as  the  sloping 
grass  courtyards  between  buildings, 
make  the  facility  feel  like  a  park,  not 
just  a  typical  school.  It's  a  joy  to  see  kids 
running  and  playing  tag  on  the  multi- 
purpose field,  just  being  kids." 


The  second  level  corridor  overlooks  the 
school's  landscaped  courtyard. 


KATE  DIAMOND 


Colorful  mosaic  tiles  on  the  school's  facade 
enhance  the  students'  daily  experience. 


EDISON    SCHOOL/PACIFIC    PARK  191 


"Coming  to  the  market  is  like  being  part  of  the  hustle  and  bustle  of  a 
large  city.. .everyone's  talking,  the  colors,  the  people. ...But  it's  a  small 
town.  I  feel  comfortable." 


DAVIS  RESIDENT 


GAT  H  E  R I N  G    P  LAC  ES 


STANTON   JONES 

CHERYLSULLIVAN  IN  1986>  A  DEVELOPER  PROPOSED  TURNING  A  LARGE  GRAVEL  PARKING  LOT  INTO  A  SHOPPING 

mall,  right  across  the  street  from  a  quiet  downtown  park.  That  proposal  generated  a 
popular  uprising  among  the  residents  of  Davis,  California,  and  resulted  in  a  one-of-a- 
kind  park  that  has  become  the  family  room  for  the  community  of  Davis. 

Public  squares  and  central  parks  are  not  uncommon  elements  in  the  fabric  of  cities 
and  towns  across  North  America;  in  many  cases,  cities  have  found  great  success  in 
creating  a  pleasant,  vibrant  place  where  members  of  that  community  can  play,  rest 
and  celebrate  in  a  venue  that  elevates  the  pride  that  individuals  have  for  their  home 
town.  What  is  rare,  however,  is  the  creation  of  a  place  that  is  so  intensely  interwoven 


93 


A  lovely  grove  of  sycamore  trees  provides  shady  spots  for  picnics  in  the  summer.  The  trees 
date  from  the  1 930s  and  the  community  won't  allow  them  to  be  touched. 


PROJECT  Davis  Central  Park      LOCATION  Davis,  California      DATE  DESIGNED 
Phase  1:  1987;  Phase  2:  1991       CONSTRUCTION  COMPLETED  Phase  1:  1990; 
Phase  2:  1992      CONSTRUCTION  COST  $1  million       SIZE     5  acres 
DESIGN   CoDesign,  Inc.  (now  part  of  MIG,  Inc.)      CLIENT  City  of  Davis 


into  a  community's  fabric  that  its  resi- 
dents can't  imagine  their  city  without 
it.  Even  more  rare  are  places  that  have 
been  designed  for  the  broadest  spec- 
trum of  park  users  imaginable,  where 
programmed  and  unprogrammed  activ- 
ities abound,  and  where  outside  non- 
governmental agencies  and  city  park 
staff  cooperate  in  the  development, 
management  and  care  of  the  place.  Add 
to  this  a  design  process  that  offered  the 
community  a  meaningful,  participatory 
role  in  developing  concepts  and  designs 
for  the  park,  and  the  result  is  a  truly 
special  place.  Central  Park  in  Davis, 
California,  is  just  such  a  place. 

The  original  park,  located  along  the  old 
Lincoln  Highway  between  the  heart  of 
Downtown  Davis  and  the  campus  of  the 
University  of  California,  Davis,  was  one 
square  block.  (Central  Park  is  four 
blocks  from  Davis  Commons,  described 
in  the  chapter  "Transforming  Retail 
Space  into  Community  Space.")  Over 
time,  the  park  had  evolved  into  a  sacred 
place  for  the  community,  a  relatively 
quiet  downtown  park  with  a  large  grove 


I  94        DAVIS    CENTRAL    PARK 


of  sycamore  trees  where  families  gath- 
ered for  reunions,  picnics  and  barbe- 
cues. Every  Saturday  morning,  the  park 
bursts  with  activity  when  one  of  the 
most  successful  farmers  markets  in  the 
State  of  California  sets  up  its  trucks  and 
booths  on  the  adjacent  street. 

In  1986,  the  proposal  to  turn  the  large 
gravel  parking  lot  directly  adjacent  to 
Central  Park  into  a  shopping  mall  led  to 
the  creation  of  a  grass  roots  group 
called  Save  Open  Space  (SOS).  Rather 
than  build  a  mall,  the  group's  counter- 
proposal was  to  make  one  large  park  by 
incorporating  the  gravel  lot  and  elimi- 
nating the  street  between  the  park  and 
the  lot.  Their  efforts  ultimately  led  to  a 
ballot  measure  that  offered  all  of  the 
residents  of  Davis  a  choice:  mall  or 
park.  Voters  turned  down  the  mall  in 
June  of  1986  and  design  began  on  the 
new  park. 


The  park  on  market  day  is  a  bustling  place,  voted  as  the  best  place  to  picnic  in  Davis — and 
to  see  and  be  seen. 


DAVIS   CENTRAL   PARK        195 


Reminiscent  of  a  large  barn,  the  pavilion  at  Central  Park  is  the  first  permanent  covered 
market  structure  of  its  kind  in  California. 


DESIGN  GOALS 

From  the  outset  the  purpose  of  Central 
Park  was  to  provide  a  truly  inclusive, 
vibrant  and  adaptive  public  space  that 
would  reflect  the  soul  of  the  commu- 
nity now  and  in  the  future.  It  also 
needed  to  include  several  critical 


elements,  the  most  notable  being  the 
Davis  Farmers  Market,  which  contin- 
ues to  draw  up  to  10,000  people  to  the 
area  every  Saturday.  But  the  park  is 
more  than  just  an  improved  venue  for 
the  market.  Other  uses  were  also 
incorporated  into  its  fabric,  including  a 


Locally  grown  flowers  are  also  a  big  draw. 

teen  center,  a  large  picnic  and  play 
lawn,  a  small  plaza  for  performances,  a 
preserved  historic  grove  of  sycamore 
trees,  and  special  features  such  as  an 
interactive  fountain  and  a  community- 
installed  garden.  Several  public  art 
projects  add  yet  another  layer  to  the 
park,  increasing  its  appeal  to  an 
extremely  large  spectrum  of  the  popu- 
lation. While  this  sounds  like  a  long  list 
of  concerns  to  be  organized  in  the 
park,  the  key  to  its  ultimate  success 
was  the  way  in  which  the  list,  the  plan 
and  the  design  were  developed. 


The  farmers  market  bustles  with  activity 
and  seasonal  produce. 


DAVIS   CENTRAL   PARK        197 


On  Wednesday  evenings  "Picnic  in  the  Park"  draws  thousands  of  people  to  their  community  living  room,  Davis  Central  Park. 


198        DAVIS    CENTRAL    PARK 


Today,  the  park  serves  as  the  living 
room  for  the  City  of  Davis.  In  addition 
to  the  Saturday  morning  market,  on 
Wednesday  nights  the  "Picnic  in  the 
Park"  market  and  food  bazaar  draws 
3,000  to  6,000  people.  "Picnic  in  the 
Park"  runs  from  May  to  October.  An 
ongoing  list  of  programmed  activities 
organized  by  Third  &  B,  the  teen  center 
located  at  the  corner  of  the  park,  draws 


7th  through  1 2th  graders  to  the  park 
during  both  days  and  evenings.  The 
large  at-grade  fountain  and  its  sur- 
rounding hardscape  (called  The  Beach 
by  Davis  residents)  offers  children  and 
adults  a  place  to  hang  out,  stay  cool  and 
play  among  the  water  jets  in  the  hot 
summer  sun.  The  large  lawn  area  is  a 
place  for  picnics,  dog  shows,  Frisbee 
games  and  all  sorts  of  child's  play.  Also 


located  in  the  park  is  the  Hattie  Weber 
Museum,  the  City's  first  library.  The 
building  was  relocated  to  the  park  and 
remodeled  as  a  community  meeting 
hall  and  museum,  with  exhibits  depict- 
ing the  history  of  Davis  (which  used 
to  be  called  Davisville)  and  a  pedal- 
powered  carousel  donated  by  the  Davis 
Education  Fund. 


All  sorts  of  community  groups  perform  on  the  permanent  wooden  bandstand. 


Long  summer  evenings  are  perfect  for 
informal  folk  music. 


DAVIS   CENTRAL  PARK        199 


USER  GROUPS 

■  All  Davis  residents 

■  Davis  Farmers  Market  (market 
vendors  and  shoppers) 

■  Families 

■  Children 

■  Teens 

■  Performers 

■  Artists 

■  Picnickers 

■  Park  Department  staff 

DESIGN  PROCESS 

Once  the  City  had  the  mandate  of  the 
electorate,  landscape  architect  and  Davis 
resident  Mark  Francis  began  coordinat- 
ing a  series  of  workshops  with  several 
goals  in  mind.  The  design  process  was 
diverse  and  extremely  inclusive  from 
the  outset,  incorporating  a  number  of 
different  techniques  for  soliciting  ideas, 
generating  concepts  and  building  both 
support  and  an  enthusiastic  constituency 
for  the  expanded  park.  The  participa- 
tory meetings — conducted  in  the 


park — helped  people  to  understand 
what  was  there  and  to  map  out  "sacred 
spaces"  that  individual  residents  wanted 
preserved.  This  was  done  through  walk- 
ing tours  of  the  park  and  design  work- 
shops held  on  site  (under  a  tent  on 
some  occasions),  which  helped  give 
form  to  the  overall  park  master  plan. 
People  used  styrofoam  model  pieces  to 
design  their  ideal  park  on  base  sheets. 


Two  unique  user  groups,  the  Farmers 
Market  and  the  Third  &  B  Teen  Center, 
wanted  to  be  located  in  the  park  and 
each  required  a  permanent  facility.  Key 
to  the  development  of  the  plan  was 
recognizing  the  importance  of  the 
Farmers  Market  as  an  integral  compo- 
nent of  the  life  and  future  of  the  park. 
After  Phase  1  was  built,  another  series 
of  workshops  were  held  with  the 


"^ 


Participatory  meetings  drew  the  community  deep  into  the  design  process. 


200       DAVIS    CENTRAL    PARK 


Community  members  of  all  ages  offered 
their  thoughts  about  the  park  design. 


Farmers  Market  to  design  the  first  per- 
manent, covered  market  pavilion  in 
California.  It  needed  to  accommodate 
the  vendor  trucks  inside  the  park  and 
still  be  a  space  suitable  for  other  events 
outside  of  market  days. 

Similarly,  the  development  of  the  Third 
&  B  Teen  Center  was  also  perceived  as 
critical  to  the  future  of  the  park,  leading 
design  team  members  to  work  with 
local  teen  advocates  and  with  the 
landscape  architecture  faculty  of  the 


University  who,  because  of  their  previ- 
ous work  with  teens  and  the  commu- 
nity, were  well  aware  of  the  needs  of 
teens  in  public  space.  A  Teen  Facility 
Task  Force  evaluated  the  need  for  a  teen 
center  and  surveyed  junior  and  senior 
high  school  students  on  their  interest  in 
having  a  teen  center.  Then  a  committee 
of  teens  and  interested  public  developed 
a  program  for  the  type  of  facility,  activi- 
ties and  potential  users.  Every  year  a 
teen  activity  planning  group  is  organ- 
ized to  help  plan  activities  and  programs 
for  the  coming  year.  After  1 3  years, 
Third  &  B  is  still  a  success.  Attendance 
in  2003-2004  was  over  29,000. 

The  public  design  process  resulted  in  a 
program  and  plan  for  the  park  that  was 
consensus  based,  and  that  had  such  a 
strong  set  of  roots  in  the  community 
that  all  subsequent  changes  and  addi- 
tions to  the  park  have  been  evaluated 
through  the  lens  of  how  well  the  ele- 
ment or  program  matches  the  intent  of 
the  master  plan. 


Inclusive  Design  Features 
and  Settings 

The  park  possesses  a  number  of  key 
design  features  that  make  for  a  highly 
inclusive  place. 

THE  BEACH 

One  of  the  primary  focal  points  of  the 
park  is  the  plaza  at  the  south  end  of  the 
park,  labeled  The  Beach  by  locals.  It  has 
as  its  centerpiece  a  large  at-grade  foun- 
tain that  offers  people  of  all  abilities — 
children  on  bikes  and  in  strollers,  and 
parents  looking  for  a  place  to  play  and 
stay  cool  with  their  children — an  oppor- 
tunity to  participate  in  the  life  of  the 
place  without  the  need  for  special 
accommodations  or  separate  routes  of 
access.  And  when  the  fountain  is  turned 
off,  the  plaza  is  a  stage.  The  simple  design 
and  adaptability  inherent  in  this  type  of 
fountain  is  crucial  to  the  plaza's  multiple 
uses,  ranging  from  dances  to  skateboard 
demonstrations  to  musical  performances. 
This  area  is  very  popular  on  all  days, 
market  or  non-market,  particularly  on 


DAVIS   CENTRAL  PARK       201 


Water  sprays  offer  a  perfect  way  to  cool  off 
in  the  hot  Central  Valley  summer. 


The  Beach  provides  an  inclusive,  flexible  environment  where  parents  can  watch  their 
children  play  in  the  at-grade  fountain  close  by  the  market. 


When  the  fountain  is  off,  the  area  functions 
as  a  stage  for  small  groups. 


202       DAVIS    CENTRAL    PARK 


hot  Central  Valley  summer  days  when 
schools  are  out. 

THE  PAVILION 

The  pavilion  and  the  large  expanse  of 
colored  paving  was  designed  for  pickup 
trucks  to  back  into  stalls  while  leaving 
the  central  aisle  open  for  shoppers. 
The  structure  is  filled  with  the  sights, 
smells  and  activities  of  the  market 
twice  a  week.  When  not  in  use,  it 
offers  a  visual  memory  of  the  market, 
as  well  as  shade  and  a  place  for  parties 
and  other  activities. 

THIRD  &  B 

The  Third  &  B  facility  addresses  the 
needs  of  a  constituency  that  communi- 
ties often  forget  when  developing  public 
spaces.  Third  &  B  was  created  to  provide 
a  positive,  "cool"  and  fun  place  for  7th  to 
1 2th  graders  to  hang  out  and  participate 
in  activities  designed  for  them  in  a  man- 
ner that  is  neither  condescending  nor 
childish.  It  is  a  two-story  building  with 
a  basement  and  sunken  plaza,  located 
on  the  most  public  corner  of  the  park, 
Third  and  B  Streets.  It's  easy  to  get  to 


and  is  located  in  the  main  entry  into  the 
park  and  in  the  heart  of  town.  Large 
windows  along  Third  Street  give  every- 
one a  view  in  and  out  of  the  center.  The 
entry  sits  three  feet  above  the  street, 
with  lots  of  steps  to  sit  on  and  watch  the 
crowd  go  by.  The  basement  is  used  for 
community  meetings  and  dances;  the 
first  floor  is  set  up  for  pames,  snacks  and 
movies;  and  the  second  floor  is  reserved 
for  quieter  activities — reading,  tutoring, 
visiting.  Third  &  B  offers  over  1 9  differ- 
ent programs,  which  continually  evolve 
to  meet  the  changing  interests  of  teens. 

Formal  organized  activities  include 
dances,  concerts  and  field  trips  to 
amusement  parks.  It's  also  a  place  where 
students  can  come  for  free  tutoring, 
from  the  basics  to  advanced  subjects. 
Volunteer  tutors  are  recruited  from  UC 
Davis.  The  Third  &  B  facility  provides  an 
opportunity  for  youth  to  get  involved  in 
their  communities  through  volunteering. 
Teens  have  participated  in  canned  food 
drives,  beach  and  park  cleanups,  and 
graffiti  paint  outs.  The  informal  activities 
include  shooting  pool,  watching  movies 


Located  in  the  most  used  corner  of  Central 
Park,  Third  &  B  is  a  very  popular  place  for 
teens  to  hang  out. 


Third  &  B  offers  informal  drop-in  activities 
and  structured  programs. 


on  a  big  screen  TV,  or  playing  foosball 
and  video  games.  There's  even  a  party 
package  that  allows  parents  to  use  the 
basement  for  a  private  party  for  their 


DAVIS  CENTRAL  PARK      203 


teenager,  with  as  many  as  350  guests. 
That  it  is  not  officially  called  a  "teen 
center"  helps  with  its  level  of  acceptance 
with  teens  in  Davis.  They  know  they  are 
part  of  the  community  fabric. 

PUBLIC  ART 

Art  was  incorporated  into  the  design 
from  the  beginning:  some  of  it  obvious 
and  some  very  subtle,  some  conceptual 
and  some  functional. 


The  foundation  wall  is  so  functional  that  few  people  realize  it's  actually  public  art. 


The  artist  incorporated  an  abstract 
representation  of  the  valley  into  a  large 
public  wash  basin. 


The  functional  wash  basin  provides  people  of  different  needs  and  abilities  a  place  to  wash 
their  hands,  splash  their  faces  on  a  hot  day,  or  rinse  produce  just  purchased  at  the  market. 


204       DAVIS    CENTRAL    PARK 


Children  love  to  ride  on  the  hand-carved  animals. 


The  retaining  wall  embedded  with 
stones  looks  like  an  uncovered  founda- 
tion wall.  It's  just  the  right  height  and 
width  for  sitting  and  walking  on.  Its 
rustic  finish  hides  its  newness;  very  few 
know  that  it  is  actually  a  piece  of  public 
art.  More  dramatic  is  a  beautiful,  yet 
functional  basin  for  washing  hands 
before  a  picnic,  or  for  cleaning  produce 


purchased  at  the  market.  Made  of 
colored,  rammed  concrete,  the  fountain 
and  basin  evoke  a  geological  cross 
section  of  the  Central  Valley — from 
mountains  to  river. 

Two  more  pieces  sit  in  the  public 
garden.  One  is  a  bronze  casting  of 
whimsical  dancers,  another  is  a  larger 


than  life  set  of  ceramic  hands.  This  part 
of  the  park  can  accommodate  more 
public  art  installations.  It's  flat  and  set 
off  from  the  major  activity  areas,  yet 
you  can  catch  glimpses  of  the  sculptures 
as  you  ride  down  the  street. 

THE  CAROUSEL 

The  Flying  Carousel  of  the  Delta  Breeze 
was  designed  as  a  fundraiser  for  the 
Davis  Education  Association.  Parents 
and  children  experience  the  carousel 
together,  in  a  uniquely  interactive  fash- 
ion. It's  pedal-powered,  with  hand- 
carved  wooden  animals  for  young  ones 
to  ride.  This  piece  was  proposed  after 
the  park  was  designed  and  built,  and 
luckily,  a  perfect  spot  was  found  for  it. 
Each  market  day,  the  carousel  is  opened 
for  rides.  As  appropriate  for  a  City  with 
over  50,000  bicycles,  the  carousel  runs 
on  human  leg  power.  While  youngsters 
sit  on  top  of  the  carved  wooden  ani- 
mals, a  "big  kid"  sits  on  a  recumbent 
bike  and  pedals  away,  turning  the 
carousel  round  and  round.  Because  of 
its  wonderful  gearing,  it  is  very  easy  to 


DAVIS   CENTRAL  PARK      205 


Parents  get  some  exercise  while  they  pedal  to  turn  the  carousel  round  and  round.  The 
interior  column  is  covered  in  a  colorful  tile  mosaic. 


The  gardens  provide  a  quiet  reprieve  from 
the  bustle  of  the  market. 


set  the  carousel  in  motion.  Parents  and 
tots  line  up  to  take  their  turns  at  riding 
and  pedaling. 

SYCAMORE  GROVE 

The  oldest  feature  in  the  park  is  a  grove 
of  sycamore  trees  that  dates  from  the 
1930s.  It  is  the  sacred  place  in  town, 
and  the  community  won't  allow  any 
changes  to  the  space.  The  grove  was 
planted  in  a  basin  about  3  feet  lower 
than  the  sidewalk,  so  it  could  be  flood 
irrigated.  This  created  a  protected  and 


shady  enclave.  It's  suitable  for  family 
reunions,  picnics,  dog  shows,  tag  games 
and  workday  lunches.  When  the  Park 
expanded,  this  sunken  lawn  area  was 
extended  all  the  way  across  to  a  new 
grove  of  sycamore  trees  that  surround 
fountain  plaza. 

STROLLING  GARDEN 

There  is  a  large  garden  area  that  sepa- 
rates the  park  activities  from  B  Street,  a 
major  arterial  leading  to  the  University. 
The  original  idea  for  this  space  was  to 


create  a  strolling  garden  with  several 
"rooms"  with  different  themes,  including 
a  rose  garden,  an  herb  garden,  a  grass 
garden  and  a  peace  garden.  The  City 
bought  the  plants  and  the  community 
gathered  to  plant  over  a  thousand  trees, 
shrubs  and  perennials  in  one  weekend.  It 
was  a  community  event  with  over  1 00 
people  participating.  The  garden  is  a 
place  where  plants  and  sculptures  can 
support  each  other.  It's  a  place  where  all 
can  visit  and  enjoy  a  quiet  space. 


206       DAVIS    CENTRAL    PARK 


The  strolling  gardens  offer  a  wide  variety 
of  plants  and  meandering  paths. 


v-i  ;._--:^  :;.'■' 1*\ «.V. 


CHILDREN'S  PLAY  AREA 

A  children's  play  area  is  adjacent  to  the 
market  pavilion,  allowing  parents  to 
shop  and  visit  with  friends  at  the  market 
while  their  children  play  nearby.  The 
play  lot  has  two  structures — a  sand 
climber  where  kids  have  to  cooperate  to 
move  the  sand  up  and  down  the  struc- 
ture, and  a  composite  piece  where  they 
can  climb  and  slide  down  poles  and  run 
up  and  down.  These  are  meant  to  pro- 
vide some  kid-oriented  activities  while 
parents  shop.  The  kids  feel  that  they  are 
part  of  the  hustle  and  bustle  of  the  mar- 
ket place,  not  segregated  from  it  all. 


Management  and 
Operational  Issues 

The  park  is  so  popular  that  it  is  almost 
loved  to  death.  It  is  a  high  profile  public 
space  that  requires  regular  maintenance. 
The  park's  maintenance  costs  are 
approximately  $50,000  per  year  out  of 
the  City's  budget,  with  some  additional 
costs  covered  by  other  organizations 
such  as  the  Davis  Farmers  Market 


The  children's  play  area  incorporates  plenty  of  sand  play,  and  its  location  right  next  to  the 
Farmers  Market  puts  kids  in  the  middle  of  the  market  day  action. 


208       DAVIS    CENTRAL    PARK 


Association.  Other  areas  of  the  park, 
such  as  the  garden,  can  be  aided  in  their 
upkeep  by  local  residents,  although  the 
bulk  of  the  maintenance  and  capital 
improvements  are  the  responsibility  of 
the  City  of  Davis. 

The  fountain  is  a  high  maintenance  fea- 
ture. Since  the  water  is  recirculated,  it 
has  to  be  chlorinated,  and  the  filter 
needs  to  be  regularly  cleaned.  The 
sprays  are  controlled  by  an  irrigation 
controller  and  are  turned  off  at  night, 
and  on  windy  and  rainy  days.  However, 
the  fountain  is  now  a  new  sacred  place 
in  the  park.  It's  a  destination,  a  place  for 
simple  enjoyment  for  all. 

The  Farmers  Market  takes  on  the 
responsibility  of  cleaning  the  paving 
where  the  market  is  held.  The  Market 
Director  works  closely  with  the  City  on 
facility  issues.  The  Market  has  been 
instrumental  in  finishing  the  construc- 
tion of  the  last  corner  of  the  park.  The 
master  plan  called  for  a  Market  cafe. 

Maintaining  rose  and  perennial  gardens 
is  labor  intensive.  As  park  budgets 


shrink,  maintenance  is  deferred.  A 
volunteer  organization  will  need  to  take 
over  the  planting  and  maintenance  of 
the  strolling  garden  for  it  to  continue  as 
originally  planned. 


User  Feedback 

The  park  has  been  in  continuous  use  for 
12  years,  long  enough  for  some  Davis 
residents  to  have  grown  up  in  it. 

Jake  Gilchrist 

"The  shade  structure  is  one  of  the  best 
facilities  for  a  farmers  market.  It  makes 
it  feel  like  Davis  has  committed  to  the 
farmers  market.  The  park  itself  is  pretty 
iconic.  It's  really  simple  but  it  gets  used 
perfectly.  So  much  of  the  community 
uses  it — that's  testimony  to  its  success." 

Brent  Hopkins 

"The  fountain  is  terrific!  What  a  great 
place  to  cool  off.  I  just  love  watching 
the  kids  try  to  guess  which  jet  is  going 
to  shoot  up  next.  [The  fountain  jets  are 


programmed  to  turn  on  in  a  random 
pattern.]  I  was  riding  my  bike  down 
Third  Street  right  after  the  park  was 
opened.  I  saw  this  fountain  shooting  up 
out  of  the  paving. . .  I  couldn't  resist  it — 
I  had  to  ride  my  bike  through  it!" 

Heather  O'Neill 

"Coming  to  the  market  is  like  being  part 
of  the  hustle  and  bustle  of  a  large  city. 
You  get  to  rub  elbows  with  lots  of 
different  folks,  everyone's  talking,  the 
colors,  the  people,  the  amazing  choices 
of  food.  But  it's  a  small  town.  I  feel 
comfortable  bringing  my  three-year-old 
daughter.  There  are  pony  rides  for  her, 
or  a  turn  on  the  carousel,  and  she  can 
play  with  the  kids  in  the  sand  box." 

Christine  O'Neill 

"When  I  was  in  junior  high  I  went  to 
some  dances  at  Third  &  B.  It's  pretty 
cool  that  there's  a  place  besides  the 
school  cafeteria  where  we  can  have 
dances  and  hear  some  music." 


DAVIS   CENTRAL   PARK      209 


r 

■ 


"This  is  an  urban,  modern,  comfortable  space... a  new  alternative 
to  the  large  mall  or  the  old  strip  mall." 

DIRECTOR,  DAVIS  DOWNTOWN  BUSINESS  ASSOCIATION 


TRANSFORMING    RETAIL  SPACE 
INTO    COMMUNITY  SPACE 


CHERYL  SULLIVAN 


Davis  commons  is  a  three- acre  retail  site  with  traditional  parking  and  shops. 
What  sets  Davis  Commons  apart  is  that  it  is  both  a  retail  shopping  center  and  an 
urban  park.  The  design  turns  the  concept  of  a  retail  area  around:  it's  centered  on  a 
one-acre  park  and  the  shops  are  the  backdrop  to  the  park.  The  Commons  has 
become  a  community  meeting  place:  a  place  to  shop,  meet  friends,  share  a  meal, 
take  part  in  community  events,  hear  free  music,  browse  the  arboretum  garden,  read 
a  book — it's  a  small  town  square  that  is  its  own  destination. 


21  I 


Davis  is  a  university  town  of  60,000 
people,  about  10  miles  southwest  of 
Sacramento,  California.  It  is  the  home 
of  the  third  largest  University  of 
California  (UC  Davis)  campus.  The  cli- 
mate is  warm  and  Mediterranean,  with 
summer  lasting  five  to  six  months 
before  winter  rains  begin  in  November. 
Davis  is  flat  and  a  natural  "biking"  town; 
virtually  every  resident  owns  a  bicycle. 

Downtown  Davis  is  about  five  blocks 
square,  rather  than  a  long  single  street 
of  businesses.  Cafes,  eateries,  book- 
stores, clothing  and  shoe  stores,  house 
wares,  plants  and  garden  supplies,  hard- 
ware and  banking  are  all  within  easy 
walking  or  biking  distance. 


Davis  Commons  is  located  at  an 
extremely  busy  intersection  at  the  main 
entry  into  Downtown  Davis.  It's  oppo- 
site the  central  business  district  on  one 
side  and  the  University  of  California 
Davis  campus  on  another.  The 
University  owned  the  land  adjacent  to 
the  Downtown  and  saw  this  as  an 
opportunity  to  incorporate  mixed-use, 
community  design  principles  in  the 
development  of  the  land. 

DESIGN  GOALS 

The  goal  was  to  create  an  open-air  plaza 
and  town  square  that  combines  the 
retail  experience  with  a  park.  Store- 
fronts open  onto  the  plaza,  the  park  and 
the  parking  lot,  which  is  at  the  rear  of 


PROJECT  Davis  Commons      LOCATION  Davis,  California      DATE  DESIGNED 
1995-1996       CONSTRUCTION   COMPLETED  June  1998       CONSTRUCTION   COST 
$6.5  million  (entire  site)      SIZE  3  acres      DEVELOPER  AND  OWNER  The  Fulcrum 
Group,  Sacramento,  California       ARCHITECT  DZ  Architects       LANDSCAPE 
ARCHITECT  CoDesign,  Inc.  (now  part  of  MIG,  Inc.)      CIVIL  ENGINEER  Cunningham 
Engineering       ELECTRICAL  ENGINEER  Rex  Moore      MECHANICAL  ENGINEER 
Turley  and  Associates      STRUCTURAL  ENGINEER  Marr  Shaffer  Miyamoto 
OTHER  DESIGN  TEAM  MEMBERS  UC  Davis  Office  of  Development,  City  of  Davis 
Planning  Department 


the  site.  Parking  is  in  the  rear  with  one 
entry  and  exit  point  and  is  not  visible 
from  any  street  edge.  The  buildings 
form  an  arc  around  a  central  open  space 
which  fronts  the  street  and  looks  very 
much  like  a  small  park. 

This  design  layout  creates  a  space  that 
people  can  easily  see  while  walking 
down  other  streets.  Accessible  by  foot 
and  bike,  it  creates  a  welcoming  corner 
into  town.  It  also  provides  more  foot 
traffic  for  the  shops  on  E  Street.  It  is  a 
pedestrian-friendly  arrangement  where 
people  walk  or  bike  to  different 
shops — to  buy  or  window  shop. 

The  Commons  adds  to  the  City's 
pedestrian  and  bicycle  transportation 
networks  and  links  the  Downtown  with 
the  University,  housing  and  the  arbore- 
tum. It  provides  a  comfortable,  appeal- 
ing place  where  people  want  to  linger. 
The  site  design,  landscaping,  circulation, 
paving  and  seating  all  work  together  to 
create  a  space  that's  easy  to  navigate. 


2I2        DAVIS    COMMONS 


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The  shops  are  a  backdrop  to  the  park. 


DAVIS   COMMONS        2  13 


A  row  of  shops  forms  an  arc  around  the  park. 


Families  can  relax  with  a  cup  of  coffee 
while  children  play  on  the  grass. 


Three  factors  make  Davis  Commons  a 
successful  urban  park  and  retail  center: 
the  attention  to  the  arrangement  of 
space  and  features  that  encourage  and 
enhance  social  life;  the  lush  and  inten- 
sive landscaping  throughout  the  site; 


and  the  mix  of  shops  that  are  well- 
suited  to  the  town  and  the  setting.  This 
retail  mix  draws  many  different  shop- 
pers and  users,  creating  a  critical  mass 
that  keeps  the  businesses  prosperous, 
both  in  the  Commons  and  in  the  rest  of 


the  Downtown.  It's  a  symbiotic  relation- 
ship. Davis  Commons  now  generates 
the  most  sales  tax  of  any  shopping 
center  in  town.  And  it's  a  space  that 
everyone,  from  young  to  old,  mobile 
and  not-so-mobile,  can  enjoy. 


2  14        DAVIS    COMMONS 


Trellises  and  open  spaces  provide  a  comfortable  sense  of  enclosure. 


USER  GROUPS 

■  Families 

■  Singles 

■  University  students 

■  Teens  on  their  own 


Seniors 

Out  of  town  visitors 

Business  owners 


DESIGN  PROCESS 

First  and  E  Streets  form  the  edge  of  the 
Downtown  core  and  separate  the 
University  campus  from  the  Downtown 
area.  The  University  owned  property 
along  First  Street,  between  E  and  B 


DAVIS  COMMONS        2  15 


RAILROAD 
The  design  places  parking  at  the  rear  with  landscaped  open  spaces  throughout. 


216        DAVIS    COMMONS 


Streets,  and  decided  to  develop  it  into  a 
retail  center  and  housing  for  staff  and 
faculty  using  New  Urbanist  design 
concepts. 

The  University  prepared  a  master  plan 
for  a  12-acre  site,  including  the  three- 
acre  retail  center  and  a  four-acre  resi- 
dential development  now  called  Aggie 
Village.  (UC  Davis  students  are  called 
"Aggies"  because  of  the  school's  original 
emphasis  on  agriculture.)  In  addition  to 
generating  revenue,  the  project  would 
be  compatible  with  the  architectural 
style  and  scale  of  the  existing  mixed-use 
Downtown  core. 

The  design  team,  UC  Davis  and  City  of 
Davis  planners  worked  together  to 
refine  the  site  plan  with  input  from 
local  business  owners. 

The  University  also  modified  the  site 
plan  for  Aggie  Village,  reducing  the 
number  of  inner  streets  in  the  residen- 
tial zone  and  locating  granny  flats  along 
the  retail  parking  lot.  This  change  made 


Bicyclists  are  ubiquitous  in  Downtown  Davis. 


for  a  smoother  transition  and  an  ani- 
mated visual  buffer  from  the  shopping 
center  to  the  single-family  residential 
housing. 


The  Davis  Commons  design  team  saw  an 
opportunity  to  create  a  town  square  by 
relocating  the  public  plaza  space  so  it 
would  face  Downtown  businesses,  rather 


DAVIS   COMMONS        2  17 


than  the  quieter,  residential  section  of 
Downtown.  This  change  in  orientation 
linked  the  new  retail  to  the  old 
Downtown  and  gave  the  public  plaza  its 
urban  life.  This  is  the  first  thing  one  sees 
when  entering  Downtown  and  the  last 
place  one  sees  when  leaving  Downtown. 
With  the  plaza  space  at  the  corner,  the 
buildings  were  placed  around  the  park 
with  parking  in  the  rear. 

During  the  planning  process,  the  busi- 
nesses and  community  in  general 
expressed  concerns  that  the  intensity  of 
vehicle  traffic  on  First  Street  would 
impede  pedestrian  access  and  discour- 
age people  from  crossing  the  street. 
During  this  same  time,  voters  defeated  a 
measure  that  would  have  widened  E 
Street  and  First  Street. 


To  address  community  traffic  issues,  the 
City  of  Davis  undertook  several  actions: 

■  First  Street  was  striped  for  three 
lanes  of  traffic  (one  in  each  direction 
with  a  right  turn  pocket). 

■  A  new  bike  and  pedestrian  tunnel 
was  installed  underneath  the  freeway 
providing  an  alternate  route  from 
south  Davis  to  Downtown  and  Davis 
Commons. 

■  Traffic  signals  were  finely  tuned  to 
alleviate  congestion. 

■  The  new  streetscape  was  designed  to 
slow  traffic  and  improve  bicycle  and 
pedestrian  safety. 


Inclusive  Design  Features 
and  Settings 

The  open  space  is  divided  into  a  paved 
plaza  and  a  large,  circular  lawn.  The 
large  open  lawn  area  is  wrapped  with 
plantings  and  seating.  The  plaza  fronts 


Plantings  soften  the  edges  of  the  open  areas. 


Colorful,  seasonal  flowers  provide  visual 
interest  and  wayfinding  cues. 


218        DAVIS    COMMONS 


the  retail  shopping  and  provides  spaces 
for  eating,  sitting  and  visiting.  There  are 
a  variety  of  seating  options — shaded 
tables,  curving  seatwalls,  the  lawn, 
benches  and  patio  tables.  Here,  inclu- 
sive design  is  functional  without  being 
obvious. 

LANDSCAPING 

Lush  landscaping  gives  the  Commons  a 
special  quality,  transforming  the  retail 
center  into  a  large  public  garden. 
Plantings  soften  edges,  create  a  sense  of 
enclosure  and  protection,  provide  visual 


Plants  are  a  mix  of  colors,  textures  and 
heights  so  everyone  can  touch  and  smell. 


Native  grasses  are  hardy  yet  visually 
appealing. 


interest,  control  access  and  guide  peo- 
ple along  paths.  Plants  are  located  at 
many  levels  so  everyone  has  a  chance  to 
touch  and  smell.  All  spaces  are  well 
landscaped,  even  those  utilitarian  areas 
like  trash  enclosures,  delivery  bays,  the 
back  property  line  and  the  bike  and  car 
parking  lots.  Every  space  looks  and  feels 
part  of  the  whole. 

Plants  were  selected  for  their  texture, 
seasonal  color,  variety,  scent  and  ability 
to  withstand  public  activity.  Ornamental 


grasses  and  roses  direct  pedestrians  in 
the  desired  direction.  This  planting 
design  illustrates  the  large  selection  of 
plants  that  can  be  used  in  a  commercial 
setting.  It  adds  park-like  qualities  and 
makes  the  space  inviting. 

OPEN  LAWN  AND  PLAZA 

The  large,  open  lawn  is  the  entry  to  the 
Commons,  creating  a  green  plaza.  This 
space  is  large  enough  to  host  civic 
events  and  small  summer  musical  per- 
formances. A  mixture  of  ornamental 
grasses  and  shrubs  encircle  the  space, 
leaving  just  one  opening  towards  the 
street.  The  street  edge  plantings  dis- 
courage cut-through  pedestrian  traffic. 
Parents  feel  comfortable  letting  their 
children  run  around  the  lawn  area.  It's 
big  enough  for  kids,  and  small  enough 
for  parents  to  see  their  children.  The 
success  of  the  space  is  its  use  of  plants 
to  wrap  the  space  and  create  a  feeling  of 
enclosure.  Grasses  and  shrubs  are  softer 
and  less  formal  than  ornamental  metal 
fencing. 


DAVIS   COMMONS        219 


The  large  green  space  is  perfect  for  families  to  hear  music  on  a  summer  evening. 


The  lawn  gently  slopes  down  towards 
the  street.  From  across  the  street,  this 
sloped  lawn  creates  a  view  up  and  into 
the  Commons.  Densely  planted  perime- 
ter greenery  defines  the  spaces.  Trees 
provide  summer  shade. 


ARBORETUM  TERRACE 
DEMONSTRATION  GARDEN 

The  Arboretum  Terrace  is  a  secluded 
patio  space  with  teak  tables,  chairs  and 
umbrellas,  and  a  collection  of  California 
native  and  Mediterranean  plants  suitable 


At  the  top  of  the  green  lawn  is  the  con- 
crete plaza  where  bands  often  perform. 


for  the  Central  Valley  climate.  Many 
plants  attract  butterflies  and  insects.  This 
is  a  sensory  garden  with  plants  at  differ- 
ent heights  so  that  everyone  has  an 
opportunity  to  see,  touch  and  smell. 

PLAZA  SEATING 

There  are  two  types  of  seating  in  the 
Plaza:  concrete  seat  walls  and  metal 
chairs.  The  Plaza  is  full  of  tables  with 
umbrellas  and  movable  chairs  and  a  row 
of  patio  trees. Tables  and  chairs  are 
located  opposite  the  restaurants  and 
cafes  so  patrons  can  take  their  meals 


220      DAVIS    COMMONS 


Teak  furniture  and  umbrellas  are  available 
in  the  arboretum  patio. 


California  native  and  Mediterranean  plants 
attract  butterflies. 


i:mw. 


Visitors  can  find  secluded  benches  for  a 
quiet  urban  moment. 


Plants  are  labeled  for  those  who  would  like  to  create  their  own  gardens. 


DAVIS   COMMONS        22  1 


Visitors  can  arrange  chairs  and  use  the 
seat  walls  in  many  different  ways. 


There's  plenty  of  room  between  tables  for  strollers  and  wheelchairs. 


outside  and  arrange  seating  for  their 
group.  The  spacing  between  tables  is 
adequate  for  people  to  move  in  and  out, 
including  those  in  wheelchairs.  The  col- 
ored concrete  seat  walls,  shaped  in  arcs, 
separate  the  Plaza  patio  from  the  lawn. 
People  can  sit  in  either  direction,  lean 
against  them  and  use  them  for  tables  or 
foot  rests.  They  provide  a  generous 
amount  of  seating  space. 


ENTRYWAYS 

The  main  entry  from  First  Street  is 
marked  with  a  huge  elm  tree,  as  well  as 
signage  and  a  change  in  paving  from 
plain  concrete  and  asphalt  to  highly  col- 
ored and  patterned  concrete  paving. 

Shops  and  restaurants  are  arranged  in 
two  buildings,  separated  by  a  triangular 
shaped  space  and  a  long  vine-covered 
trellis.  This  serves  as  the  gateway 
between  the  parking  lot  and  the  plaza 


The  entry  from  First  Street  is  across  from 
residences,  marked  with  a  huge  elm  tree 
and  whimsical  signage. 


222       DAVIS    COMMONS 


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A  long  vine-covered  trellis  between  retail 
buildings  invites  visitors  in  from  the 
parking  lot. 


Pedestrians  have  plenty  of  time  to  cross 
the  very  busy  intersection. 


Pedestrian-only  paths  are  decomposed 
granite  and  narrower  than  multiple-use 
paved  paths. 


space.  It's  cool,  the  space  is  comfortable 
and  there's  activity  along  the  edges. 

PEDESTRIAN  CIRCULATION 

Even  though  pedestrians  have  to  cross 
the  busiest  street  in  Downtown  Davis, 
pedestrian  traffic  flows  smoothly  and 
safely.  Controlled  intersections  and 
marked  crosswalks  signify  the  formal 
entries  into  the  Commons.  Traffic  light 
intervals  are  long  enough  for  safe 
crossing. 


A  raised  central  walk  travels  through 
the  parking  lot,  connecting  the 
Commons  to  the  arboretum  trail  and 
adjacent  residential  neighborhoods. 

Footpaths  through  the  lawn  and  along 
the  outside  perimeter  are  decomposed 
granite,  and  are  narrower  than  the 
paved  walks. 

MULTIPLE  PATHS 

Davis  Commons  can  be  reached  by  car 
through  one  driveway.  However,  bikes 


and  pedestrians  have  four  clearly 
defined  routes  and  several  other  casual 
paths  to  and  through  the  Commons, 
which  join  other  paths  connecting  to  the 
University  and  the  City.  The  paths 
through  the  Commons  link  the 
University  campus  to  the  Downtown. 
This  arrangement  continues  the  pattern 
of  mid-block  passages  found  in  other 
parts  of  the  central  business  district. 

Along  First  Street,  pedestrian  and  bike 
routes  are  separated.  Because  of  limited 


DAVIS  COMMONS      223 


Along  First  Street,  a  screen  of  plants  sepa- 
rates bikes  from  pedestrians.  (Pedestrians 
walk  on  the  left,  next  to  the  buildings.) 


Roses  keep  these  bikes  in  line. 


Other  bikes  are  nestled  in  the  lantana. 


space,  the  potential  for  conflicts 
between  pedestrians  and  bikes  is  signifi- 
cant. Paths  are  no  greater  than  six  feet 
wide,  and  are  separated  by  a  thickly 
planted  screen,  so  that  neither  bicyclists 
nor  pedestrians  can  inadvertently  stray 
into  the  other's  path. 

BIKE  PARKING 

In  Davis,  conflicts  between  bike  parking 
and  pedestrian  paths  are  an  everyday 
occurrence.  To  lessen  these  conflicts  at 


Davis  Commons,  large  bike  parking 
lots  are  located  on  each  side  of  the 
complex.  Bike  parking  lots  are  adjacent 
to  the  main  path.  These  spaces  are  sur- 
rounded by  beautiful  landscaping — 
with  a  prickly  purpose.  Day  lilies  and 
thorny  roses  line  one  parking  area, 
while  the  other  has  lantana  and  spikey 
pyracantha.They  are  located  near 
entrances  and  main  walkways  with 
enough  bike  racks  to  meet  demand. 


CAR  PARKING 

Vehicle  parking  is  located  behind  build- 
ings and  is  not  visible  from  the  street. 
The  parking  lot  is  heavily  landscaped 
with  large  shade  trees  that  shade  over 
half  of  the  paving.  The  parking  lot  has 
several  short  to  medium  length  rows 
so  it  is  a  short  walk  from  even  the  fur- 
thest parking  space.  A  raised  pedestrian 
crossing  and  shaded  pedestrian  walk- 
way connects  the  Commons  with  the 


224      DAVIS    COMMONS 


arboretum  path  and  the  residential 
housing  adjacent  to  the  parking  lot. 


Management  and 
Operational  Issues 

LANDSCAPE  MAINTENANCE 

The  Commons  is  densely  planted  with 
a  wide  variety  of  plants  not  typical  at 


traditional  shopping  centers.  Most 
plants  lie  in  close  proximity  to  the 
public.  Consequently,  landscape  mainte- 
nance is  a  daily  task.  With  the  exception 
of  the  demonstration  garden,  the  land- 
scape is  designed  for  ease  of  mainte- 
nance. The  plants  are  not  too  large  for 
their  space,  so  little  pruning  is  needed. 
The  landscaping  around  the  building's 


front  entry  has  to  be  planted  and  main- 
tained to  a  high  standard.  Everything  is 
"the  front  yard." 

The  Arboretum  Terrace  is  a  demonstra- 
tion garden  using  California  native  and 
Mediterranean  plants,  arranged  around 
a  patio  and  little  trails.  This  is  a  high- 
maintenance  landscape  that  is  closed  off 
at  night. 

SITE  FURNISHINGS 

The  outdoor  tables  and  chairs  are  not 
just  for  shop  patrons.  They  encourage 
people  to  have  coffee,  read  a  book  and 


Much  of  the  concrete  parking  area  is  shaded. 


Flowers  and  trees  are  highly  visible  across 
the  parking  lots. 


DAVIS  COMMONS      225 


linger.  They  add  life  to  the  plaza  and 
outdoor  spaces. 

The  color  and  quality  of  materials  gives 
the  message  that  the  Davis  Commons  is 
a  special  place.  Quality  materials  main- 
tain their  appearance. 

MULTIPLE  ENTRIES  FOR  STORES 

The  arrangement  of  the  buildings  in  the 
center  of  the  site,  with  a  park  on  one 
side  and  a  parking  lot  on  the  other, 
means  that  some  stores  have  two  front 
doors.  This  requires  more  staff  and  a 
higher  operating  budget. 

STORE  FRONTAGE 

Stores  usually  want  a  long  store 
frontage.  However,  the  only  portion  of 
the  building  that  has  street  frontage  is 
not  conducive  for  a  shop  entry.  In  place 
of  long  store  frontage,  the  bookstore  has 
a  tower  that  marks  the  corner  of  the 
complex.  The  walkway  on  the  north 
side  of  the  building  is  a  passageway,  not 
a  place  to  stop  and  linger.  It's  a  close 
space  opening  right  on  the  pedestrian 


path.  It  is  better  suited  for  window  dis- 
plays. Most  people  enter  the  site  for 
shopping  from  the  parking  lot  side  or 
from  E  Street. 

SECOND  STORY  RESIDENTIAL  UNITS 

The  design  guidelines  allowed  a  maxi- 
mum building  square  footage  of  50,000, 
with  second  floor  residential.  The  devel- 
oper built  a  45,000-square-foot  building 
with  no  residential  units.  If  they  were  to 
do  it  again,  the  developers  say  they 
would  include  the  second  story  resi- 
dences. The  residences  would  animate 
the  public  space  to  an  even  greater 
degree.  The  plaza  could  then  be  used  for 
longer  hours  every  day,  which  would 
add  to  the  town  plaza  ambiance. 

PARKING 

Several  spaces  in  the  parking  lot  are 
reserved  for  granny  flat  residents  nearby. 
In  the  original  development  plan,  vehicle 
parking  was  not  included.  The  loss  of 
these  spaces  to  the  general  public  does 
not  appear  to  have  an  impact  on  the 
availability  of  parking. 


User  Feedback 

The  first  four  comments  are  from  visi- 
tors to  Davis  Commons. 

Jasmine  Lautzenheimer 

"I  love  the  rose  arbor,  walking  under  it  to 
get  to  the  lawn  and  Pluto's  Restaurant. 
The  combination  of  flowers  is 
gorgeous.  It's  kid-friendly;  the  lawn 
and  seating  and  restaurants  are  sepa- 
rated from  the  parking  lot.  It  has  a  nice 
feeling  of  enclosure.  And  the  people 
watching  is  great!  The  spaces  are 
broken  up,  with  shade  and  lots  of  dif- 
ferent plants  to  see.  And  shaded  seating 
in  the  garden  area.  The  kids  love 
exploring  for  bugs  and  butterflies  in 
the  garden.  It's  like  being  in  a  park." 

Ron  Lautzenheimer 

"Having  the  parking  in  the  back  is  a 
great  idea.  But  this  parking  lot  is  a  nice 
place,  too.  There's  lots  of  shade,  and  the 
planters  are  full  of  grasses  and  roses.  It's 
not  a  sea  of  asphalt." 


226      DAVIS    COMMONS 


Mike  Navillus 

"I  love  going  to  the  music  events,  seeing 
little  kids  and  families  and  older  folks,  all 
talking  and  enjoying  the  music  and  the 
summer  evening,  and  each  other.  It's  a 
great  way  to  spend  a  summer  evening." 

Laurie  Hopkins 

"I  like  the  mix  of  businesses.  It's  fun  to 
wander  through  the  stores,  and  then  go 
outside  and  read  the  new  book,  eat  an 
ice  cream  and  watch  the  people." 

Laura  Cole  Rowe,  Director, 

Davis  Downtown  Business  Association 

"The  compactness  of  the  space  is  good. 
The  mix  of  stores  is  excellent  for  shop- 
ping, visiting,  wandering.  It's  an  urban, 
modern,  comfortable  space.  It's  a  new 
alternative  to  a  large  mall  and  the  old 
strip  mall  image. 


"This  is  the  easiest  space  to  host  events. 
The  setting  works  so  well  that  I  am  able 
to  charge  more  for  the  space  than  I  can 
for  others.  Bands  set  up  in  the  circle  and 
play  out  to  the  crowd.  The  lawn  slopes 
away.  People  bring  their  blankets  and 
small  lawn  chairs  to  sit  on.  Parents 
don't  worry  about  their  little  kids  danc- 
ing and  running  around.  The  place  is 
circled  with  low  plantings  and  seat 
walls.  The  space  is  small  enough  so  that 
the  kids  don't  get  lost  in  the  crowd. 
People  either  bring  their  own  food  and 
drinks,  or  get  refreshments  from  the 
eateries  and  cafes  at  the  Commons. 
There  are  tables  and  chairs  surrounding 
the  lawn  that  people  can  sit  at,  too. 
There  could  be  more  space  for  addi- 
tional tables.  It's  a  very  popular  place  to 
eat  and  listen  to  music  in  the  summer." 


DAVIS   COMMONS      227 


^STREET   URBAN   DES.GN  AND  DEVELOPMENT  PLAN     |     SACRAMENTO.  CAL.FORN.A 


'I  grew  up  on  this  street — this  was  my  playground. ..Now  I'd 
love  to  purchase  a  loft  and  live  here  myself... walk,  ride  my 
bike,  and  be  part  of  helping  this  community  grow." 

BUSINESS  OWNER  ON  R  STREET 


RECONNECTING  WITH    THE   STREET 


DANIEL  IACOFANO 
MUKUL MALHOTRA 


Ever  since  sirwalter  raleigh  laid  his  cloak  down  to  protect  queen  Elizabeth's 
shoes  from  that  mud  puddle,  traffic  engineers  have  attempted  to  protect  urban 
pedestrians  from  the  "muddy"  streets.  As  cars  and  trucks  turned  streets  into  busy 
thoroughfares,  it  became  even  more  important  to  keep  pedestrians  safely  relegated 
to  the  narrow  sidewalk  space  between  buildings  and  the  street.  Safety  became  the 
priority,  but  in  so  doing,  the  community  connections  that  are  created  when  pedestri- 
ans stroll,  shop  and  gather  in  welcoming  public  spaces  were  lost.  It's  time  to  reclaim 
neighborhood  streets  for  pedestrians. 


229 


- 


r: ; 


R  Street  is  envisioned  as  a  living  street,  where  pedestrians  and  autos  share  the  public 
realm,  depending  on  the  time  and  day  of  the  week.  Shown  here  is  Portland's  Ankeny 
Burnside  District  with  weekend  uses  for  a  weekday  parking  lot. 


PROJECT  R  Street  Corridor      LOCATION  Sacramento,  California      SIZE  approximately  20 
square  blocks      CONCEPTUAL  DESIGN  2004-2005      CONSTRUCTION  2007  (tentative) 
URBAN   DESIGN  AND  PLANNING  MIG,  Inc.       INFRASTRUCTURE  Kimley-Horn  & 
Associates      ECONOMIC  ANALYSIS  Bay  Area  Economics      HISTORIC  PRESERVATION 

Historic  Environment  Consultants      CLIENT  Capitol  Area  Development  Authority 


The  R  Street  project  in  Sacramento, 
California,  will  change  the  relationship 
between  people,  their  urban  environ- 
ment and  cars.  The  concept  goes  beyond 
a  discussion  of  the  proper  sidewalk 
width;  it  obliterates  the  sidewalk.  Yet  it 
is  not  "anti-car."  Rather,  it  proposes  a 
shared  public  realm,  with  pedestrians 
and  bicyclists  having  equal  rights  to  the 
streets.  Breaking  pedestrians  and  bicy- 
clists out  of  their  narrow  confines  will 
allow  residents,  employees  and  visitors 
to  experience  the  dynamic  urban  envi- 
ronment that  a  "living  street"  offers. 
Currently,  as  much  as  70  percent  of  our 
urban  land  is  planned  by  traffic  engi- 
neers. But,  if  any  place  should  reflect 
our  urban  values  and  priorities,  our 
streets  should. 

By  capitalizing  on  R  Street's  public 
transit  infrastructure,  bringing  its  historic 
attributes  to  the  forefront,  focusing  on 
catalyst  development  projects  and  imple- 
menting inclusive  design  concepts,  the 
project  will  transform  this  under-utilized 


230      R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN 


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Legend 

|  Project  Study  Area 
|  Open  Spaces 
Sacramento  River 
%k     State  Capitol  Building 


Main  Highways 
Major  Arterial  Streets 
Light  Rail 
Light  Rail  Stations 


II  I  I  I  I 

0    500   1000    1500   2000   2500 

Prepared  by  MIG.  Inc.  -  May  2005 


The  R  Street  Corridor  project  focuses  on  a  20-block  area  on  R  Street  from  9th  Street  east  to  19th  Street.  Major  arterials  include  9th-10th 
Streets  and  15th-16th  Streets,  which  connect  to  nearby  residential  neighborhoods. 


R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN 


23I 


R  Street  is  home  to  a  wide  mix  of  uses,  including  residential,  light  industrial  and  commercial 
in  converted  historic  buildings.  Pedestrians  already  use  the  street  as  a  pathway,  although  it's 
not  designed  as  such. 


former  rail  corridor  and  transitional 
warehouse  district  into  a  vibrant,  mixed- 
use  residential  and  commercial  district 
that  provides  new  physical,  economic 
and  social  connections — while  celebrat- 
ing its  original  industrial  spirit. 

PROJECT  GOALS 

R  Street  is  a  mixed-used,  urban  neigh- 
borhood street.  The  project  area  covers 
20  blocks  on  R  Street — running  east- 
west  from  9th  Street  to  1 9th  Street — 
and  two  blocks  to  the  north  and  south  of 
the  street.  R  Street  is  in  the  heart  of 
Sacramento  near  the  State  Capitol  build- 


Underused  surface  parking  lots,  neglected 
open  spaces  and  a  lack  of  any  pedestrian 
amenities  characterize  R  Street  today. 


ing.  It  was  the  site  of  the  first  railroad 
west  of  the  Mississippi  and  features  an 
eclectic  group  of  industrial  land  uses  that 
date  back  to  the  early  days  of  the  City. 


The  gritty  industrial  quality  of  this  land- 
mark signal  tower  provides  inspiration  for 
the  R  Street  detailed  design  palette. 


232       R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN 


The  area  was  home  to  metal  foundries, 
warehouses  and  shipping  companies — 
and  some  of  those  uses  remain  today. 

In  the  past,  industrial  corridors  such  as 
R  Street  functioned  as  the  economic 
and  social  backbone  of  a  city.  Over 
time,  as  manufacturing  needs  evolved 
and  employment  and  residential  pat- 
terns shifted,  these  industrial  areas  fre- 
quently became  underused,  blighted  and 
perceived  as  unsafe.  But  today  their  rich 
cultural  and  architectural  history  can  be 
the  basis  of  revitalization.  And  as  the 
capital  of  California,  Sacramento  is  one 
of  the  most  historically  significant  cities 
in  the  State. 

In  the  mid-1980s,  Sacramento  Regional 
Transit  completed  the  starter  line  of  a 
light  rail  system.  As  part  of  the  system,  a 
major  line  serving  the  central  business 
district  runs  adjacent  to  R  Street,  with 
two  transit  stations  along  the  corridor. 
That  stimulated  interest  in  redeveloping 
the  corridor  and  a  multiyear  planning 
effort  began. 


In  1996,  the  City  Council  adopted  a  land 
use  guide  for  a  54-block  area  that  envi- 
sioned a  long-term  transformation  into  a 
transit-oriented,  mixed-use  neighbor- 
hood. R  Street  has  already  seen  develop- 
ment based  on  that  land  use  vision,  but 
there  were  no  specific  design  guidelines 
that  would  create  a  cohesive  neighbor- 
hood. The  light  rail  stations  lacked  seating 
and  shelters,  surrounding  buildings  didn't 
relate  to  the  stations,  and  unkempt  alley- 
ways created  an  unfriendly  pedestrian 
environment.  Some  historic  buildings  had 
been  converted  to  modern  offices,  shops, 


studios  and  art  galleries,  but  many  of 
those  buildings  had  "turned  their  backs  on 
the  street,"  with  blank  walls  or  dark  glass 
facing  the  pedestrian  environment.  There 
had  been  an  influx  of  new  restaurants, 
clubs  and  a  grocery  store,  but  a  significant 
portion  of  the  area  was  still  vacant  build- 
ings, underused  surface  parking  lots,  neg- 
lected public  realm  and  open  spaces  and 
brownfield  sites,  which  gave  the  area  a 
blighted  and  negative  reputation. 

The  City  realized  it  needed  a  cohesive 
design  framework  to  improve  the  area's 


1 '™    '^J\t ' 

Vacant  buildings  lead  to  an  impression  of 
blight  and  lack  of  safety. 


Unfriendly  building  facades  often  turn  their 
backs  to  pedestrians. 


R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN       233 


Well-established  residential  neighborhoods, 
especially  to  the  south,  will  be  reconnected 
to  R  Street. 


Employees  in  the  nearby  Downtown  area 
to  the  north  can  easily  stroll  and  shop  on 
R  Street. 


The  State  Capitol  is  also  just  a  few  blocks 
away. 


streetscape,  weave  the  project  area  into 
the  urban  fabric  of  the  City,  increase 
accessibility,  and  meet  the  needs  of  resi- 
dents, employees  and  visitors. 

The  "R  Street  Urban  Design  and 
Development  Plan"  provides  an  urban 
design  roadmap  for  future  built  and 
open  space  development.  It  does  not 
propose  a  standard  new  streetscape  with 
sidewalks,  trees  and  benches  because 
that  would  obliterate  the  area's  unique 
historic  character.  It  preserves  the  his- 


toric street  design  and  the  urban  "edgi- 
ness"  lent  by  its  industrial  past. 

The  concept  supports  diverse  uses: 
high-density  housing  (mainly  above 
ground  floor  retail),  live-work  lofts, 
neighborhood-serving  retail,  restau- 
rants, art  galleries,  offices,  commercial 
and  light  industrial.  The  light  rail  sta- 
tions at  1 3th  and  1 6th  Streets  will 
become  centerpieces  of  the  R  Street 
core.  R  Street  will  be  a  connector 
between  neighborhoods  north  and 


south,  rather  than  a  barrier  between 
them.  Development  on  S  Street,  to  the 
south,  will  be  compatible  with  the  exist- 
ing residential  areas  there,  and  develop- 
ment on  Q  Street,  to  the  north,  will 
reflect  the  changing  character  of  that 
street  as  it  transitions  from  office  com- 
mercial of  the  Capitol  area,  east  to  the 
residential  midtown  neighborhood. 

Improvements  focus  on  both  neighbor- 
hood- and  visitor-serving  mixed  uses 
and  activities,  key  infill  opportunities, 


234      R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN 


The  community  participated  in  a  series  of 
planning  and  design  workshops. 


transit-oriented  development,  site  and 
building  design  that  is  in  keeping  with 
the  industrial  context,  public  realm  and 
open  space  amenities,  safe  pedestrian 
connections,  efficient  parking  and  circu- 
lation, and  universal  access. 

The  Plan  provides  a  complete  set  of 
tools  to  guide  future  physical  and 
service  changes:  a  neighborhood  urban 
design  concept  plan,  a  comprehensive 
set  of  design  guidelines,  infrastructure 
standards  that  complement  streetscape 
design  recommendations,  infrastructure 


During  design  charettes,  community  members  offered  feedback  on  different  design  options. 


financing  strategies  and  implementation 
action  steps. 

USER  GROUPS 

Residents  of  varied  incomes  and 
abilities 

Employees  in  offices,  retail,  light 
industry  and  warehouses 

Shoppers  and  visitors  of  varied  abilities 

Tourists 


DESIGN  PROCESS 

The  City  of  Sacramento  1 996  R  Street 
Corridor  Plan  serves  as  the  foundation 
for  the  R  Street  Urban  Design  and 
Development  Plan. 

The  Capitol  Area  Development 
Authority  (CADA)  is  a  joint  powers 
authority  of  the  State  of  California  and 


R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN       235 


Community  workshop  participants  first  took  a  walking  tour  of  the  area. 


Charette  participants  manipulate  a  land  use 
block  model  to  illustrate  future  possibilities. 


the  City  of  Sacramento.  Its  primary  job 
is  to  carry  out  the  residential  and  com- 
mercial portions  of  the  Capitol  Area 
Plan,  setting  the  standard  for  affordable 


mixed-income  and  mixed-use  property 
development.  In  2002,  the  State 
expanded  CADA's  redevelopment 
boundaries  to  include  the  R  Street  cor- 
ridor and  accelerate  investment  and 
redevelopment  of  the  area.  In  January 
2004,  CADA  began  working  on  a  plan 
to  design  the  preferred  future  for  the 
corridor  and  develop  specific  action 
steps  to  get  there. 

CADA  and  its  consultants  conducted  an 
extensive  analysis  of  existing  conditions, 
including  a  site  organization  study,  an 
assessment  of  street  language  and  char- 
acter and  an  infrastructure  assessment. 
The  project  team  worked  closely  with 
the  City  Planning  and  Public  Works 
Departments,  the  Design  Review  and 
Preservation  Board  and  ADA  groups. 


An  initial  CADA  Board  workshop  in 
February  2003  included  a  walking  tour 
to  identify  which  buildings  to  preserve 
("keepers"),  the  image  of  the  area,  com- 
munity connections,  and  the  type  of 
investment  in  infrastructure  needed  to 
revitalize  the  street. 

CADA  held  a  series  of  three  community 
workshops  and  design  charettes  to  build 
consensus  on  a  shared  vision  of  the  cor- 
ridor, neighborhood  assets,  planning 
issues  and  development  opportunities. 
Workshops  in  April,  May  and  June  2004 
focused  on  overall  vision,  assets  of  the 
area,  issues  and  opportunities,  design 
concepts  and  a  street  language  and 
palette.  In  March  and  November  2004, 
separate  workshops  addressed  the 
nearby  1 6th  Street  and  1 3th  Street  Light 
Rail  Stations. 

Through  this  extensive  community 
process,  property  owners,  public 
officials,  developers  and  the  professional 
design  community  agreed  on  a  vision 
and  conceptual  design  for  the  area. 


236      R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN 


West  End 
R  Street 
Corridor 


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Store 


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Ridge 


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Bee 

R  Street 

Corridor 


Legend 

;  Existing  Surrounding  Blocks 

"J  Existing  Parks 

|  Potential  Opportunity  Sites 

Q  Existing  Train  Station 


Proposed  Corridor  Sectors 
~^\  Historic  Industrial 
~^\  Mixed  Use  Transit 

|  Art  Walk 
~]  Market  Green 


Proposed  Open  Space  Network 

^  R  St  Streetscape 
m  Pocket  Parks/Plazas 

|  Transit  Plazas 
«— >  Mews /Midblock  Paths 


Activity  Nodes 
^     Existing  Major  Node 

♦  Existing  Minor  Node 

♦  Proposed  Major  Node 

♦  Proposed  Minor  Node 


Circulation  Network 

Existing  Major  Arterials 
< — >  On-Site  Vehicular  Access  Alleys 

<™>  Pedestrian  Orient  Local  R  Street       1 1 1 1  j  I         I         I         I 
< — ->  Major  Pedestrian  Corridors 


$ 


The  Design  Strategy  Framework  emerged  after  extensive  analysis  of  current  conditions  and  development  opportunities,  as  well  as  several 
community  workshops  to  develop  a  consensus  vision  for  the  corridor. 


R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN       237 


Inclusive  Design  Features 
and  Settings 

DESIGN  VISION 

The  R  Street  corridor  is  designed  to  be  a 
mixed-use  transit  hub  that  increases 
community  connections  and  access,  and 
celebrates  its  original  industrial  spirit. 
The  community  and  the  planning  team 
determined  that  the  new  plan  would  be 
derived  from  five  main  design  strategies: 

1.  Maintaining  and  Enhancing  Historic 
Character 

The  area's  interesting  background  and 
rich  physical  historic  fabric  provide  R 
Street  with  a  unique  character  and  sense 
of  place  that  should  be  maintained  and 
strengthened.  The  Plan  calls  for  these 
actions: 

■  Preserve  and  integrate  buildings  that 
are  historically,  architecturally  and 
culturally  significant,  such  as  the  old 
warehouses  and  loading  docks. 

■  Preserve  and  integrate  the  area's 
building  materials  and  streetscape 


elements,  such  as  cobblestone 
streets,  encased  railroad  tracks,  load- 
ing docks,  wide  metal  awnings  and 
metal  sash  windows. 

Respect  the  utilitarian  aesthetic  of 
the  corridor  by  emphasizing  an 
urban,  industrial  design  language. 

Maintain  a  vibrant  mix  of  uses, 
including  light  industry,  offices,  retail 


A  neighborhood's  industrial  character  can 
be  maintained  and  enhanced  as  in  this 
Berkeley,  California,  warehouse  area,  now 
home  to  a  chocolate  factory  and  restaurant. 


and  housing,  which  will  also  generate 
tax  revenue. 

2.  Uniting  Neighborhoods 

The  area  should  unite  surrounding  resi- 
dential neighborhoods,  providing 
amenities  and  acting  as  a  connection  or 
seam  of  the  urban  fabric.  The  Plan  calls 
for  these  actions: 

■  Provide  pedestrian-oriented  design 
features  on  streets  perpendicular  to 
R  Street  to  link  north  and  south 
neighborhoods. 

■  Build  on  existing  neighborhood  ameni- 
ties, such  as  restaurants,  theaters,  art 
galleries  and  neighborhood-serving 
retail  that  support  community  life. 

■  Enhance  pedestrian  and  bicycle  activi- 
ties by  developing  underused  or 
vacant  buildings  and  open  spaces  with 
pedestrian-friendly  edges,  by  incorpo- 
rating innovative  traffic  calming  fea- 
tures and  by  continuing  pedestrian 
and  bicycle  paths  through  streets  that 
had  been  blocked  by  railroad  tracks. 


238      R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN 


Historic  loading  docks,  such  as  this  one  in  Portland,  Oregon,  can  be  converted  to  retail  shops  an 


a  cares. 


R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN       239 


In  Portland,  transit-oriented  development  has  brought  new  vitality  to  an  older  part  of  the  City. 


Accommodate  existing  industrial  uses 
that  serve  the  central  city,  are  compat- 
ible with  residential  mixed  use  and 
that  create  jobs. 


3.  Creating  Transit- Oriented  Development 

The  corridor  can  be  transformed  into  a 
vital  transit  hub  by  promoting  high-den- 
sity transit-oriented  development.  The 
light  rail  stations  at  1 3  th  and  1 6th 


Streets  will  be  the  centerpieces  of  the 
corridor,  with  warehouses,  industrial 
operations,  art  galleries,  offices  and  res- 
idences co-existing.  The  Plan  calls  for 
these  actions: 

Improve  the  physical  environment 
and  uses  at  the  stations  with  station 
plazas,  canopy  trees,  pedestrian- 
friendly  building  facades,  street  cafes, 
convenience  stores  and  other 
commuter-oriented  retail. 

Develop  safe  pedestrian  connections 
to  the  stations  by  improving  visibility, 
installing  signage,  and  enhancing 
pathways  along  major  corridors. 

Use  vacant  buildings  and  underutilized 
sites  to  create  high-density  residential 
and  commercial  uses,  especially  in 
the  area  immediately  surrounding  the 
stations. 

4.  Reclaiming  the  Public  Realm 

A  reclaimed  public  realm  will  be  a 
signature  element  of  the  R  Street  area. 


240      R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN 


While  cities  need  streets  that  move 
traffic  quickly  and  efficiently,  they  also 
need  pedestrian-friendly  streets  that 
create  community  and  encourage 
gathering.  R  Street  is  that  kind  of  street. 

The  design  will  draw  on  successful 
projects  in  the  Netherlands,  Canada, 
Germany  and  Denmark  that  have 
merged  architecture,  urban  design, 
landscape  architecture  and  traffic  engi- 
neering techniques  to  guide  pedestrian, 
bicycle  and  vehicle  behavior.  In  some 
cities  planners  have  done  away  with  con- 
ventional traffic  measures  of  control  and 
separation  (for  example,  traffic  signals, 
pedestrian  curbs  and  crossings,  bulb  outs 
and  bicycle  lanes)  that  provide  an 
illusion  of  order  and  safety.  Without 
defined  spaces  and  familiar  road  mark- 
ings, motorists  in  those  cities  are  guided 
by  design  and  context,  instinctively 
slowing  down  and  interacting  with 
pedestrians.  While  vehicles  move  slowly, 
they  do  keep  moving  rather  than  stop- 
ping and  starting.  The  result  is  that  grid- 


Universal  access  in  the  context  of  a  mixed  mode  street  can  mean  removing  curbed  sidewalks 
where  possible,  and  allowing  other  streetscape  elements  to  perform  the  "curb"  function. 


lock  has  been  reduced,  traffic  accidents 
have  dropped  dramatically  while  pedes- 
trians and  bicyclists  freely  share  the  road- 
way with  autos.  The  advantage  is  that  the 
entire  roadway  becomes  public  space 
where  people  safely  walk  and  gather. 

The  quality  of  the  R  Street  pedestrian 
experiences  will  be  enhanced  with 


attractive,  well-articulated  building 
facades,  welcoming  building  entries 
facing  the  street,  shade  and  shelters, 
public  art,  improved  pathways, 
pocket  parks  and  plazas,  cafes,  and 
neighborhood-oriented  retail.  R  Street 
offers  excellent  opportunities  for 
transforming  the  public  realm  into 


R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN        241 


Santana  Row  in  San  Jose,  California,  employs  pedestrian-friendly  bollards,  benches,  trees 
and  planters  to  separate  the  street  from  the  sidewalk  and  improve  access. 


active  pedestrian  corridors.  The  Plan 
calls  for  these  actions: 

■  Improve  the  pedestrian  experience 
by  creating  built  edges  that  relate  to 
pedestrians,  building  massing  that 
provides  a  sense  of  enclosure,  and 
uses  that  activate  the  corridor. 

-  Ensure  universal  access,  while  main- 
taining the  area's  historic  character. 
This  can  mean  removing  curbed  side- 
walks where  possible,  and  allowing 
other  streetscape  elements  to  per- 
form the  "curb"  function. 

B  Create  a  series  of  "activity  nodes," 
major  hubs  of  pedestrian  activity,  at 
the  light  rail  stations  and  between 
10th  and  1 1th  Streets,  14th  and  15th 
Streets  and  16th  and  18th  Streets. 
The  nodes  concentrate  activity- 
generating  uses,  such  as  high-density 
residential,  restaurants,  theater,  art 
galleries  and  retail. 

■  Create  a  variety  of  open  space  ameni- 
ties such  as  pocket  parks  and  plazas 
for  residential  and  commercial  users 


24-2       R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN 


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The  loading  dock  of  this  former  Berkeley  warehouse  now  serves  as  a  lunchtime  oasis  for  nearby  office  workers.  What  was  once  a  parking  lot  is  n< 
pedestrian  plaza. 


R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN       243 


Every  forecourt,  mid-block  mew  and 
passageway  can  potentially  be  pedestrian 
space. 


Pocket  parks  of  almost  any  width  between  buildings  can  serve  as  connectors  and  gathering 
spaces. 


that  complement  existing  parks  in 
nearby  neighborhoods.  The  network 
of  parks  and  plazas  would  be  linked 
by  pedestrian-friendly  pathways.  The 
parks  themselves  often  serve  as  mews 
or  mid-block  connectors,  strengthen- 
ing universal  access  to  the  light  rail 
stations. 


Alleys  can  be  designed  to  accommodate 
people  and  vehicles — like  this  one  in 
Vancouver,  B.C. 


Re-use  loading  docks  of  warehouses 
and  factories.  Their  current  form 
protrudes  into  the  normal  sidewalk 
or  pedestrian  pathway  and  creates  a 


244      R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN 


barrier.  The  challenge  is  to  increase 
safe  access  while  maintaining  the 
docks.  The  solution  for  R  Street  was 
to  expand  the  definition  of  the  pedes- 
trian pathway — without  confining 
pedestrians  to  a  traditional  sidewalk 
between  the  building  edge  and  the 
automobile-dominated  roadway. 
Instead,  the  areas  pedestrians  can  use 
were  expanded  to  include  the  road- 
way around  the  loading  dock. 
Pedestrians,  bicycles,  wheelchairs, 
strollers,  autos  and  trucks  will  follow 
new  "rules  of  the  road"  with  clearly 
designated  areas  for  each. 

1  Activate  the  numbered  cross  streets 
(10th,  13th,  16th  and  17th  Streets) 
with  infill  development.  Those  streets 
are  important  connectors  between 
adjacent  neighborhoods,  recreational 
resources  and  other  key  destinations 
both  north  and  south  of  R  Street. 


People  and  cars  often  coexist,  separated  by  an  industrial-style  fence. 


5.  Encouraging  High-Density  Mixed  Use 

The  City  should  develop  incentives  and 
streamlined  regulations  that  can  encour- 


R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN       245 


age  high-density  mixed  use.  The  Plan 
calls  for  these  actions: 

Improve  infrastructure  such  as  sewers 
and  storm  drains  so  the  lack  of  basic 
facilities  doesn't  stop  new  develop- 
ment. 

Offer  financial  incentives  for  brown- 
field  remediation  to  private  property 
owners  to  encourage  reuse  of  vacant 
lots  and  blighted  historic  buildings. 

Realign  the  regulatory  framework  to 
speed  and  modify  preservation  proj- 
ects, promote  creative  adaptive  reuse 
of  buildings,  integrate  universal 
access  improvements  that  maintain 
the  historic  character,  and  explore 
creating  a  private  maintenance  dis- 
trict to  maintain  non-standard  facili- 
ties within  the  City. 

UNIQUE  CORRIDOR  SECTORS 

The  urban  design  concept  delineates 
four  separate  sections  of  R  Street,  each 
with  distinct  uses,  historic  elements, 
architecture  and  clusters  of  vacant 
buildings  or  underused  space.  Future 
development  should  reflect  the  charac- 
ter of  each  section. 


The  City  of  Portland  is  an  urban  laboratory  of  creative,  adaptive  reuse  of  industrial 
buildings. 


246      R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN 


Sector  D 


Project  Area  Buildings 

Industrial  Built  and  Open  Space  Character 


Office  Built  and  Open  Space  Character 
Residential  /  Retail  Built  and  Open  Space  Character 


The  final  design  concept  for  R  Street  reflects  the  predominant  character  in  each  of  four  sectors:  Sector  A  is  historically  industrial,  Sector  B 
is  office  and  mixed  use,  Sector  C  is  office  and  Sector  D  is  mixed  use  and  residential. 


SECTOR  A:  Historic  Industrial 

The  western  section  of  the  corridor  fea- 
tures a  concentration  of  historic  brick 
warehouses  and  industrial  uses.  Key 
destinations  such  as  restaurants,  theaters 
and  art  galleries  already  make  this  the 
most  well  known  section  of  R  Street. 
Plans  for  this  area  include  new  transit- 
oriented  development  based  on  the 
1  3th  Street  Station  and  strengthening 
the  unrefined,  industrial  character 


through  streetscape  improvements  and 
building  edge  articulation. 

Public  Realm.  The  defining  feature  of 
this  section  is  a  unique,  carefully 
marked  80-foot-wide  public  right  of 
way  shared  by  pedestrians,  bicyclists, 
autos  and  trucks.  This  area  never  had 
sidewalks  so  pedestrians  always  used 
the  street  to  get  around  the  many 
loading  docks.  The  plan  calls  for  five- 
foot  ADA  accessible  pathways  along 
both  sides  of  the  street,  at  the  same 


level  and  texture  as  the  rest  of  the 
roadway.  People  in  wheelchairs  par- 
ticularly like  this  aspect  of  the  plan 
because  there  are  no  curbs.  People 
with  visual  impairments  will  find 
detectable  warning  strips  for  naviga- 
tion. Cars  park  parallel  to  the  road 
around  loading  docks.  Loading  docks 
of  former  industrial  buildings  will  be 
converted  to  retail  and  restaurant 
space,  delineated  with  industrial-style 
wire  railings. 


R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN       247 


0         50  100         200         300 

Prepared  by  M!G.  Inc.  -  October  20O4 


The  R  Street  design  concept  calls  for  mixed-use  development  in  Sector  A,  emphasizing  historic  preservation. 


248      R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN 


Existing 
Industrial 
Building 


Vacant 

Land 


Loading 
Dock 


Travel  Lanes,  Loading/Unloading  &  Pedestrian  Use 
80' ROW  


Parking 


Currently,  Sector  A's  many  loading  docks  force  pedestrians  into  the  street,  with  no  marked 
path  of  travel. 


Loading 
Dock 


H/C      '     ADA     ' 
Ramp     Accessible 
Path 
ADA 
Detectable 
Warning 


Parking 


Travel  Lanes  &  Pedestrian  Use 


Parking 


.1 


ADA 
Accessible 
ADA        I         Path 
Detectable-1 
Warning 


Pedestrians  currently  make  do  with  no 
clear  walkways. 


Detectable  warning  strips  will  clearly 
delineate  pedestrian  routes. 


With  the  new  design,  pedestrians  will  have  clearly  marked  paths  of  travel  around  loading  docks. 


R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN       249 


Streetscape.  The  gritty  industrial  qual- 
ity of  the  nearby  landmark  signal 
tower  provides  inspiration  for  the  R 
Street  detailed  design  palette. 
Elements  include  steel  trellises  and 
shade  structures,  utilitarian  lighting, 
I-beam  bollards  that  articulate  a 
pedestrian  plaza  in  front  of  the  Studio 
Theater,  wide  awnings,  trees  dis- 
persed asymmetrically,  and  buildings 
made  of  steel,  brick  and  paned  glass. 

■  Circulation.  Traffic  will  be  restricted 
to  5  miles  per  hour.  The  mid-block 
alley  between  R  and  S  streets  will 
become  the  primary  auto  access 
route  to  parking  located  in  the  rear 
of  new  developments.  Circulation  on 
1 2th  Street,  currently  blocked  by  rail 
development,  will  be  improved  for 
safe  and  pleasant  pedestrian  and  bicy- 
cle access  to  the  1 3th  Street  Station. 

■  New  Development.  CADA's  100-unit 
residential  loft  and  mixed-use  devel- 
opment will  be  a  catalyst  to  generate 
more  activity  in  this  section.  New 
mixed-use  development  will  be  ori- 
ented toward  the  1 3th  Street  Station 


A  historic  landmark  signal  tower  will  be  retained  and  used  as  a  basis  for  other  design 
details  on  R  Street. 


250      R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN 


Loading  docks  will  be  spillover  space  and  used  for  retail  or  cafes. 


A  former  railroad  spur  in  the  City  of  Emeryville,  California,  has  been 
transformed  into  a  shared  roadway,  which  also  serves  as  parking  for 
businesses.  On  workdays,  parking  spaces  are  filled,  and  bollards — 
fashioned  from  the  upturned  remains  of  the  train  track — serve  to 
delineate  the  pedestrian  pathway. 


On  the  weekends,  pedestrians  use  the  entire  width  of  the  street. 


R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN        251 


This  is  Sector  A  as  it  looks  today. 


CADA's  1 0O-unit  residential  loft  and  mixed  use  development  will  be  a  catalyst  for  more 
activity  in  this  section. 


PAULTUTTLE 


and  should  be  at  least  3  to  4  stories 
high  to  maximize  transit-oriented 
development  potential.  Unused  or 
vacant  buildings  will  be  converted  to 
office  and  retail,  and  vacant  lots  and 
surface  parking  lots  will  be  devel- 
oped or  become  parking  structures 
with  ground  floor  retail  facing  the 
street. 


SECTOR  B:  Mixed-  Use  Transit  Hub 

This  sector  runs  from  mid-block 
between  1 2th  and  1 3th  Streets  east  to 
1 5th  Street.  It  contains  a  large  cluster  of 
single -story  office  buildings  and  huge, 
underused  surface  parking  lots.  The  cur- 
rent low-density  usage  doesn't  capitalize 
on  the  opportunities  presented  by  a 
prime  location  near  both  the  1 3th 
Street  and  16th  Street  light  rail  stations. 
This  section  is  very  auto-oriented,  with 
stark  building  facades  that  are  typical 
1 960s  style.  However,  a  bustling  new 
restaurant  and  club  has  already  activated 
part  of  the  street  and  can  be  a  catalyst 
for  further  development.  Plans  for  the 


252      R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN 


S  Street 


Sector  B  will  become  a  transit  hub  centered  on  the  1  3th  Street  Station,  with  high-density 
mixed-use  infill  development. 


section  include  transit-oriented,  high- 
density  infill  development  with  a  mix  of 
uses,  including  live- work  lofts,  artist 
studios,  corner  cafes,  ground- floor 


neighborhood-serving  retail  with  com- 
mercial space  above  and  light  manufac- 
turing and  warehouses. 


The  existing  1  3th  Street  Station  design 
allows  shared  use  by  people  and  transit 
vehicles. 


Several  properties  surrounding  the  1  3th 
Street  Station  present  many  opportunities 
for  adaptive  reuse  and  intensification. 


R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN       253 


Public  Realm.  The  existing  80-foot 
public  right  of  way  will  be  reconfig- 
ured to  allow  for  a  more  generous 
accessible  pedestrian  pathway.  In  the 
long  term,  the  sidewalks  will  be 
removed  so  the  pathway  is  at  the 
same  level  as  the  roadway.  There  are 
few  loading  docks  so  the  pathway  can 
be  nine  feet  wide  plus  space  for 
shade  trellises  and  ADA  detectable 
warning  strips. 

Streetscape.  This  area  will  benefit 
from  pocket  parks  and  plazas  for 
local  residents  and  employees.  The 
1  3th  Street  Station  will  have  a  new 
plaza,  with  the  current  north  parking 
area  renovated  to  allow  for  a  land- 
scaped, tree-lined  pedestrian  connec- 
tion to  Q  Street.  A  pocket  park  just 
south  of  the  station  and  another  fur- 
ther west  will  feature  groves  of  trees, 
seating  and  water  features,  serving  as 
a  green  oasis  and  social  gathering 
place  for  employees  and  future  resi- 
dents. Streetscape  elements  are  simi- 
lar to  those  described  in  Sector  A. 


Existing 
Industrial 
Building 


Pedestrian 
Path 


Parking 


Parking 


|  Pedestrian  I        Existing 
Path  Landscape 


Current  building  facades  are  unwelcoming  with  many  surface  parking  areas  and  flat 
building  facades. 


New  pedestrian  comfort  features  such  as  trellises,  seating  and  a  wider  path  of  travel  will 
enhance  the  street  for  pedestrians. 


254      R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN 


After  removing  curbs,  a  planting  strip — no 
matter  how  small — can  further  improve  the 
pedestrian  experience. 


Circulation.  Traffic  will  be  slowed  to 
S  miles  per  hour.  Cars  will  continue 
to  park  parallel  to  the  street  on  both 
sides,  with  24  feet  remaining  for 
traffic  flow.  All  new  development  has 
adequate  off-street  parking  tucked 
away  in  the  rear  of  buildings,  which 
can  be  accessed  through  mid-block 
alleys. 


The  new  R  Street  design  continues  the 
area's  use  of  the  "mixed  mode"  street 
environment:  pedestrians,  bicyclists,  autos 
and  trucks  share  the  roadway. 


New  Development.  Historic  buildings 
should  be  converted  to  uses  that 
support  transit  activity  and  residen- 
tial living,  such  as  art  galleries, 
artists'  lofts  and  design  studios.  The 
buildings  will  be  used  with  a  greater 


Sidewalks  in  the  existing  public  right  of 
way  can  be  removed  so  the  pathway  is  at 
the  same  level  as  the  roadway. 


intensity,  with  a  minimum  of  three 
to  four  stories.  Development  along 


R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN       255 


Produce  shoppers  can  enjoy  the  ease  of 
walking  from  shops  to  outdoor  stands,  all 
on  the  same  block. 


Sector  B,  with  its  low  density  and  auto-oriented  usage,  currently  doesn't  capitalize  on  the 
opportunities  presented  by  a  prime  location  near  both  the  1  3th  Street  and  1 6th  Street 
light  rail  stations. 


the  numbered  streets  will  be  high- 
density  townhomes  or  apartments 
that  respect  the  adjoining  residential 
character.  Because  surface  parking 
lots  will  be  re-used,  the  plan 


proposes  a  new  mixed-use  parking 
structure  that  will  provide  residen- 
tial uses  fronting  the  street  and 
access  to  parking  from  the  alley. 


256      R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN 


Artist's  rendering  of  Sector  B  Phase  2  illustrates  how  streetscape  elements  help  to  unify  all  four 


PAULTUTTLE 


sectors. 


R    STREET    URBAN     DESIGN    AND    D 


EVELOPMENT    PLAN       257 


Sector  C,  a  relatively  stark  area,  will  benefit 
from  an  improved  streetscape  and  public 
art;  no  new  development  is  planned. 


Existing    'pedestrian  Parking 

Landscape        Path 


Parking  Existing       Pedestrian      Existing 

Landscape         Path  Setback 


Pedestrians  are  now  wedged  between  a  parking  structure  and  offices. 


Parking         '   Existing  ' ADA      ' Existing 
Landscape     Accessible      Setback 
Path 


A  new  20-foot-wide  pathway  and  art  space  will  break  pedestrians  out  of  their  current 
narrow,  unattractive  confines  and  encourage  public  gathering. 


258      R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN 


SECTOR  C:  Art  Walk 

This  one-block  section  currently  offers 
very  few  pedestrian  amenities.  It  is 
mainly  government  office  buildings, 
including  one  five-story  office  building, 
and  a  seven-story  parking  structure. 
While  these  tall  buildings  provide  shade 
and  a  sense  of  enclosure,  their  imposing 
facades  have  no  human-scale  detail.  The 
residential  structures  along  the  north 
edge  of  the  1 6th  Street  Station  face  the 
other  direction,  with  their  backs  to  the 
street,  and  reinforce  the  unappealing 
nature  of  the  street  environment  at  this 
point.  Plans  for  this  section  include 
improving  the  interface  between  the 
existing  buildings,  the  public  realm  and 
the  16th  Street  Station,  and  evolving 
this  small  sector  into  an  "art  walk"  that 
connects  activity  nodes  to  the  east  and 
west.  Both  ground  floor  building  facades 
and  the  pedestrian  right-of-way  will  be 
transformed  into  a  pedestrian-friendly 
space  that  celebrates  the  arts. 

■  Public  Realm.  An  immediate  improve- 
ment will  be  widening  the  northern 


edge  of  the  current  six-foot  sidewalk 
to  20  feet  and  reducing  the  roadway 
to  24  feet  for  two  lanes  of  traffic 
(taking  away  an  on-street  parking 
lane) .  This  will  create  space  for  a  gen- 
erous promenade  for  various  art 
exhibits,  such  as  display  boxes, 
murals,  sculptures  and  space  for  art- 
related  events  and  festivals.  The  cur- 
rent ground  floor  dark  glass  of  the 
parking  structure  will  be  replaced 
with  transparent  glass  and  the  edge  of 
the  structure  will  be  reconfigured 
into  a  public  gallery.  The  alley 
between  R  and  Q  Street,  along  with 
the  adjacent  16th  Street  Station,  will 
become  a  transit  plaza  with  a  row  of 
shade  trees.  Seating  along  the  tree- 
lined  southern  edge  will  be  comple- 
mented with  uses  that  serve  foot 
traffic,  such  as  temporary  food  and 
hawker  stands.  Cafes,  small  conven- 
ience stores  and  other  pedestrian- 
friendly  retail  will  activate  the  plaza 
around  the  clock.  Increased  numbers 
of  people  on  the  street  will  increase 
safety  as  well. 

Circulation.  Traffic  will  be  slowed  to 
5  miles  per  hour  on  R  Street.  1  5th 


Parking  structures  can  give  life  to  the  street 
by  providing  retail  space,  art  displays  and 
other  active  uses  on  the  ground  floor. 


R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN       259 


and  1 6th  Streets  will  continue  as 
major  one-way  arterials  across  R 
Street. 

i  New  Development.  This  section  is  fully 
developed,  so  short-term  improve- 
ments will  take  advantage  of  the 
close  proximity  to  the  1 6th  Street 
light  rail  station,  creating  an  aestheti- 
cally pleasing  station  plaza.  If  any 
buildings  are  demolished,  high- 
density,  mixed-use  would  replace 
them,  preferably  with  ground  floor 
retail. 


Temporary  events  and  artisan  stands  will 
enliven  Sector  C  on  weekends. 


A  building  facade  in  this  Berkeley  art  and  theater  district  provides  a  high  level  of  eye- 
catching detail  at  the  street  to  entice  pedestrians. 


260      R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN 


Sector  C  is  already  fully  developed,  but  lacks  connections  between  building  facades  and 
pedestrian  activity. 


&$? 


An  immediate  improvement  will  be  widening  the  northern  (left)  side  of  the  current  side- 
walk. This  will  create  a  generous  promenade  for  art  exhibits  and  events  (artist's  rendering 
of  Sector  C,  Phase  2). 

PAULTUTTLE 


Unique  seating  creates  connections  between 
the  sidewalk,  the  building  facade  and 
pedestrians. 


R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN        261 


SECTOR  D:  Market  Green 

This  easternmost  section  has  the  largest 
inventory  of  vacant  and  underused  his- 
toric buildings  and  vacant  brownfield 


sites.  The  area  is  now  auto-dominated, 
with  perpendicular  parking  on  the 
north  side  and  an  80-foot-wide  travel 
lane  for  truck  loading  and  cars.  The  few 


pedestrians  clamber  around  loading 
docks  in  the  street.  The  new  R  Street 
Market  will  become  a  key  destination 
point  for  the  surrounding  community 


A  dramatic  increase  in  public  open  space  will  completely  change  the  nature  of  this  sector;  new  retail  shops  also  will  activate  the  area. 


262      R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN 


with  the  new  grocery  store,  restaurant 
and  cafe  on  the  ground  floor  with  hous- 
ing above.  Plans  for  this  section  include 
building  on  that  anchor  development 
and  providing  a  signature  public  open 
space  that  dramatically  reconfigures  the 
current  street. 

■  Public  Realm.  The  "Market  Green"  is  a 
shaded  area  with  a  double  row  of 
trees,  running  right  down  the  middle 
of  R  Street  between  1 6th  and  1 8th 
Streets.  It  will  be  a  vibrant,  land- 
scaped, multi-use  area  that  freely 
mixes  all  modes  of  travel  and  changes 
character  depending  on  the  time  of 
day  and  day  of  the  week.  Trellis  shel- 
ters, awnings  and  tall  building  on  the 
south  side  of  the  street  will  provide 
shade  during  the  hot  summers. 
Benches  and  new  lighting  accentuate 
pedestrian-friendly  spaces.  During 
the  week,  the  Green  serves  as  a 
pocket  park  with  limited  parking. 
During  weekends,  it  transforms  into 
space  for  cafes,  farmers  markets  and 
other  community  events  and  festivals. 
A  public  plaza  at  the  east  end  of  the 
corridor  (fronting  the  mixed-use 


Vacant 
Land 


Existing 

Loading 

Dock 


Travel  Lanes, Loading/Unloading,&  Pedestrian  Use 


Parking 


Currently,  trucks  loading  and  unloading,  traffic  and  parking  dominate  the  street. 


b"| 


20' 


Loading 
Dock 


H/C  ADA 

Ramp      Accessible 
Path 


Public  Open  Space 

ADA 
' —  Detectable 

Warning 


Week  Day  Parking 


"  Travel  Lane  & 
Fi  re  Access 

ADA 
Detectable  - 
Warning 


1      ADA 
Accessible 
Path 


The  R  Street  design  concept  adds  5  feet  of  pathways  plus  about  1  5  feet  of  open  space  and 
1 8  feet  of  shared  space  for  pedestrians. 


R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN       263 


On  weekends,  Sector  D  will  host  farmers  markets  and  other  community  events  and  festivals. 
This  is  Santana  Row  in  San  Jose. 


The  Market  Green  area  in  the  center  of  the 
street  freely  mixes  all  modes  of  travel  and 
changes  character  depending  on  the  time 
of  day  and  day  of  the  week. 


anchor  development)  will  have  a 
feature  gateway  similar  to  the  historic 
signal  towers  at  the  corner  of  R  and 
8th  Streets. 

1  Circulation.  Pedestrians  and  autos 
will  share  the  roadway;  traffic  will  be 
slowed  to  5  miles  per  hour.  A  one- 
way, single  vehicular  lane  will  accom- 
modate slow-moving  service  vehicles 


and  fire  trucks.  On  weekdays,  on- 
street  parking  is  restricted  to  a  single 
row  of  perpendicular  parking  in  the 
center  of  the  street.  On  weekends, 
there  will  be  no  on-street  parking.  All 
new  development  will  have  off-street 
parking  in  the  rear  that  can  be 
accessed  by  alleys  and  numbered 
streets. 


1  New  Development.  The  large  parcels  of 
vacant  land  and  the  unused  historic 
buildings,  such  as  the  Crystal  Ice 
Building,  offer  prime  development 
opportunities  for  high-density  hous- 
ing and  other  transit-oriented, 
neighborhood-scale  uses. 


264      R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN 


a.  .he  cor™  „,  R  ,nd  8th  s'  J",,  ,,.s ' ll  "  *»•'"*"«•«>  «»  ^ve  .  feature  gateway  sirailar  to  the  historic  sign,,  towers 


PAULTUTTLE 


Streets  (artist's  rendering). 


R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN       265 


DESIGN  PALETTE 

All  design  features  will  reflect  and 
strengthen  the  historic  industrial  char- 
acter of  the  area,  drawing  on  the  exist- 
ing building  and  streetscape  elements 
as  a  street  design  language.  Metal 
sashes,  multi-paned  industrial  win- 
dows, awnings  at  entries  and  over  load 
ing  docks,  and  brick  (exposed  or 
painted),  plastered  concrete,  glass  and 
corrugated  metal  facades  reflect  a  utili 
tarian  aesthetic. 

The  streetscape  palette  includes  metal, 
steel  and  cobblestones.  Artwork  and 
gateways  will  also  be  primarily  metal 
and  stone. 


m\ 


Streetscape  elements  will  be  consistent  throughout  the  street;  they  will  be  made  of  metal,  concrete  and  glass  to  reflect  the  historic  industrial 
character  of  the  area. 


266      R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN 


*  4 

•  * 


UNIVERSAL  DESIGN 

Eliminating  sidewalks  and  curbs  makes 
accessibility  far  easier  for  people  using 
wheelchairs  and  other  mobility  devices. 
To  ensure  that  those  with  visual  impair- 
ments also  feel  comfortable,  design  ele- 
ments other  than  curbs  will  be  used.  The 
plan  recommends  a  5 -foot- wide  ADA 
accessible  path  on  at  least  one  side  of  the 
street  with  detectable  warning  strips, 
trellises,  streets  lights  and  bollards  to 
provide  tactile  clues. 


Detectable  warning  strips  can  be  tactile 
and  brightly  colored  to  provide  wayfinding 
for  those  with  visual  impairments. 


R    STREET    URBAN     DESIGN    AND     DEVELOPMENT    PLAN       267 


Management  and 
Operational  Issues 

The  R  Street  Urban  Design  and 
Development  Plan  outlines  the  steps  for 
directing  future  investment  in  the  area, 
ensuring  efficient  and  economical 
progress.  Because  improvements  are 
being  completed  in  stages,  it's  critically 
important  that  everyone  involved  in  the 
project — for  example,  City  planning 
staff,  developers,  businesses,  residents, 
and  Public  Works  staff — share  the  same 
vision  of  R  Street  and  work  together  to 
solve  anticipated  management  and  oper- 
ational issues. 

STREET  MAINTENANCE 

Efforts  to  create  an  inviting  and  active 
streetscape  can  be  undermined  if 
the  street  isn't  well  maintained. 
Maintenance  staff  needs  to  understand 
the  vision  and  goals  for  the  area  as  they 
make  day-to-day  maintenance  and  repair 
decisions.  All  trash,  graffiti,  broken  or 
burned  out  streetlights  and  vandalism 


need  to  be  addressed  immediately  to 
maintain  the  look  and  feel  of  the  area. 
Once  the  look  and  feel  is  undermined, 
the  perceptions  of  blight  and  lack  of 
safety  quickly  return. 

The  City  will  likely  not  have  all  the 
resources  to  maintain  the  new  street 
surfaces,  furniture,  landscaping  and 
other  aesthetic  features,  so  the  solution 
may  be  a  Business  Improvement  District 
(BID)  or  Property-based  Business 
Improvement  District  (PBID).  Both  are 
self-help  organizations  created  to  fund 
physical  and  programmatic  improve- 
ments. A  BID  is  a  self-taxing,  merchant- 
based  organization  created  with  the  help 
of  local  government.  They're  often  used 
for  smaller  retail-oriented  revitalization 
and  economic  development  programs, 
including  farmers  markets.  A  PBID  is  a 
property-based  assessment  district  that 
supplements  local  government  funds  by 
directly  assessing  property  owners. 
PBIDs  typically  help  fund  security, 
maintenance,  marketing,  economic 


development  and  special  events.  It's  cre- 
ated and  governed  by  those  who  pay  the 
assessment. 

AGENCY  COORDINATION 

All  of  the  public  agencies  and  private 
businesses  that  play  a  part  in  R  Street 
need  to  maintain  good,  ongoing  commu- 
nications. A  PBID  can  be  the  leadership 
organization  for  the  R  Street  area, 
communicating  with  and  coordinating 
agencies  such  as  Sacramento  City 
Planning,  Sacramento  Regional  Transit, 
Sacramento  Police  and  Fire 
Departments,  Public  Works,  CADA, 
property  owners  (commercial  and  resi- 
dential) and  developers. 

INFRASTRUCTURE  DEVELOPMENT 

As  new  development  comes  into  the 
area,  property  owners  will  be  required 
to  contribute  resources  to  complete  the 
infrastructure  and  ensure  that  new 
designs  harmonize  with  the  R  Street 
development  standards  and  design 
guidelines. 


268      R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN 


PROGRAM  MANAGEMENT 

A  unified  management  approach  will 
help  operate  the  street  as  a  whole.  For 
example,  on  weekends  the  east  end  of  R 
Street  becomes  a  gathering  space  for 
markets  and  musical  events,  replacing 
parking.  The  community,  including  resi- 
dents, will  need  to  participate  in  deci- 
sions about  issues  like  lighting,  banners 
and  use  of  the  shared  roadway.  It's  critical 
that  community  members  feel  connected 
to  the  street  and  that  they  are  also  stew- 
ards of  the  R  Street  environment. 


User  Feedback 

Steve  Cohn,  City  Councilmember 

"R  Street  revitalization  is  key  to  bringing 
the  south  part  of  mid-town  back  into  the 
rest  of  the  Central  City.  The  CADA 
projects  and  the  grocery  store  are  show- 
ing people  the  great  development 
opportunity  this  area  offers.  And  the 
housing  project  at  4th  and  R  is  showing 
us  what  mixed-use  housing,  retail  and 
office  can  offer." 


Allyson  Dalton,  Owner,  Fox  S^Goose  Tub 
and  Restaurant 

"This  is  the  first  cohesive  vision  for  the 
entire  corridor.  My  parents  opened  our 
pub  in  1 975  and  before  that  they  owned 
an  art  gallery  in  the  same  building.  I 
grew  up  on  this  street — this  was  my 
playground.  My  parents  were  visionar- 
ies for  what  could  happen  here. 

"The  potential  for  developing  this  corri- 
dor is  tremendous.  It  can  revitalize  all  of 
Sacramento  Downtown. 

"Long-term,  I  think  the  main  issues  will 
be  ensuring  that  everyone  shares  the 
same  vision  and  knows  how  to  imple- 
ment and  maintain  it.  They  should  set 
the  architectural  detail  all  the  way  down 
the  corridor  so  the  benches,  lighting, 
awnings,  furniture,  etc.,  are  all  the 
same.  It's  critical  that  we  all  take 
responsibility  for  maintaining  our  areas. 
For  example,  plants  have  to  be  well 
maintained  and  graffiti  has  to  be  cleaned 
immediately  or  it  will  attract  more 
graffiti. 


"All  the  business  owners  are  very 
excited.  Of  course,  many  are  a  little 
skeptical  because  we've  heard  there  will 
be  a  new  vision  for  so  long.  But,  this  is 
the  closest  I've  ever  seen  it;  I  believe  it 
will  happen  this  time.  I'd  love  to  pur- 
chase a  loft  and  live  here  myself.  I'd  love 
to  walk,  ride  my  bike  and  be  part  of 
helping  this  community  grow." 

Todd  Leon,  City  of  Sacramento, 
Planning  Division 

"We  can  change  an  entire  strip  of  the 
City  and  do  something  really  exciting 
with  it.  This  old  industrial  area  is  full  of 
history  and  surrounded  by  so  many  dif- 
ferent types  of  neighborhoods.  Right 
now,  it  splits  the  north  and  the  south. 
Yet,  it  has  tremendous  contextual  and 
relational  value.  Its  transformation  can 
link  up  the  two  sides. 

"We're  moving  people  away  from  the 
idea  of  separate  places  for  offices  and 
suburbs,  toward  the  idea  of  what  a  city 
was  before  the  car  dominated  our  lives. 


R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN       269 


Shared  roadway  and  light  rail,  as  in  the 
Ankeny  Burnside  neighborhood,  Portland, 
can  reinvigorate  older  areas. 


The  plan  was  originally  started  to  stop 
the  infill  of  large  office  buildings  where 
everyone  goes  home  at  night.  The  neigh- 
borhood stepped  in  and  said,  'No,  we 
want  a  real  neighborhood  we  can 
embrace.'  So  the  primary  goal  is  infill 
housing — we're  not  yet  at  our  goal  of 
3,000  units — and  small  shops,  mixed- 
use  with  housing  on  top.  The  market 


had  to  catch  up  with  the  idea  of  mixed 
use,  and  I  think  Sacramento  has  reached 
the  tipping  point  now.  The  neighbor- 
hood needs  time  to  find  the  balance 
between  housing,  retail  and  office. 

"The  shared  roadway  concept  keeps  the 
historical  context.  There  are  no  side- 
walks here  now  so  when  people  walk, 
pedestrians  and  vehicles  already  mix. 
When  it's  built  out  more,  this  will 
maintain  the  sense  of  place  and  enhance 
it.  People  are  drawn  to  an  area  with  a 
sense  of  place — they  want  the  unique 
experience  of  being  someplace  that 
doesn't  look  like  everywhere  else.  And 
we  don't  have  many  unique  places  in 
Sacramento. 

"The  disabled  community  has  played  a 
big  role  as  well.  The  plan  provides  link- 
ages and  paths  to  all  elements.  It's  a 
colorful  plan  that  allows  you  to  easily 
move  up  and  down  the  corridor.  We're 
creating  a  place  that  everybody  will 


want  to  go  to.  And  when  we  say  every- 
body, we  mean  everybody. 

"There  will  be  some  infrastructure 
issues  to  overcome.  The  sewer  system  is 
old  and  complicated.  Land  costs  are 
tricky.  If  the  land  costs  too  much 
because  of  speculation,  it's  difficult  to 
finance  a  project.  There  are  several  key 
spots  that  are  owned  by  large  landown- 
ers. We  need  to  show  a  developer  who 
might  be  used  to  creating  tilt-up  build- 
ings that  you  can  make  money  follow- 
ing this  vision.  Then  that  project  can  be 
an  icon,  a  catalyst  for  the  rest  of  the 
developers. 

"We  also  have  to  be  sure  the  improve- 
ments are  kept  up.  And  whenever  you 
have  a  24-hour  city,  you'll  have  issues  of 
noise,  congestion,  and  people  on  the 
streets.  But  we  can  do  it,  working  as 
partners:  CADA,  the  City,  and  the 
neighborhood." 


270      R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN 


Paul  Schmidt,  Executive  Director,  Capitol 
Area  Development  Authority  (CADA) 

"There  aren't  a  lot  of  people  living  here 
now  but  we  have  a  large  condo  project 
starting  up.  In  fact,  a  main  feature  of  the 
street  is  the  potential  to  build  housing. 
The  Capitol  Lofts  projects  between 
1  Oth  and  1 3th  Streets  will  show  people 
the  new  character  and  life  of  living  on 
this  street,  living  the  loft  lifestyle.  We 
actually  got  a  $  1 . 5  million  grant  for  that 
project. 

"Funding  is  always  a  challenge.  We've 
been  successful  in  getting  some  grants 
to  jump-start  projects  but  we'll  need  a 
PBID  and  we'll  have  to  sell  everyone  on 
that  idea. 

"This  is  the  oldest  industrial  corridor  in 
the  country  and  we  think  the  historic 
look  of  bricks  and  loading  docks — fea- 
tures that  aren't  usually  found  in 
Sacramento — will  give  us  a  marketing 
edge.  This  is  an  opportunity  for  us  to 


create  our  own  identity:  it's  edgy,  gritty 
and  industrial  with  a  great  view  of 
Downtown.  We  think  people  will  want 
to  move  here  not  just  from  Sacramento 
but  also  from  the  Bay  Area  and  other 
cities." 

Carol  Bradley,  ADA  Coordinator, 
City  of  Sacramento 

"R  Street  is  being  designed  to  incorpo- 
rate the  idea  of  universal  design  from 
the  beginning — it's  a  benefit  of  having  a 
slower-paced  industrial  area. 

"I  liked  the  process  of  developing  R 
Street;  its  community  feedback  helped 
architects  and  technical  folk  understand 
things  like  why  having  street  furniture  is 
so  difficult  for  people  with  disabilities. 
We  had  a  lot  of  discussions.  Take 
detectable  warnings  for  example.  In 
California,  if  the  state  standard  is  higher 
than  the  federal,  the  state  prevails.  In 
California,  we  have  to  have  yellow  trun- 
cated domes  to  mark  when  you're 


entering  a  street.  In  other  states,  it  just 
has  to  contrast.  But  yellow  is  the  last 
color  you  see  when  you're  losing  your 
sight,  so  here,  yellow  it  must  be.  But 
people  hate  the  yellow;  it's  not 
historical  and  it's  not  aesthetic.  We 
compromised.  It's  not  an  ADA  path  of 
travel,  it's  an  accessible  path  of  travel 
and  it  doesn't  have  to  be  yellow.  But  we 
increased  the  original  two  feet  to  three 
feet  of  domes. 

"Another  thing  that  came  out  of  all  the 
discussion  is  moving  the  signage  and 
furniture  out  of  the  path  of  travel 
entirely.  Then  people  can  follow  the 
truncated  domes.  The  curb-less  streets 
were  also  an  issue.  For  people  in  chairs, 
it's  great.  But  if  you're  blind,  you  need 
some  delineation.  The  design  solution 
was  a  raised  crosswalk. 

"In  the  final  outcome,  we  kept  the  his- 
toric character  and  it  will  also  be  truly 
accessible  for  everyone." 


R    STREET    URBAN     DESIGN    AND    DEVELOPMENT    PLAN        271 


PRESIDIO   TRAILS  AND    BIKEWAYS  SAN    FRANCISCO,    CALIFORNIA 


'One  thorny  issue  we  have  is  how  to  put  an  accessible  link  from 
the  Bay  up  to  the  vista  point. ...Is  it  worth  the  expense  to  have 
that  link?  The  answer  is, yes.  We  have  to  provide  an  accessible 
experience  for  all  our  visitors." 

LANDSCAPE  ARCHITECT,  NATIONAL  PARK  SERVICE 


CONNECTING   URBAN 
AND    NATURAL  SETTINGS 


LARRY  WIGHT 

SALLY  M  C I  NTYRE  THE  NEW  PRESIDIO  TRAILS  AND  BIKEWAYS  MASTER  PLAN  PROVIDES  AN  INTERCONNECTED, 

safe  and  enjoyable  trail  and  bikeway  system  that  enhances  all  park  users'  experi- 
ences— while  protecting  and  preserving  the  Presidio's  natural  and  cultural 
resources.  It's  the  first  comprehensive  trail  and  bikeway  network  for  the  area.  The 
Presidio  of  San  Francisco  is  a  former  Army  base  converted  to  an  urban  National 
Park.  It  encompasses  1,491  acres  at  the  northwestern  tip  of  San  Francisco,  touch- 
ing both  the  Pacific  Ocean  and  San  Francisco  Bay  and  offering  spectacular  vistas. 


273 


The  Presidio  offers  miles  of  trails,  wide  beaches  and  spectacular  vistas. 


Located  at  the  threshold  of  the  Golden 
Gate  Bridge,  the  park  includes  nearly 
500  historic  buildings  and  structures 


(including  historic  coastal  defense 
bunkers) ,  a  national  cemetery,  a  historic 
airfield,  and  miles  of  hiking  and  biking 


PROJECT  Trails  and  Bikeways  Master  Plan      LOCATION  San  Francisco,  California 
DATE  DESIGNED  2003      SIZE  1,491  acres      CLIENT  National  Park  Service/Presidio 
Trust       LANDSCAPE  ARCHITECT  MIG,  Inc. 


trails.  Its  varied  natural  landscape 
includes  coastal  bluffs  and  beaches,  a 
saltwater  marsh,  dense  forests  and 
native  plant  habitats  that  contain  endan- 
gered species.  It  is  a  component  of  the 
Golden  Gate  National  Recreation  Area 
(GGNRA)  and  a  National  Historic 
Landmark  District. 


274      PRESIDIO    TRAILS    AND    BIKEWAYS 


The  Presidio  offers  views  of  the  world  famous 
Golden  Gate  Bridge,  from  the  west  and  east 
sides. 


Previously,  there  were  about  1 9  miles  of 
designated  pedestrian  and  multi-use 
trails  and  bike  lanes  in  the  Presidio.  But 
there  were  also  many  miles  of  additional 
unofficial  trails  and  shortcuts  that  had 
been  developed  through  informal  use. 
These  user-defined  trails  criss-crossed 
much  of  the  Presidio,  including  natural 


areas  and  sensitive  habitats.  They  were 
of  uneven  quality,  confusing  to  navigate 
and  didn't  connect  well  to  park  fea- 
tures. Some  trails  presented  safety  and 
access  issues.  Others  caused  environ- 
mental degradation,  increasing  erosion, 
fragmenting  native  plant  communities 
and  wildlife  habitat,  disrupting  drainage 


The  City  of  San  Francisco  is  developed  right  up  to  the  edge  of  the  Presidio. 


PRESIDIO   TRAILS  AND    BIKEWAYS 


275 


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patterns  and  even  degrading  historic 
coastal  fortifications. 

The  Plan  identifies  new  trails,  upgrades 
or  modifies  selected  existing  trails  and 
service  roads,  and  identifies  unofficial 
trails  that  should  either  be  closed  or 
incorporated  into  the  official  trails  net- 
work. The  Plan  improves  connections 
between  key  features  of  the  Presidio, 
enhances  the  public's  exploration  and 
experience  of  the  Presidio's  open 
spaces  and  resources,  increases  accessi- 
bility for  people  with  and  without 
disabilities,  enhances  visitor  safety,  and 
encourages  use  of  alternative  modes  of 
transportation. 

With  this  Plan,  the  Presidio  will  have 
19.2  miles  of  pedestrian  trails,  14.4 
miles  of  bike  ways  and  20. 1  miles  of 
multi-use  trails. 


The  Presidio  encompasses  almost  1,500 
acres  of  varied  uses,  including  golf, 
beaches,  miles  of  trails,  historic  sites, 
offices,  and  access  to  the  Golden  Gate 
Bridge  (at  top  of  photo). 


DESIGN  GOALS 

The  Trails  and  Bikeways  Master  Plan 
accomplished  five  major  goals: 

■  Enhance  public  use  of,  access  to 
and  experience  of  the  Presidio  by 
providing  logical,  comprehensive  and 
user-friendly  connections,  and  a  net- 
work of  trails  that  provides  a  variety 
of  experiences  with  access  and 
challenge  for  different  ages,  skills 
and  physical  abilities. 

■  Help  preserve  the  Presidio's  valuable 
natural  and  cultural  resources. 

m  Create  a  system  that  supports 
alternative  transportation,  reducing 
dependence  on  cars,  and  coordinates 
with  regional  and  national  trails  and 
local  bicycle  routes. 

■  Design  an  environmentally  responsi- 
ble trail  system  that  fully  incorpo- 
rates the  best  in  sustainable  design 
and  construction  practices. 

■  Begin  an  ongoing  process  of  public 
engagement  in  educational  and 
stewardship  programs. 


PRESIDIO   TRAILS  AND    BIKEWAYS      277 


Multi-Use  Trail 

Pedestrian  Trail 

Pedestrian  Secondary 

Trail 

Known  Social  Trail 

to  be  Removed 

Primary  Trailhead 

$|£   Overlook 

©    Beach  Access  Route 

N 


Pedestrian  and  Multi-Use  Trails 


Sources:  MIG,  NPS,  Presidio  Trust  20021  f 

\  i  1 1__— — : . — —  in         it  ii 


Disparate  walks,  trails  and  bike  paths  will  be  linked  to  create  a  unified  new  cross-Presidio  trail,  safe  access  to  beaches  below  the  steep 
bluffs,  and  become  a  beautiful  segment  of  the  California  Coastal  Trail. 


278      PRESIDIO    TRAILS    AND    BIKEWAYS 


Bike  Lanes  on  Each 
Side  of  Street 

Low  Volume— Bike 
and  Car  Share  Lane 

Uphill  Bike  Lane 
Only 


On-Street  Bicycle  Routes 


n        n        n 

On-street  bicycle  routes  provide  safe  and  challenging  rides 


-ir 


PRESIDIO  TRAILS  AND    BIKEWAYS      279 


Bicyclists  can  take  advantage  of  miles  of 
trails  and  stunning  vistas. 


Touring  bicyclists  want  to  see  the  sights  and  the  beauty  of  the  Presidio,  sharing  multi-user 
paths  with  pedestrians. 


The  Trails  and  Bikeways  Master  Plan  is  a 
joint  effort  of  the  National  Park  Service 
(NPS)  and  the  Presidio  Trust  (Trust), 
the  two  agencies  responsible  for  manag- 
ing the  area.  It  will  guide  management 
of  the  Presidio  trails  and  bikeways  for 
the  next  20  years. 

USER  GROUPS 

The  specific  needs  of  user  types  directly 
affected  the  routing,  configuration  and 
design  guidelines  for  trails  and  bikeways. 

■  Pedestrians 

Pedestrian  users  vary  greatly,  from  those 
seeking  physically  challenging  walks  to 


those  who  want  a  convenient  connec- 
tion between  two  activity  centers.  Sub- 
categories of  pedestrian  users  include: 
recreational  walkers,  commuters,  run- 
ners and  exercisers  of  different  abilities, 
and  self-mobile  wheelchair  users. 

Bicyclists 

Bicycle  users  form  three  distinct  sub- 
groups. 

Bicycle  commuters  who  five  or  work  in 
the  Presidio  or  pass  through  the  Presidio 
want  a  direct,  easy-to-use  route  to  their 
workplace,  and  would  prefer  designated 
bike  lanes  or  low-volume  roadways  and 
routes  that  minimize  their  travel  time. 


Serious  recreational  cyclists  who  often  are 
out  for  a  long  ride  and  are  not  intimi- 
dated by  hills  or  traffic  prefer  wide 
shoulders  or  bike  lanes,  but  the  lack  of 
these  facilities  does  not  affect  their 
choice  of  a  route.  Unlike  bicycle  com- 
muters, this  group  puts  more  impor- 
tance on  a  scenic  route  where  they  can 
ride  fast  than  they  do  on  time  savings. 

Family  or  touring  bicyclists  (with  and 
without  children)  want  to  see  the  sights 
and  the  beauty  of  the  Presidio.  Their 
choice  of  routes  is  affected  by  traffic  and 
hills,  and  just  as  importantly,  the  route's 
access  to  the  Presidio's  major  attractions. 


280      PRESIDIO    TRAILS    AND    BIKEWAYS 


They  prefer  to  be  on  multi-use  trails  or 
roadways  with  little  or  no  traffic.  Often, 
these  users  don't  ride  unless  bikeways 
meet  these  specifications. 

Off-trail  mountain  bikers  were  specifi- 
cally excluded.  They  would  like  to  have 
single-track,  off-road  dirt  trails,  but 
park  regulations  and  the  need  to  protect 
sensitive  habitats  and  other  natural 
resources  made  it  necessary  to  exclude 
this  group. 

■  Other  Wheeled  Sports  Users 

In-line  skaters  and  skateboarders  are  the 
primary  non-cyclist  wheeled  sports  user 
group.  People  pushing  children  in 
strollers  or  wheelchair  users  are 
included  with  pedestrians.  In-fine  skaters 
and  skateboarders  who  are  out  for  a 
recreational  skate  or  ride  can  be  accom- 
modated on  hardened  pedestrian  and 
multi-use  trails. 


Wide  trails  can  often  be  shared  by 
pedestrians  and  those  using  wheelchairs  or 

pushing  strollers. 


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Not  all  trails  can  be  fully  accessible,  but 
improvements  will  increase  safety  and 
access,  while  protecting  resources. 


DESIGN  PROCESS 

The  core  planning  team  consisted  of 
NPS  and  Trust  staff  and  consultants  with 
experience  in  park  planning,  natural  and 
cultural  resources,  facilities  manage- 


ment, interpretation,  visitor  protection 
and  transportation. 

The  team  engaged  the  public  in  identi- 
fying needs  and  issues,  proposing  alter- 
native solutions,  and  reviewing  the  Plan. 


Since  the  Trails  and  Bikeways  Master 
Plan  included  an  Environmental 
Assessment,  the  public  involvement  was 
formalized  to  meet  requirements  of  the 
National  Environmental  Policy  Act 


Boardwalks  protect  resources  and 
provide  access  to  sandy  beaches. 


PRESIDIO   TRAILS  AND    BIKEWAYS      283 


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Multi-use  trails  such  as  the  Golden  Gate 
Promenade  accommodate  cars  and  bicycles, 
and  often  have  a  soft-surface  pedestrian 
trail  alongside. 


Raised  pavement  markings  or  raised  traffic 
separators  can  pose  hazards  to  cyclists  of 
all  abilities.  Except  in  special  circumstances, 
bike  lanes  should  be  separated  from  motor 
vehicle  traffic  by  painted  lane  markings. 


On-street  bicycle  routes  link  major  park  sites. 
This  cyclist  is  using  a  low-volume  road  with 
no  bike  lane. 


(NEPA).The  first  phase  of  public 
involvement  included  a  public  meeting, 
a  series  of  focus  group  meetings,  a 
design  concept  workshop,  a  survey  of 
park  users,  communications  with  other 
agencies,  and  various  opportunities  for 
written  comment.  As  the  process  con- 
tinued, other  public  involvement 
activities  included  newsletter  articles, 
public  presentations,  on-site  walks  and 
rides,  wide  distribution  of  planning 
documents,  open-house  style  displays 
in  the  park,  and  website  publication  of 
the  Plan. 


Inclusive  Design  Features 
and  Settings 

In  special  areas  such  as  the  Presidio, 
where  the  mandate  for  resource  protec- 
tion is  equal  to  the  mandate  for  visitor 
experience,  providing  trails  designed  to 
serve  all  visitors  is  extremely  challeng- 
ing. It  is  especially  difficult  to  provide 
access  to  extraordinary  visitor  experi- 
ences that  are  by  their  nature  not  acces- 
sible. The  desire  for  restricted  access 
often  competes  equally  with  the  desire 
to  increase  accessibility  for  all  visitors. 

The  trail  system  was  developed  with  the 
following  universal  design  principles  in 
mind: 

[   Consistency  and  continuity  of  trail 
design  benefits  all  users. 

■  Trail  gradients  of  1 :  20  or  less  benefit 
recreational  cyclists  as  well  as  wheel- 
chair users. 

n  Safety  considerations — such  as 
median  islands  where  trails  cross 
roadways — aid  families  with  small 
children  and  other  users,  as  well  as 
people  with  disabilities. 


Wide  multi-use  trails  can  accommodate 
many  different  types  of  users. 


PRESIDIO   TRAILS  AND    BIKEWAYS      285 


This  overlook  also  functions  as  a  trailhead,  providing 
wayfinding  signage. 


Trail  alignments  take  advantage  of  unique  viewpoints. 


Trail  signage  can  clarify  a  trail  user's 
expectation  of  a  trail's  challenge, 
allowing  design  for  varying  levels  of 
accessibility. 

Not  all  portions  of  all  trails  can  or 
should  be  fully  accessible  to  all  users, 
due  to  constraints  of  slope,  natural 
resources,  or  the  desire  for  a  variety 
of  experiences. 


A  wide  variety  of  trail  types  increases 
accessibility  for  all  users,  and  provides 
the  opportunity  for  equivalent  expe- 


riences. 


Pedestrian  trails  that  are  designed  to 
be  accessible  require  park  policies 
that  manage  bicycle  use  to  ensure 
safety. 


TRAILS 

Trails  in  the  Presidio  traverse  a  wide 
range  of  settings,  from  beaches  to 
forests,  from  historic  places  to  high- 
density  urban  development,  and  from 
spaces  that  are  dark  and  enclosing  to 
expansive  vista  points.  Terrain  varies 
from  flat  to  very  steep  and  trails  vary 


286      PRESIDIO    TRAILS    AND    BIKEWAYS 


from  narrow  footpaths  to  wide,  multi- 
use  paved  promenades. 

Although  trails  and  bikeways  are 
designed  for  consistency  and  continuity, 
the  design  guidelines  allow  flexibility  to 
respond  to  each  unique  setting  to 
enhance  the  visitor's  experience  of  that 
setting.  Trails  providing  access  to  these 
varied  settings  are  classified  in  three 
basic  categories:  pedestrian  trails,  multi- 
use  trails  and  bikeways. 

Pedestrian  Trails 

There  are  two  types  of  pedestrian 
trails.  Primary  trails  occur  in  the  major 
trail  and  road  corridors,  and  provide 
connecting  routes  to  important 
Presidio  destinations.  Primary  trails  are 
generally  wide  and  often  hard-surfaced 
to  accommodate  a  large  number  of 
trail  users. 

Secondary  trails  provide  an  opportu- 
nity to  experience  many  of  the 
Presidio's  less  visited  environments  and 


the  many  cultural,  historical,  natural 
and  scenic  resources.  Secondary  trails 
are  typically  soft- surfaced,  single-track 
footpaths. 

Some  trails  have  a  special  character, 
such  as  a  boardwalk  designed  to  protect 
resources  or  provide  access  to  beaches 
or  areas  with  sandy  soils.  Other  trails 
are  designed  with  grades  ranging  from 
flat  to  steep  to  provide  trail  users  with  a 
variety  of  challenges. 

Multi-Use  Trails 

Multi-use  trails  provide  major  connec- 
tions between  important  Presidio  des- 
tinations, entry  gates  and  other  local, 
regional  and  national  trail  systems.  To 
reduce  impact,  they  are  located  in  pre- 
viously developed  areas  or  on  former 
service  roadways  as  much  as  possible. 

Most  multi-use  trails  have  easy  grades  of 
less  than  1 :20  (5  percent)  to  provide 
greater  accessibility  for  persons  with 
disabilities  and  recreational  bicyclists. 


Trails  wind  through  groves  of  eucalyptus 
trees. 


The  trails  generally  have  hardened  sur- 
faces, often  with  adjacent  soft-surface 
pedestrian  shoulders  that  can  be  used  as 
walking  or  running  paths. 


PRESIDIO   TRAILS  AND   BIKEWAYS      287 


• 


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Sideways 

A  primary  goal  of  the  Trails  and 
Bikeways  Master  Plan  was  to  improve 
roadway  safety  for  bicyclists  and  ensure 
that  there  are  no  gaps  in  the  bicycle  cir- 
culation network.  Bikeways  were  there- 
fore designed  to  work  in  conjunction 
with  traffic  calming  measures.  The  Plan 
addresses  on-street  bike  lanes  and 
signed  bike  routes  where  bikes  and  cars 
share  a  traffic  lane.  Bicycle  use  occurs 
on  multi-use  trails  and  on  nearly  all 
roadways  in  the  Presidio. 

TRAILHEADS 

Trailheads  typically  serve  as  multi-modal 
transfer  points,  allowing  users  to  change 
from  public  transit  or  automobile  to 
bicycle  or  foot,  or  from  bicycle  to  foot. 
Trailheads  provide  trail  information  and 
user  amenities  where  appropriate. 

Primary  trailheads  at  major  trail  start- 
ing points  include  automobile  parking, 


wayfinding  signage  and  amenities. 
Secondary  trailheads  provide  a  limited 
set  of  standard  components  such  as 
trail  information  and  perhaps  bicycle 
parking  at  a  footpath,  but  no  automobile 
parking. 

OVERLOOKS 

Overlooks  allow  park  visitors  to  pause 
and  enjoy  a  spectacular  natural  feature, 
observe  wildlife,  or  take  in  a  unique 
view  of  a  special  structure.  There  will 
be  primary  overlooks  along  Presidio 
roadways  and  in  some  cases  an  overlook 
may  also  function  as  a  trailhead. 
Secondary  overlooks  occur  on  trails 
without  auto  access,  and  are  designed  to 
take  advantage  of  unique  viewpoints 
resulting  from  trail  alignment  and 
topography.  These  "off  the  beaten  track" 
overlooks  are  intended  as  quiet  places  of 
solitude. 


Boardwalks  through  sensitive  areas  are 
designed  to  meander  around  vegetation. 


288      PRESIDIO    TRAILS    AND    BIKEWAYS 


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Management  and 
Operational  Issues 

Providing  safe  and  enjoyable  trails 
requires  an  understanding  of  user 
requirements  at  the  design  stage,  and 
appropriate  management  of  trail  use 
after  construction.  Management  and 
operational  issues  fall  into  three 
categories:  trail  use  policies,  natural 
resource  management  and  trail  con- 
struction and  maintenance. 

One  measure  of  success  will  be  a  low 
level  of  user  conflicts.  Conflict 
between  bikers  and  pedestrians  is  one 
of  the  most  common  trail  issues.  The 
Trails  and  Bikeways  Master  Plan 
reduces  conflicts  by  providing  adequate 
width  of  multi-use  trails,  a  greater 
choice  of  a  variety  of  pedestrian  and 
multi-use  trail  routes,  and  by  designing 
some  trails  for  pedestrian  use  only. 


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Trail  markers  inform  users  which  trails  are 
appropriate  for  the  experience  they  want... 


Natural  resource  management  policies 
greatly  affected  trail  planning,  requir- 
ing compromises  to  visitor  access  and 
experience  of  the  Presidio,  and  in  a 
few  instances,  extraordinary  design 


.through  promenades... 


measures  to  protect  sensitive  habitat. 
For  example,  on  one  heavily  used 
major  multi-use  trail,  width  is  reduced 
from  a  standard  14  feet  to  only  6  feet, 
to  protect  habitat.  Some  areas  require 


290      PRESIDIO    TRAILS    AND    BIKEWAYS 


...to  historic  buildings  and... 


fences  or  other  barriers  adjacent  to 
trails  to  keep  users  from  straying  into 
sensitive  habitats. 

To  address  on-going  trail  design,  man- 
agement, construction  and  maintenance 


...to  steep  trails  down  to  the  Pacific  Ocean. 


issues,  NPS  and  Presidio  Trust  trail 
managers  will  follow  the  Park  Design 
Guidelines,  which  are  also  included  in 
the  Trails  and  Bike  ways  Master  Plan. 


User  Feedback 

Andrea  Lucas 

Landscape  Architect  and 

Project  Manager,  National  Park  Service 

"Significant  issues  at  the  Presidio  are 
balancing  historical,  cultural  and  visual 
impacts.  From  an  accessibility  point  of 
view,  there  are  issues  of  finding  your 
way  from  one  point  to  another,  when 
historical  issues  are  also  important.  For 
example,  one  of  the  things  we  wanted 
to  do  with  the  Presidio  Promenade  was 
to  make  it  recognizable  as  a  trail  going 
through  various  sites.  We  talked  about 
making  it  a  consistent  trail  surface  all 
the  way  through,  but  the  Presidio  Trust 
decided  to  make  it  an  urban  concrete 
walk  through  the  main  post  area. 
Outside  of  the  main  post  area  it  would 
then  be  a  consistent  look  so  it  would 
be  identifiable  to  all  users  as  the 

trail We're  trying  to  make  a  sensible 

trail  system  because  it's  so  confusing 


PRESIDIO   TRAILS  AND    BIKEWAYS        291 


Overlooks  provide  stunning  views  of  the  Pacific  Ocean  and  coastline. 


now,  with  all  the  different  walks  and 
trails  and  routes  that  are  possible 
here. 

"With  the  historic  roads,  we  have  a  lot 
of  issues.  They  have  steep  crowns  from 


being  paved  over  and  over,  and  there  is  a 
historic  drainage  ditch  to  meet,  so  we 
are  looking  to  see  if  it's  worth  the 
expense  to  grind  the  paving  off  to  deal 
with  our  allowable  cross  slopes. 


"One  thorny  issue  we  have  is  how  to 
put  an  accessible  link  from  the  Bay  way 
up  to  the  vista  point  near  the  toll 
plaza — it's  a  couple  of  hundred  feet  up. 
We  looked  at  various  routes  and  chose 


292      PRESIDIO    TRAILS    AND    BIKEWAYS 


Long  Avenue,  which  is  a  linking  street 
that  varies  about  8  to  1 0  percent  in 
existing  slope  and  was  the  only  one  that 
was  close  to  accessible  trail  standards. 
But  the  road  is  only  20  feet  wide  in  the 


narrowest  area.  So  we  looked  at  having 

a  single  uphill  bike  lane two  lanes  of 

cars,  and  then  a  retaining  wall  drop- 
ping down  about  three  feet  to  a  four 
foot  wide  accessible  pathway  that  has 
landings  for  rest  stops  per  the  trails 
guidelines. 

"We've  gone  back  and  forth  between 
cultural  resources  and  natural  resources 
on  that  road  because  it  is  in  a  serpen- 
tine area  and  serpentine  is  a  special 
rock  here  at  the  Presidio.  It  is  a  Civil 
War-era  road,  so  its  original  width  is  of 
interest.  And  evidently  there  are  still 
some  of  the  old  granite  cobbles,  which 
many  San  Francisco  streets  were  paved 
with,  under  the  existing  asphalt.  So  that 
is  a  very  expensive  trail.  The  question 
is,  is  it  worth  it  (grinding  down  the 
asphalt,  adding  the  retaining  wall  and 
additional  trail)  to  have  that  accessible 
link?  The  answer  is,  yes.  We  have  to 
provide  an  accessible  experience  for  all 
our  visitors." 


Richard  De  La  0 

Accessibility  Coordinator,  Golden  Gate 

National  Recreation  Area 

"One  of  the  big  issues  is  that  even 
though  a  project  is  designed  for  univer- 
sal access,  it  needs  continual  supervision 
during  construction  or  it  will  not  com- 
ply. It  may  look  good  on  paper  and  meet 
code,  but  it's  not  always  constructed 
correctly.  The  contractor  often  doesn't 
follow  the  guidelines  carefully,  because 
they  still  have  the  mindset  of  how  it's 
always  been  done." 


PRESIDIO   TRAILS  AND    BIKEWAYS      293 


ALFRED  2AMPA   (CARQUINEZ)    BRIDGE  SAN    FRANCISCO    BAY,    CALIFORNIA 


'The  bridge  is  now  a  meeting  point. ...It's  a  pleasure  to  stop  and 
meet  friends  halfway." 


CROCKETT  RESIDENT 


SPANNING   THE   COMMUNITY 

BART   NEY 

DANIEL  IACOFANO  WHEN  THE  CALIFORNIA  DEPARTMENT  OF  TRANSPORTATION  (CALTRANS)  ANNOUNCED  AN 

elegant  suspension  bridge  as  the  design  solution  for  retrofitting  one  of  the  State's 

oldest  steel  cantilever  bridges,  engineers  thought  that  the  local  community  would  be 

pleased  to  have  a  new  architectural  icon  in  their  backyards.  They  were  not. 

This  is  the  story  of  how  a  large  state  agency  and  a  small  community  worked  together 
to  build  that  new  bridge — and  how  their  partnership  changed  the  dynamic  of  future 
transportation  projects  in  California.  Because  the  community  was  involved  in  the 


295 


The  Town  of  Crockett  (top)  watched  as  the 
new  bridge  (the  suspension  span  on  the 
right)  joined  the  two  earlier  bridges.  C&H 
Sugar  is  at  the  upper  left. 


BILL  HALL/CALTRANS 


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project  from  the  beginning,  the  bridge 
became  the  means  to  physically  and 
psychologically  reconnect  the  Town  of 
Crockett  with  the  region.  Caltrans 
made  a  dramatic  change  in  the  overall 
public  perception  of  the  project. 
Townspeople  came  to  embrace  the  new 
bridge  as  their  own  because  they  were 
allowed  to  become  a  part  of  the  process 
that  created  it. 

The  new  Alfred  Zampa  (Carquinez) 
Bridge  (named  for  an  ironworker  who 
worked  on  many  San  Francisco  Bay  Area 
bridges)  is  3,400  feet  long,  carrying 
westbound  traffic  on  Interstate  80  over 
the  Carquinez  Strait  between  the  City 
ofVallejo  and  the  Town  of  Crockett,  just 
northeast  of  San  Francisco.  It  has  four 
automobile  lanes  and  a  fully  accessible 


bicycle  and  pedestrian  lane  with  stun- 
ning views  of  the  Bay — the  ultimate 
streetscape. 

Crockett  is  a  small,  unincorporated 
Town  of  about  3,500.  It  was  founded  in 
1 867  and  became  known  as  the  home- 
town of  C&H  Sugar.  It  overlooks  the 
Carquinez  Strait  in  the  San  Francisco 
Bay,  bordered  by  rolling  hills  and  park- 
lands.  It  still  retains  its  small-town  feel, 
home  to  many  families  that  have  lived 
there  for  generations. 

In  1927,  two  businessmen  built  the 
Carquinez  Bridge — the  first  of  the  eight 
San  Francisco  Bay  bridges — and  oper- 
ated it  as  a  private  toll  bridge.  After 
previously  operating  a  ferry  service, 
they  were  looking  for  a  faster  way  to 


PROJECT  Carquinez  Bridge  Retrofit  and  Replacement      LOCATION  California 
Interstate  80  between  the  Town  of  Crockett  and  the  City  of  Vallejo      DATE  DESIGNED 
1995-1998       CONSTRUCTION   COMPLETED  November  2003       CONSTRUCTION 
COST  $500  million      SIZE  3400  ft.  length;  2400  ft.  main  span  (world's  27th  longest 
suspension  span)      CLIENT  California  Department  of  Transportation  (Caltrans) 
DESIGN  AND  ENGINEERING  DeLeuw  Cather  &  Company;  OPAC  Consulting 
Engineers,  Inc.;  D. B.  Steinman;  Caltrans      CONSTRUCTION    FCI  Cleveland  Bridge,  a 
Joint  Venture,  and  C.C.  Myers,  Inc.      PUBLIC  INVOLVEMENT/PUBLIC  INFORMATION 
MIG,  Inc. 


296     ALFRED    ZAMPA    (CARQUINEZ)     BRIDGE 


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transport  vehicles  across  the  strait's 
swift  waters.  This  steel  cantilever  bridge 
was  seen  as  a  modern  miracle. 
Governors  from  four  different  states 
attended  its  opening.  President  Calvin 
Coolidge  officially  opened  the  bridge 
from  Washington,  D.C.,  by  pressing  a 
button  that  set  off  fireworks.  But  all  of 
this  fanfare  was  overlooked  by  the  news 
media,  which  instead  flocked  to  cover 
Charles  Lindberg's  record  shattering 
transatlantic  flight  completed  on  the 


In  1927  this  steel  cantilever  bridge  was 
seen  as  a  modern  miracle,  the  longest 
bridge  span  west  of  the  Mississippi. 


same  day.  Locals  were  heartbroken  that 
their  bridge  did  not  get  the  national  and 
worldwide  attention  they  felt  the 
longest  bridge  span  west  of  the 
Mississippi  deserved.  But  they  were 
very  happy  with  their  new  bridge. 

In  1958,  a  second  Carquinez  Bridge  was 
built  parallel  to  the  first  to  accommo- 
date increased  automobile  traffic  in  the 
region.  Each  bridge  carried  traffic  in 
one  direction.  The  new  bridge  mirrored 
the  original  in  type,  although  made 
from  stronger  steel  and  welded  together 
instead  of  bolted.  But  this  bridge  did 
not  receive  the  same  support  from  the 
community  as  the  first  bridge — and  for 
good  reason.  The  new  highway  align- 
ment now  cut  right  through  the  middle 
of  the  Town  of  Crockett,  forever  divid- 
ing it  and  creating  a  "no  man's  land"  that 
would  harbor  undesirable  activity  for 
decades  to  come — a  not  uncommon 
result  of  transportation  projects. 
Pedestrians  on  one  side  of  town  had  to 
brave  heavy  traffic  to  get  to  the  other 


side.  There  was  no  public  involvement 
with  this  project;  there  was  only  emi- 
nent domain.  Homes  were  taken  by  the 
block — 1 50  in  total.  The  construction 
team  also  left  behind  remnant  materials 
too  large  to  easily  clean  up.  This 
unsightly  mess  remained  in  place  for 
future  generations  to  correct.  Families 
with  deep  roots  in  the  area  lost  their 
homes,  but  most  did  not  leave  town. 
They  remained — only  to  see  a  third 
bridge  rise  to  potentially  threaten  their 
homes  again. 

DESIGN  GOALS 

In  1988,  Caltrans  was  considering 
replacing  the  original  1927  span  because 
it  was  nearing  the  end  of  its  useful  life. 
Then,  in  1989,  the  Loma  Prieta 
Earthquake  killed  over  60  people  in  the 
Bay  Area  when  a  freeway  structure  col- 
lapsed. One  person  was  killed  on  the 
Bay  Bridge  when  a  section  of  steel  can- 
tilever failed  and  sent  that  motorist  into 
the  bay.  Following  this  disaster,  Caltrans 
created  a  seismic  retrofit  program  and 


298     ALFRED    ZAMPA    (CARQUINEZ)     BRIDGE 


began  evaluating  all  its  bridges.  At  this 
point,  a  green  light  was  given  to  begin 
environmental  evaluation  for  building  a 
new  Carquinez  Bridge. 

Caltrans'  design  solution  was  a  daring 
and  quite  striking  suspension  bridge. 
This  type  of  bridge  had  not  been  built  in 
the  United  States  in  over  30  years.  In 
the  Bay  Area,  known  for  the  famous 
Golden  Gate  Bridge,  it  had  been  over 
60  years  since  the  birth  of  one  of  these 
elegant  structures. 

But  Crockett  residents  were  not 
impressed.  They  complained  that  bridge 
construction  would  impair  access  to 
their  homes  and  disrupt  their  daily  lives 
incalculably.  They  remembered  the 
unhappy  experience  of  the  previous 
bridge  and  how  it  had  severed  pedes- 
trian connections.  Many  felt  that 
Caltrans  was  unceremoniously  con- 
demning a  piece  of  history  to  the  scrap 
heap  by  demolishing  the  original  bridge. 
They  also  felt  that  a  suspension  bridge 
would  not  look  good  architecturally 


with  the  remaining  steel  cantilever 
bridge;  they  wanted  to  match  the  origi- 
nal bridge.  Simply  put,  they  didn't  trust 
Caltrans  and  they  demanded  a  say. 
Caltrans  decided  to  work  directly  with 
the  community  to  find  solutions. 

USER  GROUPS 

■  Motorists  and  truck  drivers  on 
Interstate  80 

■  Bicyclists 

■  Pedestrians 

n  Residents  of  Crockett 

■  Residents  of  Vallejo 

DESIGN  PROCESS 

Because  of  the  scale  of  the  project  and 
its  proximity  to  homes  in  Crockett, 
Caltrans  placed  a  Public  Information 
Office  (PIO)  in  an  office  in  town.  The 
PIO's  initial  objective  was  to  inform 
the  public  on  the  progress  of  con- 
struction and  help  mitigate  as  many 
construction  difficulties  as  possible. 
From  this  office  the  public  would  be 
informed  on  any  local  road  or  freeway 


A  group  takes  a  tour  down  the  footbridge, 
while  workers  continue  their  efforts  on  the 
main  cable.  Mixing  tour  groups  of  commu- 
nity members  with  engineering  and  design 
consultants  created  a  better  overall 
understanding  of  the  project.  Various 
groups  could  exchange  their  experiences 
and  expertise  directly  onsite. 

BILL  HALL/CALTRANS 


ALFRED    ZAMPA    (CARQUINEZ)     BRIDGE      299 


Engineers  from  other  countries  were  guided 
over  a  temporary  footbridge  to  witness 
"cable  spinning." 

BILL  HALL/CALTRANS 


closures  during  the  construction.  They 
would  also  be  kept  up-to-date  on  con- 
struction operations  that  produced 
noise,  dust  or  vibrations  that  could 
potentially  affect  them. 


It  quickly  became  apparent  that  a  sec- 
ondary public  information  objective 
would  become  even  more  important 
and  demand  a  new  approach:  educating 
and  involving  the  community  in  the 
project. 


300     ALFRED    ZAMPA    (CARQUINEZ)     BRIDGE 


So  during  the  three  years  of  construc- 
tion, the  Carquinez  Bridge  Public 
Information  Office  became  a  nexus  of 
communication  for  the  public,  com- 
muters, a  wide  variety  of  community 
groups,  project  staff,  politicians,  other 
government  agencies,  contractors, 
consultants,  trade  organizations,  profes- 
sional associations,  and  media  world- 
wide. The  PIO  office  was  the  place  to 
go  for  joint  planning. 

Caltrans  began  extensive  community 
outreach  through  the  PIO  during  the 
preliminary  engineering  design  and 
environmental  clearance  phase,  holding 
community  workshops  in  nearby  towns. 
Scale  models,  display  boards  with 
graphics  and  information  sheets  were 
used  to  inform  the  local  communities 
on  the  project.  The  PIO  and  Caltrans 
Construction  developed  a  series  of 
community  and  media  presentations. 
Caltrans  videographers  captured 
construction  operations  and  produced 
video  presentations,  updated  at  mile- 
stones and  placed  on  the  Caltrans  web- 


site so  the  community  could  learn  about 
the  bridge  at  its  convenience. 

The  public  commented  on  local  access 
options,  the  on-  and  off-ramps  align- 
ments and  "leftover"  spaces,  and  poten- 
tial effects  of  large-scale  construction 
within  a  small  town.  Caltrans  sent  some 
of  its  best  experts  in  noise  abatement, 
hazardous  materials,  landscape  architec- 
ture and  architectural  design,  aesthetics, 
engineering,  and  construction  to 
educate  the  community  on  key  design 
issues. 

The  community  involvement  worked 
both  ways.  Caltrans  worked  with 
Contra  Costa  County  Supervisor  Gayle 
Uilkema  to  form  the  Carquinez  Bridge 
Community  Advisory  Committee 
(CBCAC),  a  group  of  seven  residents 
who  represented  the  Town  of  Crockett. 
They  met  monthly  with  the  PIO  and 
Caltrans  officials  to  work  through  issues. 
The  CBCAC  formed  subcommittees 
that  looked  specifically  at  site  develop- 
ment for  the  entry  to  Crockett,  bridge 
aesthetics  and  preserving  the  1 927 


bridge.  Caltrans  listened  closely  to  com- 
munity concerns  and  implemented 
many  of  their  suggestions.  The  CBCAC 
members  then  became  ambassadors  for 
the  project.  They  took  what  they  learned 
back  to  their  own  local  civic  groups  and 
as  people  began  to  understand  the  rea- 
soning behind  the  project  and  realized 
Caltrans  was  Hstening  to  them,  public 
opinion  began  to  change.  Caltrans  trans- 
formed community  members  from 
project  "victims"  to  project  participants. 


The  Carquinez  Bridge  Community  Advisory 
Committee  stops  for  a  group  picture  after  a 
boat  tour  of  the  site. 


BIU   HAl.L/CAITRANS 


ALFRED    ZAMPA    (CARQUINEZ)     BRIDGE       30 


Engineers  from  Caltrans  and  Japanese  steel  manufacturer  IHI  worked  with  the  public 
information  officer  to  talk  with  local  school  children  about  the  bridge.  This  class 
participated  in  an  art  exchange  with  Japanese  school  children  who  live  near  the  steel 
plant  that  constructed  the  deck  of  the  bridge. 


BILL  HALL/CALTRANS 


The  CBCAC  then  helped  Caltrans  work 
with  other  state  and  local  agencies. 
CBCAC  members  went  with  Caltrans  to 
make  presentations  for  review  and 
approvals,  offering  visible  proof  that 
Caltrans  was  working  with  the  commu- 
nity and  had  their  full  support  for  crucial 
and  sometimes  controversial  decisions. 


Because  the  Crockett  on  and  off  ramps 
would  be  closed  for  two  years,  Caltrans 
extended  a  nearby  exit  to  flow  into  the 
Town  of  Crockett.  Two  routes  were 
always  maintained  for  motorists  to 
move  through  the  area  under  the 
bridges  during  construction.  Caltrans 
also  provided  a  shuttle  service  under- 


neath the  bridge  during  some  opera- 
tions to  allow  pedestrians  safe  access 
through  the  area. 

The  site  quickly  became  a  favorite  for 
educators  because  of  the  engineering 
and  historic  significance  of  this  project. 
Students  from  the  second  grade  through 
college  visited  the  Public  Information 
Office  to  learn  about  the  building  of  this 
bridge.  One  group  of  girls,  from 
Benjamin  Franklin  Middle  School  in 
Vallejo,  followed  all  three  years  of 
bridge  construction.  They  visited  the 
site  every  month,  took  photos  and  met 
with  Caltrans  project  leaders.  They  cre- 
ated a  website  that  became  one  of  the 
best  sources  of  information  about  con- 
struction, visited  by  other  students  and 
engineers  across  the  country. 

The  best  example  of  how  the  commu- 
nity's attitude  changed  to  one  of  pride 
and  cooperation  is  the  name  of  the 
bridge.  The  new  bridge  was  named  for 
a  local  resident  and  former  ironworker 


302      ALFRED    ZAMPA    (CARQUINEZ)     BRIDGE 


Hogan  High  School  library  media  teacher  Gail  Allison  and  then-freshmen  students  Breyana  Scales,  Kayla  Woodfork  and  Lanaudia  Woodfork 
took  a  tour  of  the  Vallejo  side  of  the  Carquinez  Bridge  construction  to  update  their  website  that  tracked  the  work  on  the  westbound  span. 

DAVID  PACHECO/TIMES-HERALD,  VALLEJO 


ALFRED    ZAMPA    (CARQUINEZ)     BRIDGE      303 


named  Alfred  Zampa,  who  passed  away 
at  the  age  of  95,  shortly  after  perform- 
ing the  ceremonial  groundbreaking  for 
the  bridge.  Al  is  a  legend  among  Bay 
Area  bridge  workers.  He  worked  on 
the  original  Carquinez  Bridge — and 
every  major  bridge  in  the  Bay  Area.  A 
fall  from  the  Golden  Gate  Bridge  put 
him  on  extended  disability,  but  he 
returned  to  the  work  he  loved  and 
worked  on  the  second  bridge  crossing 
the  Carquinez  Strait  with  his  sons. 
His  sons  and  grandsons  are  still  iron- 
workers today.  A  grassroots  movement 
began  among  local  residents  to  name 
the  bridge  for  him.  The  bridge,  once 
considered  by  many  to  be  a  disruption 
to  their  community,  was  now  a  source 
of  great  civic  pride;  the  community 
wanted  the  name  of  one  of  their  own 
attached  to  it.  The  State  of  California 


granted  their  request — the  first  time  a 
California  bridge  has  ever  been  named 
for  a  "regular  guy." 

By  the  time  the  bridge  was  ready  to 
open,  the  local  Chambers  of  Commerce 
had  banded  together  to  form  a  Bridge 
Celebration  Committee  to  help  publicize 
and  celebrate  the  opening  of  the  bridge. 
They  raised  almost  $  100,000  to  sponsor 
a  fireworks  show  and  a  street  fair  to 
complement  the  opening  celebration 
planned  by  Caltrans.  In  a  show  of  com- 
munity pride,  the  Crockett  Chamber  of 
Commerce  recently  incorporated  an 
image  of  the  new  suspension  bridge  into 
its  logo.  Crockett  residents  believe  the 
new  bridge  and  the  pedestrian  and  bike 
lane  will  put  their  Town  back  on  the  map 
as  a  place  to  visit,  shop  and  enjoy. 


The  new  Carquinez  Bridge  was  named  for 
iron  worker  Al  Zampa. 

CALTRANS 


304     ALFRED    ZAMPA    (CARQUINEZ)     BRIDGE 


Inclusive  Design  Features 
and  Settings 

NEW  ON/OFF  RAMP  ALIGNMENTS 

The  old  off  ramps  dumped  traffic  right 
onto  Pomona  Street,  Crockett's  small 
main  street.  Large  trucks  barreled  up 
and  down  the  street  to  get  to  the  C&H 
Sugar  refinery.  The  trucks  completely 
changed  the  small-town  pedestrian  cir- 
culation patterns.  A  possible  alternative 
route,  Wanda  Street,  had  such  an 
extreme  grade  that  trucks  would  not 
use  it. 

Caltrans  initially  gave  Crockett  a 
choice:  remove  the  on/off  ramps  in 
Crockett  and  extend  a  local  road  to  the 
freeway,  or  replace  the  on/ off  ramps  in 
a  new  alignment  (leaving  no  easy  town 
access  for  two  years) .  The  community 
felt  that  both  choices  were  inadequate. 
Caltrans  felt  the  community  was  being 
unreasonable. 

The  solution  came  through  an  inclusive 
community  workshop  that  joined 


Caltrans  representatives  with  commu- 
nity members  in  small  groups.  All  of 
the  groups  came  up  with  the  same 
answer  independently:  they  needed 
both  options.  Caltrans  then  partnered 
with  Contra  Costa  County  and  a  local 
oil  refinery  that  owned  land  needed  to 
extend  the  local  road  to  the  freeway 
when  the  old  access  ramps  were  closed 
during  construction.  That  became  the 
access  road  during  construction. 

Caltrans  engineers  found  a  way  to 
realign  and  regrade  Wanda  Street,  so 
heavy  trucks  can  exit  the  freeway  on 
Pomona  and  use  Wanda  as  a  bypass, 
heading  back  under  the  bridge  instead 
of  driving  through  town.  This  solution 
helps  reconnect  the  portion  of  the 
community  that  was  severed  by  the  sec- 
ond bridge.  With  trucks  now  off  the 
main  street,  pedestrians  and  bicyclists 
can  reach  both  sides  of  town  in  safety. 

REVIVING  NO-MAN'S  LAND 

Land  underneath  bridges  and  over- 
passes often  causes  problems  for  com- 


munities because  they  attract  transients 
and  undesirable  activities.  The  second 
bridge  in  particular  created  a  "no- 
man's  land"  in  the  middle  of  town. 
Caltrans  landscape  architects  and  right- 
of-way  agents  worked  with  CBCAC, 
local  county  supervisors  and  assem- 
blypersons  to  find  ways  to  reconnect 
Crockett.  They  developed  a  plan  for  a 
walking  and  bike  path  under  the  bridge 
that  features  low-maintenance  native 
plantings,  well-marked  trailheads  and 
parking.  The  paths  link  up  with  the 
pedestrian  and  bike  lane  over  the 
bridge. 

PEDESTRIAN  AND  BIKE  PATH 

Bicycle  coalitions  from  around  the  Bay 
Area  lobbied  Caltrans  to  include  an 
accessible  pedestrian  and  bike  lane  on 
the  bridge.  The  well-lit  lane,  separated 
from  the  travel  lanes,  provides  users 
with  unique  vistas  of  the  Bay.  It's  now  a 
vital  link  in  the  Bay  Trail  (an  effort  to 
build  a  continuous  recreational  path 
entirely  around  the  Bay)  and  connects 


ALFRED    ZAMPA    (CARQUINEZ)     BRIDGE      305 


the  communities  of  Crockett  and  Vallejo 
in  a  way  that  hasn't  existed  for  decades. 

COLOR  AND  LIGHTING  SCHEMES 

CBCAC's  aesthetics  subcommittee 
didn't  want  the  color  of  the  new  bridge 
to  be  overbearing;  yet  they  wanted  it  to 
be  distinctive.  Caltrans  created  simula- 
tions of  the  bridge  and  identified  a  color 
palette  that  worked  well  with  the  green 
and  yellow  surrounding  hillsides.  Three 
potential  colors  were  painted  on  sections 
of  the  old  bridge  so  the  community 
could  see  it  in  context.  The  final  choice 
was  a  steel  deck  gray  to  match  the  con- 
crete interchange  towers,  and  a  red  cable 
system  (darker  than  the  international 
orange  of  the  Golden  Gate  Bridge,  yet 
reminiscent  of  it),  with  a  complementary 
green  used  on  the  railing  and  light  stan- 
dards, which  also  provides  a  human  scale 
to  the  bike  and  pedestrian  lane. 


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Wm  1    ro'lr  **     "*•■*£    at     '"-''    &«  y 


Children  at  Tsutsujigaoka  Elementary  School  in  Japan  were  fascinated  by  the  large  steel 
decks  they  saw  being  constructed  next  door  at  the  IHI  steel  plant.  When  they  discovered  it 
was  for  a  new  bridge  in  California,  they  wanted  to  correspond  with  American  schoolchildren 
near  the  bridge.  Art  proved  to  be  the  universal  language — they  created  a  mural  on  the  pro- 
tective covering  for  a  deck,  which  then  crossed  the  Pacific. 

BILL  HALL/CALTRANS 


1M 


Students  at  Hillcrest  Elementary  School  in  Crockett  and  Glen  Cove  Elementary  School  in  Vallejo 
received  blank  deck  covers  to  create  their  own  mural,  in  response,  for  Japanese  schoolchildren. 


BILL  HALL/CALTRANS 


306     ALFRED    ZAMPA    (CARQUINEZ)     BRIDGE 


J 


Children  from  Glen  Cove  Elementary  School  and  their  principal  Greg  Allison  admire  the  "mural"  sent  as  a  friendship  message 
to  them  from  children  in  Japan. 


BILL  IIALL/CALTRANS 


ALFRED    ZAMPA    (CAROUINEZ)     BRIDGE      307 


Pedestrians  and  bicyclists  take  their  first 
stroll  across  the  Carquinez  Strait  on  the 
bike  and  pedestrian  lane's  opening  day. 


BILL  HALL/CALTRANS 


The  aesthetics  committee  also  worked 
with  Caltrans  to  develop  an  architec- 
tural lighting  scheme  for  the  bridge. 
Caltrans  explained  all  the  options  and 
fixture  types,  and  their  effect  on  color. 
The  final  scheme  lights  up  the  towers 
like  the  Golden  Gate  and  adds  the  neck- 
lace lighting  of  the  cables  like  the 
Oakland -San  Francisco  Bay  Bridge. 

CBCAC  and  Caltrans  jointly  presented 
the  color  and  lighting  schemes  to  the 
San  Francisco  Bay  Conservation  and 
Development  Commission  (BCDC), 
which  has  jurisdiction  over  architectural 
aesthetics  on  the  Bay.  It  was  the  first 
time  Caltrans  had  ever  gone  before  the 
BCDC  with  such  strong  community 
support.  Although  BCDC  strongly 
disagreed  with  the  color  scheme,  the 


community  stood  firmly  behind  Caltrans 
and  their  plan  was  implemented. 

VALLEJO  ART  WALL 

Caltrans  had  planned  a  traditional  gray 
concrete  retaining  wall  along  the  hilly 
approach  to  the  bridge  pastVallejo. 
Because  this  was  considered  a  motorist 
gateway  to  the  Bay,  Caltrans  was  inspired 
to  create  a  more  decorative  wall.  It's  a 
striking  wall  sculpture,  depicting  sail- 
boats along  the  strait.  One  sail  soars 
above  the  top  of  the  wall,  lending  a 
three-dimensional  look.  This  was  the 
first  time  Caltrans  had  ever  made  a 
structural  element  into  an  artistic  ele- 
ment. Caltrans  says  this  project  opened 
the  door  for  creative  solutions  to  retain- 
ing walls  in  other  locations  as  well. 

Caltrans  had  first  created  a  test  art  wall, 
about  a  foot  thick  and  1 5  feet  long. 
Workers  had  planned  to  destroy  the  test 
wall,  but  Caltrans  decided  to  leave  it  to 
the  surrounding  community.  That  wall  is 
now  installed  on  the  City  ofVallejo 
waterfront. 


Lighting  on  the  bridge  towers  is  reminiscent 
of  the  Golden  Gate  Bridge.  The  necklace 
lighting  of  the  cables  echoes  the  Oakland- 
San  Francisco  Bay  Bridge. 


BILL  HALL/CALTRANS 


CROCKETT  ART  WALL 

On  the  other  side  of  the  bridge,  because 
of  community  involvement,  Caltrans 
decided  to  create  an  architectural  treat- 
ment on  a  highly  visible  retaining  wall 
that  covers  an  entire  hillside  in  a  resi- 
dential community.  Designers  gave  it  a 
rocky  texture  with  plantings  to  make  it 


308     ALFRED    ZAMPA    (CARQUINEZ)     BRIDGE 


look  more  natural.  Retaining  walls 
closer  to  the  freeway  have  the  standard 
Caltrans  wall  treatments. 

HISTORIC  1927  BRIDGE 

Since  the  1927  Carquinez  Bridge  held 
such  a  place  of  pride  in  the  Crockett 
community — and  because  it  was  the 
very  first  bridge  over  the  Bay — the 
CBCAC  wanted  to  preserve  it.  Although 


it  soon  became  clear  to  the  community 
that  the  bridge  would  have  to  be  demol- 
ished, they  identified  key  sections  to  pre- 
serve in  a  museum.  In  addition,  two 
large  sections  will  be  incorporated  into 
vista  points  that  Caltrans  created,  one  on 
each  side  of  the  Strait.  In  Crockett,  a 
400-meter  section  will  become  the  rail- 
ing of  the  vista,  maintaining  a  link  to  the 
past  for  the  community. 


USER  FEEDBACK 

Howard  Adams,  Chairman,  Carquinez 
Bridge  Community  Advisory  Committee 

"The  pedestrian  lane  has  been  much 
more  widely  used  than  most  people  had 
ever  expected.  I  think  there  is  a  special 
feel  for  connecting  two  landmasses— 
you  get  more  of  a  sense  of  a  geographi- 
cal connection  on  foot  than  by  car.  It's 
really  been  very  useful.  One  Crockett 
resident  has  walked  it  over  1 30  times 
since  it  opened! 

"We  hope  our  communication  (with 
Caltrans)  has  been  a  two-way  street .  We 
certainly  have  learned  a  lot  about  bridge 
construction  and  now  appreciate  the 
nuances  and  the  magnitude  of  it.  At  the 
same  time,  we  hope  that  Caltrans  has 
learned  more  about  the  impact  of  trans- 
portation projects  on  residential  areas 
located  close  to  projects  of  this  size. 
OSHA  standards  don't  really  cover 
impacts  on  residents." 


Caltrans  was  inspired  to  go  beyond  the  traditional  retaining  wall  with  this  depiction  of 
sailboats  in  the  strait. 


nil  I    ll\l  L/CALTRANS 


ALFRED    ZAMPA    (CARQUINEZ)     BRIDGE      309 


Kent  Petersen,  Previous  Chairman, 
Carquinez  Bridge  Community 
Advisory  Committee 

"Crockett  is  a  small  town  that  once 
again  found  itself  in  the  way  of  a  new 
bridge.  This  time,  Caltrans  has  been 
responsive.  They've  listened.  They've 
worked  well  with  us. 


"People  still  remember,  angrily,  the 
extension  of  1-80  that  took  out  some 
150  homes.  It  cut  Crockett  in  two. 
People  weren't  given  fair  compensation, 
they  weren't  given  much  time  to  leave 
and  they  had  nowhere  to  go.  You  had 
highway  departments  all  over  the 
country  running  roughshod  over  cities. 


With  flashlights  to  lead  the  way,  hundreds  of  area  residents  sang  Happy  Birthday  and  cele- 
brated the  Alfred  Zampa  (Carquinez)  Bridge's  first  year. 

MIKE  JORY/TIMES-HERALD,  VALLEJO 


3IO       ALFRED    ZAMPA    (CARQUINEZ)     BRIDGE 


"Facing  construction  this  time,  we 
demanded  a  say  and  we  worked  with 
Caltrans  on  everything  from  design  and 
traffic  to  compensation  issues.  Some  14 
homeowners  were  displaced,  but  they 
got  fair  value  for  their  homes." 

John  LaViolette,  Secretary, 
Carquinez  Bridge  Community 
Advisory  Committee 

"Caltrans  has  been  exceptionally 
responsive  to  the  concerns  and  impacts 
of  construction  on  our  small  town.  The 
project  has  been  a  model  for  partner- 
ing between  Caltrans,  the  bridge  con- 
tractors, the  County  and  the 
community.  Participation  in  the 
CBCAC  has  truly  been  the  most 
rewarding  experience  in  my  entire 
career.  I  have  now  entered  the  graduate 
engineering  program  at  U.C.  Berkeley 
to  conduct  an  investigation  of  the  1927 
Bridge,  in  order  to  better  understand 
corrosion  and  fatigue  of  steel  struc- 
tures in  a  marine  environment." 


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The  grand  opening  of  the  Alfred  Zampa  (Carquinez)  Bridge  became  a  major  community  celebration. 


BILL  HALL/CALTRANS 


Gene  Pedrotti,  Chairman, 

Crockett  Bridge  Celebration  Committee 

"This  represents  the  heart  and  soul  of 
Crockett.  (We're)  really  proud  of  this 
bridge.  The  walkway  is  as  graceful  as  it 
is  sweeping!  From  the  center  span, 
standing  perhaps  1 00  feet  above  the 
Strait,  you  can  nearly  cast  a  fishing  line 
or  step  onto  the  deck  of  a  passing  ship. 


And  from  the  vista  promontory  on  the 
north,  you  can  feel  the  strength  and 
power  of  all  three  Bay  bridges,  but  espe- 
cially the  towering  Zampa.  The  views 
are  breathtaking.  I  think  in  a  lot  of  ways 
this  will  help  put  Crockett  back  on  the 
map.  This  span  connection  is  as  vital  to 
the  Bay  Trail  as  the  first  span  was  in 
1927  to  motor  traffic." 


Dennis  Trujillo,  Crockett  Resident 

"I  like  that  I  can  walk  across  the  bridge. 
The  bridge  is  now  a  meeting  point,  pro- 
viding beautiful  views  and  a  great  place 
to  get  exercise.  It's  a  pleasure  to  stop 
and  meet  friends  halfway." 


ALFRED    ZAMPA    (CARQUINEZ)     BRIDGE        311 


i 


"What  happened  completely  reversed  a  fast-moving  tide  of  despair  and 
neglect  to  one  of  community  engagement,  hope,  action  and  results." 

FORMER  CHAIR,  DAVENPORT  DISTRICT 


REMAKING  AN    AMERICAN 
DOWNTOWN 

DANIEL  IACOFANO 

MUKUL  MALHOTRA  WHETHER  WE  LIVE  IN  A  SMALLTOWN  OR  A  METRO  AREA,  HOW  WE  FEEL  ABOUT  WHERE  WE  LIVE 

is  largely  based  on  how  we  feel  about  our  city's  central  downtown.  As  the  focal  point  of 

a  city,  great  downtowns  provide  us  with  a  sense  of  identity  and  remind  us  of  what  we 

have  in  common  as  a  community.  Great  downtowns  draw  people,  jobs  and  resources. 

In  1995,  Downtown  Spokane  was  bleak.  Stores  were  closing,  jobs  were  disappearing  and 
people  no  longer  chose  to  live  there.  Residents  described  a  Downtown  in  "freefall."  But 
after  ten  years  of  planning,  hard  work  and  active  community  participation,  new  invest- 
ment exceeding  $  1 .6  billion  is  revitalizing  the  Downtown  with  jobs,  retail,  entertain- 
ment, arts  and  housing.  In  2004,  Spokane  earned  the  All-America  City  Award  from  the 
National  Urban  League.  This  is  the  story  of  remaking  an  American  downtown. 


313 


The  Spokane  River  is  the  central  identity 
for  Downtown  Spokane  (left).  The  Clock 
Tower  in  Riverfront  Park  is  a  City  icon 
(right). 

DON  HORTON 


It  is  the  inherently  unique  character  of  a 
city's  downtown  that  distinguishes  one 
urban  center  from  another.  The  down- 
town is  a  city's  visual  repository  of 
centuries  of  dreams,  ambitions  and  hard 
work.  It  is  a  living  record  of  its  society, 


culture,  business,  architectural  styles 
and  artistic  innovations. 

Great  downtowns  must  be  more  than 
just  a  retail  core  or  a  skyscraper-filled 
financial  center  and  their  success  must 
be  measured  by  more  than  growth 
statistics  and  tax  receipts.  Successful 
downtowns  like  the  one  Spokane  has 
created  are  complex,  multifaceted, 
diverse,  colorful  mixes  of  inter- 
connected commercial,  entertainment, 
cultural  and  residential  districts. 

This  isn't  the  first  time  that  Downtown 
Spokane  has  remade  itself. 


PROJECT  Spokane  Plan  for  a  New  Downtown,  Downtown  Spokane  Zoning  Ordinance  and 
Design  Guidelines,  North  Bank  Development  Plan,  Davenport  District  Strategic  Action 
Plan,  Riverfront  Park  Master  Plan,  The  Great  Spokane  River  Gorge  Strategic  Master  Plan 
LOCATION   Spokane,  Washington        DATE   DESIGNED  1998-2005 
CONSTRUCTION  Ongoing        NEW  INVESTMENT  currently  $1.6  billion     CLIENT  City 
of  Spokane  Planning  Department,  City  of  Spokane  Parks  and  Recreation  Department, 
Spokane  Business  Improvement  District,  Spokane  Arts  Commission,  Downtown  Spokane 
Partnership        CONSULTANTS  MIG,  Inc.  (project  lead,  land  use,  planning  and  urban 
design,  design  concepts,  community  participation,  implementation  strategies),  Keyser 
Marston  Associates,  Inc.  (economic  analysis),  Fehr  &  Peers  Associates,  Inc.  (transportation  . 
analysis),  Jim  Kolva  Associates  (land  use  planning),  Robert  Odland  Consulting  (plan 
implementation  strategy),  Integrus  Architecture  (institutional  architectural  consulting), 
RAMM  Associates  (landscape  architecture),  David  Evans  and  Associates,  Inc.  (planning  and 
urban  design,  design  concepts,  community  participation,  implementation  strategies) 


3  I  4       DOWNTOWN    SPOKANE 


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Native  Americans  first  inhabited  the  area 
on  the  banks  of  the  Spokane  River, 
located  at  the  intersection  of  four  moun- 
tain ranges  in  the  high  desert  of  south- 
eastern Washington.  In  1810,  members 
of  John  Jacob  Astor's  Pacific  Fur 
Company  established  a  trading  center  on 
the  river.  Missionaries,  miners  and  farm- 
ers settled  the  region  in  the  1 860s, 
harnessing  the  river's  power  to  run  their 
flour  mills  and,  later,  to  generate  elec- 
tricity. The  Northern  Pacific  Railroad 


In  1925  an  Indian  Congress  was  held  at 
Glover  Field  on  the  banks  of  the  Spokane 
River. 

NORTHWEST  MUSEUM  OF  ARTS  &  CULTURE/EASTERN 
WASHINGTON  STATE  HISTORICAL  SOCIETY,  SPOKANE, 
WASHINGTON,  L87-1.299+3-2S,  LIBBY  STUDIO  COLLECTION 


reached  Spokane  in  1881,  the  year  the 
City  incorporated.  The  area  bustled  with 
mining,  lumber  and  farming.  The  bur- 
geoning metropolis  suffered  its  first  great 
setback  in  1889,  when  "The  Great  Fire" 
ravaged  Downtown  and  destroyed 
32  city  blocks.  Spokanites  rebuilt 
Downtown  as  an  industrial  and  railroad 
center  for  the  Inland  Northwest:  seven 
transcontinental  railroads  and  1 4  branch 
lines  ran  through  the  City,  crisscrossing 
the  river.  And  by  1909,  Spokane  was 


Rail  bridges,  such  as  the  1914  Union 
Pacific  High  Bridge,  crisscrossed  the  river 
and  the  City. 

NORTHWEST  MUSEUM  OF  ARTS  &  CULTURE/EASTERN 
WASHINGTON  STATE  HISTORICAL  SOCIETY,  SPOKANE, 
WASHINGTON,  L84197.18 


thriving  with  a  population  of  14,000.  But 
the  Downtown  river  area  had  become  a 
sprawling,  ugly  railroad  yard — the  City 
had  turned  its  back  on  the  river. 

In  1913,  the  City  recognized  the  impor- 
tance of  its  river  and  its  Downtown  by 
adopting  a  remarkably  forward-looking 
master  plan  developed  by  renowned 
landscape  architects,  the  Olmsted 
Brothers.  The  plan  once  again  centered 
the  City  on  the  Spokane  River,  creating 
"green"  streets  and  trails  to  connect  a 
series  of  community  parks.  Much  of  the 
plan  was  implemented,  as  Spokane 
became  a  modern,  growing  city. 

But  by  the  1960s,  Spokane  fell  victim  to 
the  same  plight  as  many  American 
cities:  an  aging  infrastructure  and 
increasingly  suburbanized  landscape  led 
to  a  decline  in  the  downtown  area  as 
residents  and  businesses  left. 

As  host  of  the  World's  Fair  Expo  '74, 
Spokane  undertook  another  monumen- 
tal revitalization.The  City  ripped  out 


316        DOWNTOWN    SPOKANE 


Old  rail  yards  were  reclaimed  as  a  new 
Riverfront  Park  for  Expo  '74. 


the  rusty  railroads  along  the  river  and 
turned  the  jumble  of  tracks  and  out- 
dated buildings  into  the  beautiful 
Riverfront  Park.  A  new  downtown  mall 
north  of  the  river,  called  River  Park 
Square,  was  anchored  by  the  first 
Nordstrom  store  outside  of  Seattle  and 
included  a  movie  theater  and  a  mix  of 
large  and  local  retailers. 


After  the  World's  Fair,  the  graceful  Expo  Pavilion  and  Clock  Tower  remained  as  Spokane  landmarks. 


STEVE  DAWSON  III 


The  Expo  showed  the  community  what 
the  City  and  Downtown  could  be.  But 
the  economic  base  continued  moving  to 
the  suburbs,  profiting  from  low-cost 
development  opportunities.  When  two 
of  four  major  retailers  left,  nearly  two 
entire  blocks  were  vacant.  The  Down- 


town was  dotted  with  empty  store- 
fronts. The  graceful  Expo  Pavilion  and 
the  Romanesque-style  Great  Northern 
Depot  Tower  with  its  four  clocks 
remained  as  tributes  to  the  past — and 
waited  for  a  new  downtown. 


DOWNTOWN    SPOKANE       317 


Twenty  years  later,  in  the  mid-1990s, 
Downtown  Spokane  was  in  real  eco- 
nomic trouble.  The  City  had  invested  in 
a  new  Downtown  transit  center,  a  public 
library  and  a  sports  arena — it  was  time 
to  look  at  the  Downtown  in  light  of  a 
modern  economy  and  changing  needs  of 
its  residents.  Building  on  a  spirit  of  inno- 
vation, its  inherent  natural  beauty  and  its 
cultural  and  economic  strengths, 
Spokane  embarked  on  a  plan  to  trans- 


form its  Downtown  into  a  thriving  and 
truly  modern  Northwest  city  center. 

In  1 994,  the  owners  of  the  River  Park 
Square  mall  proposed  a  key  first  step:  a 
$  1 1 5 -million  two-block  redevelopment 
to  stimulate  the  City's  economy  by 
increasing  jobs,  revenues  and  tourism. 
The  new  mall  would  include  a  reno- 
vated Nordstrom  store,  a  20-screen  the- 
ater and  specialty  retail  stores  and 


CANADA 


OREGON 


Spokane  is  the  largest  economic  center  in  the  Inland  Northwest  trade  area. 


restaurants — many  of  them  locally 
owned.  The  City  joined  the  developer  in 
a  public /private  partnership  to  secure 
funding.  That  partnership  sparked  a  joint 
effort  by  the  City  and  business  and 
community  leaders  to  develop  a  coordi- 
nated, long-term  revitalization  plan  for 
the  entire  Downtown.  It  was  co-led  by 
the  City  of  Spokane  and  the  Downtown 
Spokane  Partnership,  a  nonprofit  organ- 
ization that  worked  to  build  economic 
vitality  through  a  healthy  downtown.  Its 
priorities  were  developing  the  conven- 
tion and  visitors  industry,  retail  and 
office  offerings,  arts  and  entertainment 
venues,  emerging  industries  and  tech- 
nologies, and  parks  and  recreation. 

Beginning  in  1998,  Spokane,  now  a  City 
of  200,000,  engaged  the  community  in 
creating  a  new  vision  and  master  plan  for 
the  City  that  addressed  the  business  envi- 
ronment, housing,  education,  public 
space  and  greenbelts,  transportation  and 
sports,  entertainment  and  arts  venues. 
The  aim  was  to  take  advantage  of  the 
huge  investment  that  had  already  been 


318        DOWNTOWN    SPOKANE 


made  in  the  City  infrastructure  by  re- 
focusing  investment  into  the  Downtown 


core. 


The  Downtown  area  serves  the  larger  City  of  Spokane. 


For  Downtown  Spokane,  remaking  itself 
has  resulted  in  a  renewed  relationship 
with  the  river,  a  new  convention  center, 
a  vibrant  arts  and  entertainment  dis- 
trict, new  housing,  preserved  historic 
buildings,  and  thriving  restaurant  and 
retail  areas. 

Over  500  new  development  projects 
have  already  redefined  the  Downtown 
experience.  The  amount  of  retail  space 
available  increased  by  four  times 
between  1 999  and  2005 — today  there  is 
more  total  leased  retail  space  in  the  cen- 
tral business  district  than  at  any  time  in 
the  past  20  years.  The  office  market  has 
increased  by  400,000  square  feet,  with  a 
3  percent  increase  in  overall  occupancy 
rate.  Revitalization  has  also  sparked  a 
surge  in  market  rate  housing,  introduc- 
ing lofts,  apartments  and  condomini- 
ums. Long-time  and  new  residents  will 
find  a  mix  of  affordable  and  market  rate 


DOWNTOWN    SPOKANE       319 


housing,  pedestrian  walkways  and  green 
streets  as  the  City  grows.  And 
Downtown  Spokane  has  many  more 
projects  on  the  drawing  boards. 


Project  Goals 

The  Downtown  concept  focuses  on 
key  activity  nodes,  supporting  uses  and 
connectivity. 

As  the  main  economic  symbol  for  the 
entire  Inland  Northwest  region,  the  suc- 
cess and  vitality  of  Downtown  Spokane 
directly  influences  public  and  private 
growth  opportunities  throughout  the 
region.  Spokane  needed  to  look  beyond 
the  Downtown  alone  and  connect 
Downtown  with  its  supporting  neighbor- 
hoods and  the  region. 

The  City  aimed  to  create  an  engine  for 
Downtown  Spokane's  economic 
growth — to  generate  new  investment, 
create  new  jobs,  and  improve  everyone's 
quality  of  life  with  enhanced  services  and 


NORTH  BANK 


Summit  Site 


0 

RIVERFRONT  PARK 


River  Park  Square-^ 
Retail  Center 

DOWNTOWN  CORE^ 


Convention  Center 
and  Opera  House 


To  Lewis  and  Clark 
High  School 


Major  Downtown      Convention  Center 
Development  Expansion 

Opportunity  Sites 


Downtown  Public  Square 
Spokane  needed  to  link  the  Downtown  with  surrounding  neighborhoods 


320      DOWNTOWN    SPOKANE 


facilities.  Running  this  economic  engine 
would  require  coordinating  and  support- 
ing both  public  and  private  investments. 
The  City  hoped  to  attract  private 
investors  by  demonstrating  its  commit- 
ment to  a  vibrant  Downtown  market- 
place. Private  development  needed  to  be 
organized  so  that  it  would  support  public 
investment  in  key  design  projects:  street 
activation,  intensity  of  activity  and  the 
concentration  of  development  in  and 
around  key  City  resources. 

To  create  the  engine,  the  City  focused 
on  five  overall  goals: 

■  Catalytic  Sites:  Catalytic  development 
sites  would  spur  additional  invest- 
ment as  developers  gained  confidence 
in  the  viability  of  projects  in  the  area. 
By  directing  new  projects  toward 
existing  Downtown  infrastructure, 
the  City  would  provide  a  solid  foun- 
dation for  public  support  of  the  plan. 
The  City's  Riverfront  Park,  the 
"Jewel"  of  Spokane,  served  as  the 
nexus  for  project  initiatives,  as  devel- 


opment efforts  focused  on  a 
Convention  Center,  the  International 
Airport,  historic  buildings,  and 
nearby  Gonzaga  University. 

Downtown  / Neighborhood  Connectivity: 
The  City  hoped  to  invigorate  interest 
in  the  Olmsted  Brothers'  original 
"green  street"  vision,  connecting 
high-density  development  and  sur- 
rounding neighborhoods  with 
Spokane's  natural  beauty  and  the 
river,  while  providing  a  safe  network 
of  scenic  streets  shared  by  pedestri- 
ans, cyclists  and  automobiles. 
Howard  Street  will  be  the  "string" 
that  connects  the  pearls  of  the 
Riverfront  Park,  the  Downtown 
retail  core,  a  new  public  square,  the 
North  Bank  and  the  South  Side. 

Unique  District  Identities:  By  crafting 
complementary  strategies  for  individ- 
ual Districts  within  the  Downtown, 
the  City  aimed  to  create  Districts 
that  could  individually  stand  on  their 
own,  while  creating  a  cohesive  mar- 


keting and  planning  strategy  for  the 
whole  City  center. 

ta  Reconnections  with  the  River:  The  City 
aimed  to  enhance  Riverfront  Park  as 
an  urban  refuge  in  the  center  of 
Downtown,  opening  new  vistas  and 
planning  new  activity  centers. 

■  Preservation  of  Spokane's  Historic  Past: 
Organizing  catalytic  sites  around 
existing  City  landmarks  would  pro- 
mote a  renewed  interest  in  Spokane's 
signature  buildings — strengthening 
Spokane's  identity  as  a  distinctive 
Downtown. 

To  achieve  these  goals,  the  City  devel- 
oped a  series  of  strategic  action,  master 
and  development  plans  to  revitalize 
Downtown  Spokane  and  its  inter- 
dependent neighborhoods.  Five  of  these 
Plans  are  discussed  in  this  chapter: 

1 .   Spokane  Plan  for  a  New  Downtown 

Ultimately,  the  City  aimed  to  create 
a  Downtown  Spokane  that  was  "every- 


DOWNTOWN    SPOKANE       32 


body's  neighborhood" — a  place  that 
would  generate  excitement  and  com- 
fort for  residents  and  visitors,  night 
and  day.  With  the  primary  five  goals  in 
mind,  a  series  of  projects  included 
improving  housing,  retail,  economic 
development,  transit,  accessibility, 
community  connections  and  usable 
open  space. 

Along  with  the  Plan,  design  guidelines 
and  a  new  Downtown  Spokane  zoning 
ordinance  would  enable  new  develop- 
ments to  better  respond  to  site-specific 
conditions  and  surrounding  conditions 
and  character.  (More  information 
about  these  types  of  guidelines  can  be 
found  in  Cityscapes  Design  Guidelines, 
page  454.) 

2.   Riverfront  Park  Master  Plan 

Riverfront  Park  is  a  1 00-acre  open 
space  area  in  and  adjacent  to  the 
Spokane  River.  The  City  envisioned 
it  as  a  peaceful  urban  refuge  in  the 
heart  of  Downtown,  operated  and 


maintained  by  the  Spokane  Parks 
and  Recreation  Department.  It's 
closely  linked  with  the  North  Bank 
Development  Plan  (below). 

3.  North  Bank  Development  Plan 

A  focused  development  plan  for  this 
region  would  reconnect  and  revitalize 
the  entertainment  district  with  the  City 
core  and  guide  major  public  and  private 
investment  entertainment  projects. 

4.  Davenport  District  Strategic 
Action  Plan 

Working  with  the  nonprofit  "Friends  of 
Davenport,"  the  City  hoped  to  establish 
this  historic  area  as  a  dynamic  arts, 
entertainment  and  creative  district. 

5.  The  Great  Spokane  River  Gorge 
Strategic  Master  Plan 

The  Spokane  River  Gorge  is  the  area's 
key  natural  treasure.  Primary  goals  were 
to  enhance  public  use  and  protect  its 
natural  beauty,  reflecting  local  history 
and  culture. 


User  Groups 

Businesses  (local,  regional,  national) 

Current  Downtown  residents 

Nearby  neighborhood  residents 

Regional  residents  who  might  relo- 
cate Downtown 

Outdoor  recreation  users  (walkers, 
bikers,  boaters,  kayakers,  etc.) 

City  agencies 

Higher  education  institutions 

Medical /healthcare  institutions 

Visitors  and  tourists 


Design  Process 

Each  of  the  five  Plans  included  extensive 
community  and  business  involvement, 
including  large  public  meetings,  small 
group  discussions,  and  design  charettes. 

SPOKANE  PLAN  FOR  A  NEW 
DOWNTOWN 

Spokane's  Plan  for  a  New  Downtown 
was  developed  by  a  joint  public-private 
partnership  between  the  City  of 
Spokane  and  the  Downtown  Spokane 


322       DOWNTOWN    SPOKANE 


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Large  wall  graphics  visually  assured  community  members  that  their  ideas  were  heard  and  recorded,  and  provided  a  group  memory  of  their  ideas. 


Partnership  (DSP),  a  not-for-profit 
coalition  of  business,  government  and 
community  leaders.  The  City  and  DSP 
established  a  2  6 -member  Steering 
Committee,  composed  of  business  own- 
ers, property  owners,  residents  and 


community  leaders.  The  Committee 
helped  formulate  initial  plan  recommen- 
dations and  guide  the  plan  through  an 
extensive  community  outreach  program . 
To  guide  community  participation  and 
ensure  feasibility  of  Plan  recommenda- 


tions, three  technical  focus  groups  were 
convened  on  transportation,  economic 
development  and  urban  design  issues. 

Community  participation  played  a 
critical  role  and  presented  the  greatest 


DOWNTOWN    SPOKANE      323 


Participants  used  modular  maps  to  help 
visualize  the  effects  of  land  use  planning 
on  the  City. 


challenge  in  the  planning  process. 
"Envision  Spokane,"  a  community 
newsletter  designed  to  update  citizens 
on  new  planning  information,  helped 
attract  1 ,500  attendees  to  five  commu- 
nity meetings.  The  first  meeting,  The 
Downtown  Vision  Workshop,  took 
place  at  the  Spokane  Convention 
Center  on  February  5,  1998.  Broadcast 
on  local  television,  the  workshop's  posi- 


tive interchange  confirmed  the  impor- 
tance of  Downtown's  future  and  identi- 
fied key  issues  that  later  comprised  the 
Vision  for  Downtown  Spokane. 

A  second  workshop,  the  Planning  and 
Design  Chare tte,  transformed  the  prior- 
ities identified  in  the  first  meeting  into  a 
series  of  "planning  stations."  At  each  sta- 
tion, participants  engaged  in  interactive 


activities  unique  to  specific  design  and 
topic  areas — allowing  City  staff  and 
steering  committee  members  to  directly 
record  community  feedback  on  emerg- 
ing concepts  for  the  plan. 

Three  more  community  meetings  fol- 
lowed, allowing  community  members 
to  review  major  plan  policy  elements 
and,  finally,  to  celebrate  and  review  the 


Community  members  participated  in  an 
outdoor  festival  to  help  plan  the  future  of 
Riverfront  Park. 


Individual  booths  highlighted  different 
alternatives  and  proposals. 


324      DOWNTOWN    SPOKANE 


draft  plan.  Almost  all  of  those  in  atten- 
dance agreed  with  the  Plan  for  a  New 
Downtown  and  its  action  items. 

The  breadth  and  success  of  the 
community  outreach  process  and 
Downtown  Plan  earned  Spokane  the 
1998  Washington  American  Planning 
Association  award. 


Ongoing  Projects 
&  Activities 


Stakeholder       Steering  Committee 
Interviews  Meeting  #1 


JUNE/JULY  2001 


Draft  Plan 


Steering  Committee 
Meetings  #2  and  #3 


Final  Plan 


Case  Studies 


AUGUST 


JANUARY  2002 


RIVERFRONT  PARK  MASTER  PLAN  AND 
NORTH  BANK  DEVELOPMENT  PLAN 

Stakeholder  interviews  played  a  key  role 
in  the  gathering  of  public  input  for  the 
Riverfront  Park  and  North  Bank  Plans. 
Community  members  representing  a 
diverse  range  of  interests  were  asked  a 
series  of  open-ended  questions  intended 
to  gather  opinions  and  solicit  ideas  for 
specific  redevelopment  concepts. 
Questions  focused  on  key  areas  within 
the  Park  and  North  Bank,  directing  the 
resulting  Plan  on  specific  development 
areas.  Four  community  workshops  and  a 
telephone  survey  helped  develop  the 
types  of  attractions  and  recreation  the 
Park  should  offer. 


The  strategic  planning  process  for  the  Davenport  District  included  artists,  business  owners 
and  residents. 


DAVENPORT  DISTRICT  STRATEGIC 
ACTION  PLAN 

The  first  planning  document  for  the 
area  was  drafted  in  1 990  by  Friends  of 
the  Davenport,  a  nonprofit  group  pro- 
moting redevelopment.  A  group  of  vol- 
unteers began  organizing  and  holding 
community  meetings  in  1997.  They 
formed  the  Riverside  Neighborhood 
Council  and  provided  input  to  the  City. 
In  1998,  the  City  then  involved  those 
community  members  in  the  Plan  for  a 
New  Downtown  process — including 


local  artists,  business  owners,  the 
Davenport  District  Arts  Board,  the 
Downtown  Spokane  Partnership,  the 
Spokane  Arts  Commission  and  the 
Business  Improvement  District.  The 
Spokane  Arts  Commission  and  the 
Downtown  Spokane  Partnership  gath- 
ered additional  community  feedback 
through  an  artist's  focus  group  and  by 
distributing  over  500  questionnaires  to 
arts  and  cultural  organizations  and  indi- 
vidual artists.  During  three  planning 
workshops,  district  stakeholders  devel- 


DOWNTOWN    SPOKANE      325 


oped  a  vision  for  continued  revitaliza- 
tion  and  established  priority  strategies 
and  actions  necessary  to  implement  the 
Davenport  Plan. 

THE  GREAT  SPOKANE  RIVER  GORGE 
STRATEGIC  MASTER  PLAN 

In  May  2004,  a  2 5 -member  steering 
committee  worked  to  identify  projects 
and  programs  in  the  Spokane  River 
Gorge  to  reacquaint  local  residents  and 
visitors  with  this  dramatic  and  unique 
natural  resource. 


Led  by  Friends  of  the  Falls,  the  Spokane 
River  Gorge  planning  process  included 
Indian  tribes,  residents  and  government 
agencies. 


Led  by  Friends  of  the  Falls  (FOF),  a 
nonprofit  organization  dedicated  to  pre- 
serving the  historic  waterfalls  and  river 
gorge  in  Downtown  Spokane,  the  plan- 
ning process  included  months  of  inter- 
views with  government  and  park 
agencies,  residents'  boards,  representa- 
tives from  local  American  Indian  tribes, 
business  organizations  and  outdoor 
recreation  groups.  To  better  understand 
the  river  from  varied  perspectives, 
stakeholders  visited  river  trails  and 
overlooks,  and  even  rafted  through  the 


river 


g°rg' 


e. 


The  City  hosted  an  initial  community 
workshop  in  June  2004  to  gauge  com- 
munity response  to  a  Plan  for  the  gorge 
area;  about  100  people  provided  feed- 
back on  the  Plan's  principles,  vision  and 
proposed  projects.  FOF  hosted  a  final 
public  workshop,  generating  feedback 
on  the  Great  Spokane  River  Gorge 
Strategic  Master  Plan  and  its  priority 
projects.  The  Plan  was  revised  to  incor- 
porate public  comments  and  it  was  sub- 
sequently approved  by  the  Park  Board. 


Inclusive  Design  Features 

SPOKANE  PLAN  FOR  A  NEW  DOWNTOWN 

"Our  Downtown  is  a  mixed-use  regional 
center  for  shopping,  living,  recreation  and 
entertainment.  Riverfront  Park  is  the  center 
of  the  City  and  Downtown.  It  is  the  'Jewel' 
of  the  City.  Riverfront  Park  is  a  great 
public  open  space  in  the  center  of  a 
growing,  vital  and  urban  City." 

— Vision  of  Downtown  Spokane 

To  reinvent  and  revitalize  Downtown 
Spokane,  the  City  developed  action 
strategies  for  nine  elements  the  commu- 
nity considered  crucial: 

1 .  Land  Use 

2.  Downtown  Districts 

3.  Special  Districts 

4.  Economic  Development 

5.  Housing 

6.  Transportation  and  Circulation 

7.  Community  Design 

8.  Historic  Preservation 

9.  Neighborhood  Economic 
Development 


326      DOWNTOWN    SPOKANE 


For  each  strategy  area,  the  City  deter- 
mined key  actions,  a  time  frame  to 
complete  these  actions,  agencies 
responsible  for  implementation,  and 
potential  funding  sources.  In  some 
instances,  the  City  far  exceeded  the 
Plan's  goals.  In  others,  Plan  initiatives 
are  still  in  process. 

1.  Land  Use 

Using  a  detailed  Land  Use  map  (see 
next  page),  the  City  arranged  office, 
commercial,  residential,  cultural,  insti- 
tutional, and  light  industrial  uses  to 
create  "mixed-use  urban  villages"  and 
core  retail,  entertainment  and  office 
centers,  based  on  current  uses  and 
potential  for  new  investment.  The  City 
also  updated  the  zoning  ordinance  to 
reflect  the  Plan  objectives. 

A  "mixed-use  urban  village"  is  a  return 
to  the  traditional  town — encouraging 
high-density  development  with  a  mix 


of  housing  and  offices  located  above 
retail  spaces.  Housing  would  be  18  to 
110  dwelling  units  per  acre  (gross) 
with  building  heights  ranging  from  3  to 
13  stories. 

By  integrating  ground  level  services 
with  residential  and  office  spaces,  retail 
shops  and  restaurants  are  encouraged  to 
stay  open  on  evenings  and  weekends  to 
serve  a  livery,  active  community.  The 
24-hour  vitality  of  these  villages  ensures 
a  safe  environment  and  attracts  visitors, 
new  residents  and  businesses — and 
investors. 

To  facilitate  the  growth  of  mixed-use 
urban  villages,  the  City: 

Classified  office  developments 
according  to  floor  plate  size  and 
directed  large  office  developments 
outside  of  the  City  center,  into  new 
Office  Campus  Park  areas;  and 


Downtown  combines  high  rise  offices  with 
pedestrian  level  amenities. 


Distributed  four  types  of  commercial 
land  uses  (auto-oriented,  visitor- 
serving,  specialty  entertainment  and 
general  commercial)  to  strategic 
locations  throughout  Downtown. 


DOWNTOWN    SPOKANE      327 


0verlavs  Residential 

jX/l    Mixed  Use  (Includes  retail  and 


residential) 

1 J    Mined  Use  Urban  Village 

I .J   Medical  District 


Office,  Commercial,  and  Industrial 

|  High  Presidential             f— ]    Genera,  Commercial  □   Visitor-Se^ing  Commercial 

J  Medium  Density  Residential       [— |    Retail,  Office,  Residential  ]  Specialty  Entertainment 

I |  Low  Density  Residential  I 1    Regional  Retail,  Entertainment, 


Community  Facilities  and  Open  Space 

~2  Cultural  and  Institutional 
_]  Parks  and  Open  Space 


Office  Core 


Office  Campus  Park 


Transportation/Circulation 

^-^    Arterial  Street 

*"*     Proposed  New  Road  Alignment 

-■-     Proposed  Future  Light  Rail 


]   Auto-Oriented  Retail 


J   Office,  Light  Industrial,  Warehousing 
[ I   Manufacturing  and  Warehousing 


DDDD    Howard  Street  Pedestrian 
Connection 


The  City  aimed  to  develop  a  fine-grained  mix  of  uses  throughout  the  Downtown. 


328      DOWNTOWN    SPOKANE 


2.  Downtown  Districts 

The  Downtown  Plan  identified  six 
distinct  Districts,  each  with  unique 
development  goals,  historic  elements, 
architectural  considerations  and  popula- 
tions. For  each  corridor,  the  plan 
suggested  land  use  goals  and  key  oppor- 
tunity sites  to  stimulate  growth  and 
define  the  area's  character,  and  succes- 
sive action  plans  detailed  inclusive 
design  features. 

Downtown  Core 

The  Downtown  Core  is  the  center  of 
Downtown,  with  high-density  office 
and  commercial  uses,  as  well  as  hous- 
ing. Successful  completion  of  the 
Spokane  Convention  Center,  is  one  of 
the  plan's  primary  catalytic  Downtown 
projects.  The  100,000-square-foot 
expansion  places  the  Spokane  region  at 
the  forefront  for  attracting  major 
national  conventions,  expositions  and 


A  new  AMC  theater  at  River  Park  Square  has  boosted  the  local  economy  by  stimulating 
adjacent  retail  activity. 


SI  I  VI    DAWSON  III 


DOWNTOWN    SPOKANE      329 


The  City  created  six  distinct  Districts  in  the  Downtown  planning  area  (within  the  orange  line). 


330      DOWNTOWN    SPOKANE 


trade  shows.  The  convention  center  also 
hosts  meetings  for  local  organizations, 
graduations  and  other  area  events.  The 
City  plans  to  secure  a  location  for  a 
public  plaza  to  focus  potential  residen- 
tial and  retail  investments. 

River  Park  Square,  the  project  that 
started  the  current  Spokane  revival,  was 
renovated  in  1 999 .  The  basement  now 
houses  the  Mobius  Children's  Museum. 
The  Square  features  a  five-story  glass 
atrium  housing  a  20-plex  movie  theater, 
retail  stores  and  bistro.  Adhering  to  the 
City's  design  guidelines,  the  develop- 
ment includes  its  own  parking  structure 
and  pedestrian-friendly  window  displays 
and  entrances.  The  Square  has  generated 
more  than  1 , 1 00  new  hospitality  jobs 
and  provided  $  13.6  million  in  tax  rev- 
enues to  the  City  by  2005 . 


The  Spokane  Convention  Center — being  expanded  to  100,000  square  feet — and  the  Opera 
House  were  catalytic  sites  for  Downtown  development  adjacent  to  Riverfront  Park. 


DON  HORTON 


DOWNTOWN    SPOKANE       33I 


The  Downtown's  former  J.C.  Penney  Building,  across  from  River  Park  Square,  is  reopening  as  "809  West  Main"  and  incorporates  ground  floor 
retail  with  21  loft  condominiums. 


ALSC  ARCHITECTS 


332      DOWNTOWN    SPOKANE 


The  historic  Gallagher  Building  on  Jefferson 
Street,  in  the  west  end  of  Downtown,  was 
an  abandoned  warehouse  for  two  decades. 
The  building  has  been  renamed  the 
Jefferson  Street  Auto  Lofts  for  the  historic 
auto  corridor  along  the  Downtown  railroad 
tracks.  It  is  now  office,  retail  and  residential 
condominiums. 


West  End 

Planning  activity  focused  on  the  devel- 
opment of  high-density,  mixed-use 
buildings  with  a  concentration  of  retail 
activity  along  First  Avenue.  Key  devel- 


Riverview  Condominiums,  a  new  housing 
project,  may  spur  infill  housing  in  the  west 
side  of  Downtown.  It  follows  the  new 
design  guidelines  by  incorporating  low-rise 
brick  facades  at  the  street. 

STEVEN  MEEK  ARCHITECTS 


opment  sites  on  First  Avenue  would  be 
developed  with  wider  sidewalks  and 
plazas,  creating  a  linear  pedestrian  link 
from  the  area  to  the  Downtown  Core 
and  the  Davenport  Arts  District. 

East  End 

East  End  development  also  promoted 
high-density,  mixed-use  office  and  resi- 
dential developments  with  ground  floor 


retail,  while  encouraging  the  preserva- 
tion and  active  use  of  the  area's  historic 
structures.  The  Plan  identified  vacant 
and  underutilized  sites  along  Bernard 
Street  for  development,  suggesting 
wider  sidewalks  and  plazas  to  create  a 
pedestrian  link  between  the  Convention 
Center  and  Riverfront  Park. 

In  accord  with  the  Downtown  Plan,  the 
Community  Building  opened  in  2001 
on  West  Main  Street.  It  features  an  open 


The  renovated  Community  Building,  on 
West  Main  Street,  is  now  home  to  nonprofit 
organizations  involved  in  social  justice 


issues. 

ROBERT  ZELLER 


DOWNTOWN    SPOKANE      333 


The  vacant  97-year-old  Saranac  Hotel  at 
25  West  Main  Street  will  be  renovated  as  a 
green  building,  providing  32,000  square 
feet  of  floor  space  for  a  potential  ground 
floor  movie  theater  and  offices  for  social 
justice  or  environmental  justice  missions. 

ZECK  BUTLER  ARCHITECTS  PS 


North  Bank 

The  City  owns  a  large  portion  of  the 
North  Bank,  and  planning  efforts  for 
this  area  are  detailed  in  the  Riverfront 
Park  Master  Plan  and  North  Bank 
Development  Plan.  The  Downtown 
Plan  called  for  mixed  uses  in  this  area, 
including  new  sports,  entertainment 
and  recreation  activities,  support  for 
commercial  and  entertainment  retail 
close  to  the  Arena  and  Riverfront  Park, 


and  medium-  and  high-density  residen- 
tial developments  around  Washington 
Street,  with  supporting  service  retail. 

South  Side 

Located  south  of  Interstate  90, 
Downtown's  South  Side  became  the 
focus  for  large  office  spaces,  light  indus- 
trial and  residential  uses.  The  Plan  rec- 
ommended retaining  the  area's  signature 
warehouse  and  light  industrial  uses, 


floor  plan,  solar  panels  that  provide  1 2 
percent  of  the  building's  power,  and  a 
vegetable  garden.  It's  now  home  to  non- 
profits involved  in  social  justice.  Tenants 
don't  pay  rent,  but  split  the  cost  of 
operations,  maintenance  and  taxes.  The 
adjacent  Saranac  Hotel  is  now  being 
redeveloped  and  expanded,  and  could 
include  a  smaller  movie  theater  for 
independent  films,  a  cafe  and  more 
office  space. 


The  Spokane  Arena  is  a  catalyst  for  nearby  restaurants  and  sports  venues. 


334      DOWNTOWN    SPOKANE 


while  encouraging  commercial  develop- 
ment near  Interstate  90  directed  at  com- 
muters and  other  motorists. 

Riverfront  Park 

Ambitious  efforts  to  improve  the  park 
focused  on  a  center  pedestrian  spine 
with  increased  street  activity — relocat- 


The  larger-than-life  "Radio  Flyer"  sculpture 
and  slide  is  a  park  favorite. 


The  park  offers  an  urban  respite. 


The  river  even  has  fish! 


DOWNTOWN    SPOKANE      335 


ing  passive  recreational  uses  to  the  east 
and  west  sides  of  the  park.  Plans  for 
Riverfront  Park  are  presented  in  detail 
in  the  Riverfront  Park  Master  Plan. 

3.  Special  Districts 

The  City  also  created  an  overlay  of 
Special  Districts,  each  demarcated  in  a 
general  area  of  the  City,  to  encourage 
flexible  implementation  strategies. 

Intended  to  cluster  similar  visitor- 
attracting  and  employment  activities, 
Spokane  focused  efforts  on  streetscape 
projects,  connecting  the  Downtown 
Core  with  the  City's  entertainment  dis- 
trict via  improvements  to  Post  Street. 
These  special  districts  are  designed  to 
create  an  exciting  atmosphere  for  resi- 
dents and  visitors,  and  allow  Downtown 
establishments  to  coordinate  marketing 
and  promotional  activities. 


Warm  weather  encourages  a  variety  of  activities  in  Riverfront  Park. 


336      DOWNTOWN    SPOKANE 


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Mutual  Influence  Area 


Central  Core  Districts 
Special  Districts 


Terabyte  Triangle 
Commercial  Hot  Zones 


An  overlay  of  Special  Districts  helps  focus  planning  and  promotional  efforts.  The  Terabyte  Triangle — a  free  high-speed  wireless  zone — has 
been  a  tremendous  success,  attracting  over  1  50  new  businesses. 


DOWNTOWN     SPOKANE      337 


1  Terabyte  Triangle:  This  is  Spokane's 
successful  high-speed  connectivity 
hot  zone.  Spokane  laid  over  500 
miles  of  fiber-optic  cable  and  created 
a  free  100-block  wireless  (wi-fi)  zone 
to  foster  high-tech  businesses  and 
attract  supporting  professional  serv- 
ices (accountants,  lawyers,  video  and 
music  producers).  The  network  also 
provides  secure  police,  fire,  parking 
enforcement,  and  other  safety  and 
management  communications. 

Hoping  to  attract  ten  new  "triangle" 
businesses  a  year,  the  City  far  sur- 
passed expectations — adding  over 
150  businesses  in  five  years  and  caus- 
ing Time  magazine  in  October  2004 
to  label  Spokane  "the  wireless 
hotspot  of  the  future."  A  June  2004 
article  in  Sky  West  magazine  dubbed 
the  City  "a  2 1  st-century  power  player 
in  an  entrepreneurial  world  fueled  by 
technology  and  innovation."  And  The 
Intelligent  Community  Forum,  a 
New  York— based  technology  think 
tank,  recently  identified  Spokane  as 
one  of  seven  of  the  world's  brightest 
cities  for  investment  in  communica- 


tions technologies — it  was  the  only 
U.S.  city  chosen. 

Arts  and  Entertainment:  This  area  later 
evolved  into  the  Davenport  District 
Strategic  Action  Plan,  detailed  later  in 
this  chapter. 

The  Hot  Zones:  This  area  includes 
three  restaurant  and  entertainment 
"hot  zones"  where  new  restaurants  and 
entertainment  are  encouraged  to 
locate  to  increase  pedestrian  density 
and  business  vitality.  The  zones  are 
located  along  Spokane  Falls  Boulevard 
at  the  edge  of  Riverfront  Park  to 
strengthen  the  connection  between 
the  Convention  Center  and  the 
Downtown  retail  core,  along  First 
Avenue  in  the  West  End  to  serve  the- 
atergoers and  the  neighborhood,  and 
along  Howard  Street  north  of  the 
river  to  support  the  sports  and  enter- 
tainment uses  of  the  North  Bank. 

Opera  and  Convention  Center:  This  dis- 
trict includes  hotels,  the  opera  house 
and  the  Convention  Center.  The  City 
improved  pedestrian  connections  and 
devised  marketing  and  promotional 
strategies  to  attract  both  supporting 
services  and  visitors. 


■  Downtown  Influence  Areas:  These  areas 
both  influence  and  are  influenced  by 
activities  in  the  Downtown.  The  City 
is  in  the  process  of  developing  better 
physical  (pedestrian  and  transit)  and 
policy  connections  to  the  County 
Government  Area,  Medical  District, 
Summit  Area  and  Higher  Education 
and  Research  District. 

■  Medical,  Higher  Education,  and 
Warehouse  Districts:  These  districts 
don't  have  rigid  boundaries,  but  are 
designed  to  encourage  agglomeration 
of  similar  institutions  and  supporting 
businesses.  In  the  university  area, 
campus  population  is  expected  to 
top  1 1 ,000  students  by  2010  and  the 
master  plan  calls  for  a  mixed-use  envi- 
ronment with  student  housing,  shop- 
ping, dining  and  gathering  spaces. 

4.  Economic  Development 

In  one  of  the  most  successful  strategies, 
Spokane  paved  the  way  for  future  invest- 
ment by  streamlining  development- 
related  issues.  The  City  added  a  new 
cabinet-level  division — the  Economic 


338      DOWNTOWN    SPOKANE 


This  project  at  Howard  and  West  Main  Street  is  characteristic  of  the  revitalization  encour- 
aged by  the  Economic  Development  Council's  initiatives. 


STEVE  DAWSON  III 


Development  Council  (EDC) — merg- 
ing Spokane's  planning  and  building 
services  departments  into  a  single 
agency  to  manage  all  development 
initiatives.  The  EDC: 

■  Created  the  Downtown  Spokane 
Ventures  Association,  and  used  the 


Association's  tax-exempt  status  to 
secure  and  leverage  public,  founda- 
tion and  private  funding  to  imple- 
ment new  projects.  Ventures  played  a 
key  role  in  fundraising  strategies, 
funding  streetscape  and  preservation 
projects  and  renovations  of  the  his- 
toric buildings. 


■  Reduced  processing  time  for  a  new 
commercial  building  permit  to  just 
over  one  month  by  simplifying  permit 
and  development  processes  and  pro- 
duced new  educational  materials, 
applications,  economic  incentives  and 
a  comprehensive  website. 

■  Strengthened  ties  with  regional  agen- 
cies, collaborating  on  a  Strategic 
Action  Plan  for  Spokane  and  the 
Inland  Northwest,  a  framework  for 
delivering  measurable  results  to  both 
Downtown  and  regional  economies. 

8  Collaborated  with  the  Chamber  of 
Commerce  to  change  State  of 
Washington  constitutional  provisions 
to  allow  the  creation  of  tax  increment 
financing  (TIF)  districts.  TIF  districts 
encourage  redevelopment  in  depressed 
areas  by  allowing  many  project  devel- 
opment costs  (such  as  infrastructure, 
parking,  streetscape,  etc.)  to  be  paid 
for  by  the  new  property  taxes  gener- 
ated by  redevelopment. 


DOWNTOWN    SPOKANE      339 


5.  Housing 

In  1995,  Downtown  Spokane's  housing 
stock  was  mostly  multi-family  units, 
many  targeted  for  low-income  or  eld- 
erly occupants.  The  City  hoped  to 
accommodate  young  professionals  and 
"empty-nesters"  with  200  new  housing 
units  per  year,  while  continuing  to  pro- 
vide for  low-income  and  elderly  resi- 
dents. The  Plan  objective  was  to  create  a 
wide  range  of  housing,  from  affordable 
below-market-rate  to  luxury  units.  The 
City  developed  a  set  of  strategies  which 
were  designed  to: 

■  Create  incentive  programs  to  encour- 
age rehabs  and  infill  projects  (loan  or 
grant  programs  in  target  areas); 

■  Support  market-rate  and  high-end 
housing; 

■  Work  with  public,  private,  nonprofit 
housing  developers  to  create 
affordable  housing  options; 

■  Leverage  public  and  private  funds  to 
renovate  deteriorated  buildings; 

■  Change  State  law  to  allow  City 
Redevelopment  powers,  such  as 


eminent  domain,  to  acquire  vacant  or 
underused  structures  that  can  be  sold 
to  housing  developers; 

■  Use  federal  and  local  housing  district 
designations  to  create  opportunity  for 
federal  housing  tax  credits;  and 

■  Establish  a  consortium  of  local  lenders 
to  finance  Downtown  housing. 

The  City  also  held  "Quadrant  Open 
Houses"  to  involve  the  community  in 


updating  residential  development  codes 
to  include  more  housing  options  such  as 
cottage  housing,  zero  lot  lines,  accessory 
dwelling  units  ("granny  flats"),  provi- 
sions for  building  on  smaller  lots,  and 
transition  areas  between  existing  and 
new  developments. 

Market  rate  housing  has  increased  and 
more  is  coming.  A  recent  DSP  study 


Vacant  for  the  past  twenty  years,  the  Borning  Building  is  now  slated  to  be  transformed  into 
50  units  of  workforce  housing. 


STEVE  DAWSON  HI 


340      DOWNTOWN    SPOKANE 


The  historic  Parsons  Building  on  First  and 
Jefferson  was  renovated  as  a  five-story 
community  for  the  elderly  and  disabled. 
The  community  room  has  a  full  kitchen  and 
there's  a  rooftop  garden  area.  Free  social 
services  are  available  on  site. 

STEVE  DAWSON  III 


documented  that  a  range  of  people- 
students,  young  professionals  and  empty 
nesters — want  to  move  to  the  Down- 
town area.  The  study  concluded  that 


Downtown  could  support  1 ,500  new 
market-rate  dwelling  units  over  the  next 
five  years.  Small,  vacant  historic  build- 
ings are  being  renovated  and  entirely 
new  construction  is  underway.  A  new 
ordinance  allows  use  of  woodframe 
construction  in  buildings  up  to  65  feet 
tall  (50  feet  was  the  previous  limit). The 
change — worked  out  by  the  Spokane 
Fire  Department,  the  City  and  the 
DSP — allows  developers  to  add  height 
to  an  existing  building  without  major 
reconstruction.  That  directly  led  to  the 
$  1 8  million  Havermale  Park  project, 
which  will  restore  the  historic  Cadillac, 
Hale,  Mearow,  National,  and  Browne 
Buildings,  providing  130  apartments 
and  37,000  square  feet  of  retail  space 
(including  grocery  store,  unique  restau- 
rants and  boutique  shops) . 

Plans  have  also  been  approved  for  hun- 
dreds of  residential  units  in  a  mixed-use 
development  on  the  Summit  site  in  the 
West  Central  area  (just  outside  the  plan 
area)  and  planning  began  in  2005  for  a 


1 7-  to  20-story  hotel  and  residential 
tower  in  the  Downtown  Core. 

The  historic  Parsons  Building  was  con- 
verted from  a  hotel  and  card  room  into 
a  community  of  50  apartments  for  eld- 
erly and  disabled  residents.  On  the 
books  is  a  potential  rehabilitation  of  the 
Borning  Building,  which  has  been  vacant 
for  20  years.  It  would  provide  50  units 
of  workforce  housing — one-  to  three - 
bedroom  units  with  various  rent  struc- 
tures for  people  who  earn  from  30  to 
60  percent  of  the  median  income  for 
the  area. 

6.  Transportation  and  Circulation 

As  Downtown  Spokane  becomes  an 
increasingly  popular  destination,  trans- 
portation and  circulation  issues  will 
become  critical. The  City  will  bring 
back  the  green  streets  plan  to  create 
pedestrian-friendly  streets  while  effi- 
ciently moving  people  into  and  around 
Downtown  via  all  modes  of  travel.  One 


DOWNTOWN    SPOKANE       34 


through  Riverfront  Park 


Level  I  Green  Street 
(Pedestrian-Oriented) 


Level  II  Green  Street 
(Pedestrian  and  Auto-Oriented) 

Level  III  Green  Street 
(Auto-Oriented) 


Centennial  Trail 
Planning  Area 


The  City  Planned  a  green  streets  network:  connected  landscaped,  tree-lined  corridors  that  range  from  pedestrian  only  to  auto  only.  (See 
"Cityscapes"  in  the  Inclusive  Design  Guidelines  for  more  information  on  types  of  streets.) 


342       DOWNTOWN    SPOKANE 


of  the  more  substantial  strategies  in  the 
plan,  transportation  and  circulation  ini- 
tiatives showed  private  investors  that  the 
City  supported  increased  density  in  spe- 
cific areas  and  provided  a  long-term  set 
of  initiatives  that  would  progress 
according  to  economic  and  population 
growth. 

Pedestrian  Circulation 

Good  pedestrian  circulation  and  con- 
nections are  essential  to  creating  mixed- 
use  urban  villages.  Spokane  initially 
concentrated  pedestrian  improvements 
on  single  locations;  the  success  of  indi- 
vidual areas  would  then  promote  public 
investment  in  streetscape  improvements 
elsewhere. 

The  City  reconsidered  the  purpose  of 
specific  one-way  and  two-way  streets. 
Two-way  streets  can  slow  traffic  down 
and  improve  pedestrian  accessibility, 
which  is  appropriate  for  pedestrian- 
oriented  streets.  (See  "Reconnecting 
with  the  Street:  R  Street"  for  more 


discussion  about  pedestrian-oriented 
and  auto-oriented  streets.) 

Post  Street,  a  major  artery  connecting 
the  Downtown  Core  with  the  new  arts 
district,  changed  from  a  one-way  to  a 
two-way  street.  This,  along  with  various 
streetscape  improvements,  including 
plant  boxes  and  trees,  helped  fulfill  the 
City's  vision  of  "green  streets"  with 
pedestrian  activity.  By  strengthening  the 
enforcement  of  pedestrian  right-of-way 
laws,  the  City  helped  redefine  its  image 
as  a  pedestrian-friendly  Downtown.  In 

2004,  residents  approved  a  $  1 17  mil- 
lion, 10-year  street  improvement  proj- 
ect to  renovate  110  miles  of  arterial  and 
residential  streets. 

River  Crossings 

The  City  completed  reconstructing  the 
Monroe  Street  Bridge  in  September 

2005,  once  the  largest  concrete  arch 
bridge  in  the  United  States.  A  1 998 
engineering  investigation  determined 
the  bridge  had  as  few  as  five  years 


When  it  was  built  in  191 1,  the  Monroe 
Street  Bridge  was  the  largest  concrete 
bridge  in  the  country.  The  $20  million 
reconstruction  preserved  a  City  landmark. 
The  original  intricate  details,  such  as  this 
buffalo  skull,  were  painstakingly  recreated. 

STEVE  DAWSON  III 


DOWNTOWN    SPOKANE      343 


The  Monroe  Street  Bridge  is  an  important  connection  between  Downtown  south  of  the  river 
and  the  Centennial  Trail  north  of  the  river. 


STEVE  DAWSON  III 


before  deteriorating  conditions  might 
close  it  entirely.  By  essentially  recon- 
structing the  original  bridge,  the  City 
retained  its  effect  on  Spokane's  historic 
character,  provided  a  direct  connection 
to  recreational  opportunities  in  the 
Spokane  River  Gorge,  and  extended  the 
bridge's  life  by  at  least  75  years. 


Bicycle  Accommodations 

The  City  plans  new  bike  paths  and  has 
added  key  connectivity  features  to  the 
Spokane  River  Gorge.  As  the  City 
adheres  to  design  guidelines  for  new 
streets  and  sidewalks,  improvements  to 
bicycle  accommodations  will  continue. 


Monroe  Street  Bridge  re-opening  festivities 
included  a  community  street  fair  with  enter- 
tainment and  a  nighttime  gala  with  fireworks. 


STEVE  DAWSON  III 


DOWNTOWN    SPOKANE      345 


Parking 

The  City  added  new  parking  structures 
to  support  major  visitor  attractions  at 
River  Park  Square  and  the  Davenport 
Arts  District,  as  well  as  a  $1.25  million 
Park  and  Ride  station  in  the  South  Hill 
area.  All  new  parking  structures  con- 
form to  design  specifications  outlined  in 
the  City's  "Downtown  Design 
Guidelines"  and  accompanying  zoning 
ordinance.  The  Downtown  Spokane 
Business  Improvement  District  (man- 
aged by  the  Downtown  Spokane 
Partnership)  completed  a  Downtown 
Comprehensive  Parking  Management 
Plan  in  2005. The  Plan  calls  for  the  cre- 
ation of  a  new  nonprofit  organization 
and  parking  manager,  guided  by  the 
efforts  of  public  and  private  stakehold- 
ers, and  for  a  physical  inventory,  use 
study,  and  future  demand  projection  for 
all  Downtown  parking. 

7.   Community  Design 

Community  design  enhances  the  qual- 
ity of  private  and  public  spaces  by 


integrating  features  such  as  pedestrian 
friendliness,  accessibility,  view  corri- 
dors, historic  preservation,  public  art, 
landscape,  parks  and  plazas.  The  City 
plans  new  plazas  for  public  events  and 
informal  gatherings  in  the  Downtown 
Core  and  at  City  Hall. 

To  ensure  pedestrian-sensitive  develop- 
ment and  cooperation  between  public 
and  private  developments,  the  City 
drafted  the  "Downtown  Design 
Guidelines"  and  zoning  ordinance  detail- 
ing specific  design  elements  to  enhance 
the  livability  of  the  Downtown  area. 
(Design  guidelines  from  this  document 
are  featured  in  this  book's  Cityscapes 
Design  Guidelines.) 

8.  Historic  Preservation 

Historic  preservation  stimulates  private 
investment.  One  by  one,  local  busi- 
nesses and  property  owners  have  been 
investing  in  renovating  buildings  and 
creating  new  housing  and  retail  space. 
Lewis  and  Clark  High  School,  built  in 


The  American  Legion  Building  sat  com- 
pletely vacant  during  the  1 980s  and 
1 990s.  It  was  built  in  1 900  for  the 
Spokane  Club,  by  the  same  architects  that 
built  the  Empire  State  Building.  Renovations 
included  restoring  the  original  mansard 
roof,  destroyed  by  a  fire  in  1910. 

SPOKANE  CITY-COUNTY  HISTORIC  PRESERVATION  DEPARTMENT 


1912,  completed  a  major  renovation  in 
2001  that  triggered  renewal  of  deterio- 
rated buildings  and  streetscapes  in  a 
three-block  surrounding  area. 

The  new  Economic  Development 
Division  incorporates  a  Historic 
Preservation  Department,  dedicated  to 
retaining  historic  buildings  as  valuable 


346      DOWNTOWN    SPOKANE 


The  strikingly  renovated  Courthouse  features 
Gothic  Revival  architecture. 


STEVE  DAWSON  III 


Lewis  and  Clark  High  School's  renovation  preserved  its  craftsman-style  woodwork  interior 
and  terra  cotta  and  brick  facade. 


assets  that  strengthen  the  City's  unique 
character  and  sense  of  place.  The  City 
streamlined  a  set  of  preservation  forms 
and  applications  for  property  owners.  In 
2002  alone,  this  simplicity  resulted  in 
historic  rehabilitation  investments  total- 
ing $27.3  million — almost  as  much  as 
the  rest  of  Washington  State  combined.  A 
local  historic  tax  credit,  implemented  to 
encourage  investment  in  historic  struc- 
tures, currently  benefits  100  downtown 


LEWIS  AND  CLARK  HIGH  SCHOOL 


DOWNTOWN    SPOKANE      347 


II 


!■■■■■■  2li:,>" 

■a«iii!S!lV,1:i 

HUiiiiniiMP 


The  Paulsen  Building  on  the  right  was 
completed  in  1911  using  the  all-steel 
construction  for  highrises  typical  of  the 
Chicago  School.  The  adjacent  renovated 
Paulsen  Medical/Dental  Building  (left), 
designed  in  Art  Deco  style,  was  completed 
in  1 929;  its  stepped  crown  rises  to  a 
set-back  penthouse,  a  Spokane  landmark. 

SPOKANE  CITY-COUNTY  HISTORIC  PRESERVATION  DEPARTMENT 


Built  in  1905,  the  Beaux  Arts/Neoclassical 
Holley-Mason  Hardware  Building  was  one 
of  the  first  reinforced  concrete  buildings  in 
Washington  state.  Located  in  the  Davenport 
District,  it  was  renovated  as  an  emerging 
technology  center — now  home  to  bio-tech 
and  software  firms — and  received  the  2000 
Washington  State  Historical  Preservation 
award. 

SPOKANE  CITY-COUNTY  HISTORIC  PRESERVATION  DEPARTMENT 


The  renovated  1923  Chronicle  Building  in 
the  Davenport  District  is  a  prime  example 
of  Age  of  Elegance  architecture. 

SPOKANE  CITY-COUNTY  HISTORIC  PRESERVATION  DEPARTMENT 


buildings.  In  2005,  the  momentum  of 
historic  preservation  projects  encour- 
aged Spokane  to  enact  an  ordinance 
restricting  the  demolition  of  all  historic 
structures. 


Other  major  properties  renovated 
the  plan's  development  include  the 


since 


Davenport  Hotel,  Montvale  Hotel  and 
Fox  Theater  (described  in  the 
Davenport  District  Strategic  Plan),  the 
Steam  Plant,  the  American  Legion 
Building,  and  the  Spokane  Flour  Mill 
(described  in  the  North  Bank 
Development  Plan). 


9.  Neighborhood  Economic 
Development 

Recognizing  the  interdependence  of 
Downtown  and  neighborhood  economic 
growth,  Spokane  made  the  economic 
development  of  surrounding  neighbor- 
hoods a  specific  component  of  the  City's 


348      DOWNTOWN    SPOKANE 


The  1916  Central  Steam  Plant  (above  and 
at  left)  provided  Downtown's  steam  heat  for 
70  years,  but  closed  down  in  1 986  and 
remained  vacant  for  more  than  a  decade.  An 
enormous  restoration  project  turned  four 
massive  steam  boilers  into  a  coffee  shop, 
restaurant,  shop  and  wishing  well.  The 
coalbunker  is  now  high-tech  office  space 
suspended  from  the  ceiling.  The  restoration 
grew  to  include  the  adjacent  1 890  Seehorn 
Building  and  the  Courtyard  Building,  for  a 
total  of  80,000  square  feet,  including  park- 
ing. The  project  won  a  2001  National 
Preservation  Honor  Award. 

STEVE  DAWSON  III 


DOWNTOWN    SPOKANE      34-9 


A  new  gondola  replaced  the  original  structure  and  links  Riverfront  Park  with  the  North  Bank. 


STEVE  DAWSON  III 


master  plan.  The  City  and  the 
Downtown  Spokane  Partnership 
provided  leadership  in  the  creation  of 
neighborhood-specific  economic 
plans — strengthening  growth  potential 
downtown  and,  more  importantly, 
encouraging  neighborhood  residents 
and  community  leaders  to  invest  in  the 
planning  process. 

The  Spokane  Community  Empowerment 
Zones  now  cover  most  of  the  West 
Central,  East  Central  and  Hillyard 
neighborhoods.  They  are  intended  to 
stimulate  economic  development  by 
offering  sales  and  use  tax  deferrals,  new 


job  tax  credits,  and  business  training 
credits  to  companies  in  research  and 
development  and  manufacturing. 

RIVERFRONT  PARK  MASTER  PLAN 

The  Downtown  Core  contains  high- 
intensity  employment  centers,  as  well  as 
regional  retail  and  entertainment  cen- 
ters. Riverfront  Park  provides  a  great 
open  space  amenity  as  an  urban  refuge, 
as  well  as  connections  between 
Downtown  and  the  North  Bank.  The 
park  accommodates  recreational,  civic 
and  cultural  activities  that  have  a  broad 
community  appeal. 


Spokane  Falls  Skyride 

A  state-of-the-art  gondola  opened  in 
September  200S  on  the  western  edge  of 
the  park,  along  the  Monroe  Street 
Bridge. The  new  gondola,  with  IS  fully- 
accessible  six-passenger  cabins,  is  an 
update  of  the  City's  original  gondola, 
designed  for  the  1974  Exposition.  The 
closed  gondolas  allow  the  ride  to  oper- 
ate over  a  much  longer  season. 


The  Riverfront  Park  Master  Plan  addressed 
specific  needs  and  projects  for  the  park. 


350      DOWNTOWN    SPOKANE 


The  Riverfront  Park  Master  Plan  also  addresses  the  North  Bank  development  site  (large 
dotted  circle  at  top)  and  the  relationship  to  the  Spokane  Arena  area. 


Fall  foliage  lines  the  riverside  paths. 

Howard  Street  Corridor 

Howard  Street  is  the  main  north-south 
pedestrian  link,  running  through  the 
park  and  linking  the  south  and  north 
banks.  High-intensity  activities  clustered 
along  the  corridor  will  help  make  it  a 
destination  rather  than  just  a  pathway. 
Kiosks  will  provide  interpretive  infor- 
mation about  the  City  and  the  park. 
Food  and  gift  vendors  will  create  desti- 
nation points.  Design  elements  such  as 
patterned  brick  pavers,  landscaping, 


DOWNTOWN    SPOKANE       35 


The  south  entry  to  Riverfront  Park  includes  a  carousel  and  grassy  areas. 

DON  HORTON 


352       DOWNTOWN    SPOKANE 


The  Rotary  Riverfront  Fountain,  at  the 
south  entrance,  was  designed  by  well- 
known  Spokane  sculptor  Harold  Balazs. 
It  features  1  50  jets  that  pump  water  in 
changing  patterns  and  is  lit  at  night.  It  is 
fully  accessible  to  wheelchairs,  walkers 
and  strollers. 

STEVE  DAWSON  III 


lighting,  street  furniture  and  signage 
will  create  a  distinctive  pathway  and 
enhance  safety. 

A  potential  future  project  is  an  electric 
trolley  connection  on  Howard  Street 
that  would  provide  both  transportation 
and  a  fun  experience — with  minimal 
pollution. 


The  entry  on  the  North  Bank  will  be  enhanced  with  a  plaza  and  seating 


PAULTUTTLE 


Entries 

Major  entries  will  be  welcoming  and 
distinctive  and  help  create  community 
connections.  The  main  south  entrance 
feature  is  the  carousel,  which  was 
expanded  and  enhanced,  with  a  new, 
interactive  water  feature.  The  North 


Entry  is  a  critical  link  between  the  park 
and  North  Bank  activities,  including  the 
Spokane  Arena  and  the  new  North  Bank 
development.  Landmark  elements  that 
identify  the  entry,  shaded  seating  areas, 
and  a  plaza  will  increase  community  and 
group  experiences. 


DOWNTOWN    SPOKANE      353 


Pavilion  Area 

The  pavilion  is  a  central  element  of  the 
park,  immediately  adjacent  to  the  river. 
However,  it  blocks  views  of  the  river. 


Since  it  was  built  for  the  1974  Expo,  it 
must  be  updated.  One  of  the  main 


retaining  the  tent  covering  that  makes 
the  facility  distinctive.  The  structure 


improvements  will  be  removing  pieces  of        can  be  adapted  to  create  a  theater  in  the 


the  structure  to  open  views,  while 


round  with  amphitheater  and  lawn 


The  Pavilion  area  is  one  of  the  renovation  projects  identified  in  the  Riverfront  Park  North  Bank  Master  Plan. 


354      DOWNTOWN    SPOKANE 


The  existing  tent  structure  of  the  park 
pavilion . . . 


Dry  Wat 
WithRi' 
i 


Expo 
Memorial       \ 


Wood  Panel 
Fence 


Japanese 
Style 
Entrance 
Garden 


Japanese 
Paving 


/ 


Shrubs  Low  Enough 
Create  Borrowed 
Scenery  From  Paved 
Area 


STEVE  DAWSON  III 


,  and  the  Japanese  Garden  area  will  also  be  renovated. 


seating.  Improved  landscaping,  lighting, 
sculpture  and  public  art  will  enhance 
physical  appearance  and  safety.  A  cafe 
with  outdoor  seating  will  also  contribute 
to  a  more  welcoming  environment. 

A  major  renovation  in  the  area  will  be 
removing  the  existing  IMAX  building 
(replaced  with  a  new  IMAX  on  the 
North  Bank),  which  is  underutilized. 
Instead,  an  entry  plaza  (with  an  attraction 
such  as  bocce  ball  courts  or  ice  rink)  and 
children's  play  area  or  lawn  will  open  up 
the  views  and  provide  gathering  space. 


East  Havermale  Island 

East  of  the  pavilion  area,  the  forestry 
pavilion  and  small  amphitheater  benefit 
from  beautiful  views  of  the  river  and 
the  dramatic  buildings  on  the  South 
Bank,  such  as  the  opera  house.  The 
amphitheater  will  be  enhanced  to  pro- 
vide a  small  venue  for  concerts  and 
performances,  benches,  picnic  tables 
and  landscaped  garden  spaces  will  be 
added  and  pedestrian  access  improved. 
A  picnic  shelter  and  additional  rest- 
rooms  on  the  eastern  edge  of  the  island 


will  enhance  the  area  for  parties  and 
family  reunions. 

Japanese  Garden 

The  garden  is  a  quiet,  contemplative 
area  that  will  be  restored  as  a  traditional 
Japanese  garden.  Traditional  elements 
include  a  wood  panel  fence,  new 
entrance,  rock  garden,  dry  water  wall 
with  rocks  and  possibly  a  native  plant 
interpretive  center. 


DOWNTOWN    SPOKANE      355 


Canada  Island 

Canada  Island  is  underutilized  and  could 
provide  many  more  recreational  oppor- 
tunities. The  existing  storage  structure 


will  be  renovated  as  a  small  log-frame 
picnic  shelter,  with  rock  walls  and 
totem  pole.  Native  vegetation  will  be 
restored  and  interpretive  signage  will 


create  an  educational  and  interactive 
environment  for  park  visitors.  The 
entire  island  could  be  rented  for  private 
functions  such  as  weddings  and  parties. 

NORTH  BANK  DEVELOPMENT  PLAN 

Plans  for  the  North  Bank  area  proposed 
specific  catalytic  sites  in  the  City's  main 
entertainment  and  recreation  hub.  The 
primary  element  was  a  new  Science 
Technology  Center,  supported  by  park- 
ing and  transportation  improvements 
and,  eventually,  a  new  IMAX  theater. 
The  Plan  also  called  for  major  improve- 
ments to  existing  park  access — improv- 
ing the  park  entrances  on  the  North 
Bank  and  connections  to  the  Spokane 
Arena.  By  successfully  reorganizing  the 
area's  public  activities  and  develop- 
ments, the  City  created  greater  poten- 
tial for  private  investment  along  the 
North  Bank  while  addressing  the  com- 
munity's need  for  an  urban  refuge  in  a 
peaceful,  accessible  Riverfront  Park. 


The  Riverfront  Park  Master  Plan  proposes  to  revitalize  Canada  Island. 


356      DOWNTOWN    SPOKANE 


The  North  Bank  site  design  aims  to  create  better  links  between  the  Spokane  Arena,  North  Bank  area,  and  Riverfront  Park. 


DOWNTOWN    SPOKANE      357 


V 


The  concept  diagram  from  the  North  Bank  Development  Plan  shows  locations  for  outdoor  elements,  park  offices,  a  new  science 
technology  center  and  an  IMAX  theater. 


PAULTUTTLE 


358      DOWNTOWN    SPOKANE 


Science  Technology  Center 

Construction  of  Mobius,  the  region's 
first  science  center,  is  scheduled  to  start 
in  late  2007  on  the  location  specified  in 
the  development  plan. The  75,000- 
square-foot  building  will  be  called 


Mobius  at  Michael  Anderson  Plaza,  after 
the  fallen  astronaut  who  grew  up  nearby, 
and  will  incorporate  sustainable  design 
and  a  strong  tie  to  the  river  and  the  local 
geography.  The  aim  is  to  attract  children 
and  ignite  their  interest  in  science.  With 


Mobius  at  Michael  Anderson  Plaza  is  scheduled  to  begin  construction  in  2007. 

WILLIAM  MCDONOUGH  +  PARTNERS 


sheltered  views  from  beneath  the  eaves 
of  its  porch  and  public  access  to  a 
waterfront  beach,  the  building  will  also 
serve  as  a  dynamic  civic  gathering  area. 
(Mobius  at  River  Park  Square,  a 
Children's  Museum,  was  completely 
renovated  and  re-opened  in  2005  with 
16,000  square  feet  of  exhibits  focusing 
on  arts,  culture,  literacy,  math  and 
science.) 

Other  Attractions 

To  pull  visitors  north  of  the  river,  the 
plan  calls  for  picnic  areas  and  huts,  out- 
door rides,  a  plaza,  park  offices,  winter 
garden  atrium,  indoor  ice  rink,  and  out- 
door ice  rink  or  roller  rink. 

The  Flour  Mill,  now  home  to  bou- 
tiques, designer  shops,  galleries  and 
restaurants,  overlooks  the  Spokane 
River  and  stands  as  a  symbol  of  the 
City's  close  ties  to  the  agricultural 
countryside  and  Spokane  River.  A  new 
$  1 6  million  Flour  Mill  office  building  is 
planned  for  the  area,  with  architecture 


DOWNTOWN    SPOKANE      359 


The  old  Spokane  Flour  Mill  has  been 
entirely  renovated. 

SPOKANE  CITY-COUNTY  HISTORIC  PRESERVATION  DEPARTMENT 


in  keeping  with  the  mill.  The  planned 
five-story  building  will  also  include 
retail  shops  and  restaurants. 

DAVENPORT  DISTRICT  STRATEGIC 
ACTION  PLAN 

Spokane's  Davenport  District  has  seen 
perhaps  the  most  dramatic  revitalization 
in  the  City.  It's  home  to  vibrant  per- 
formance venues,  an  emerging  arts 
community,  and  businesses  and  commu- 
nity organizations  that  actively  support 
the  District's  development  and  culture. 


Previously,  the  Davenport  area  was  not 
widely  perceived  as  a  cohesive  district. 
It  had  many  single  resident  occupancy 
hotels,  but  lacked  family  and  profes- 
sional residential  housing  and  resident- 
serving  businesses  such  as  grocery 
stores.  The  City  needed  to  increase  pub- 
lic safety,  access  and  event  coordination 
to  draw  public  and  private  support.  The 
community  wanted  the  area  to  provide 
entertainment,  arts  and  cultural  venues, 
creative  businesses,  affordable  housing 
and  live/work  opportunities  for  artists, 
and  resident- serving  businesses. 

The  2002  Davenport  Strategic  Action 
Plan  is  based  on  three  principles: 

E  Concentration.  Concentrate  resources 
and  development  in  the  District's  cen- 
ter, which  will  lead  to  further  interest 
and  investment  in  larger  areas. 

■  Synergy.  Create  uses  and  activities 
that  mutually  support  each  other, 
such  as  entertainment,  restaurants, 
galleries  and  locally  owned  shops. 


■  Coordination.  Build  on  existing  busi- 
nesses, create  a  District  identity  and 
coordinate  operating  hours,  market- 
ing programs  and  events. 

The  Plan  identified  six  primary  strate- 
gies for  the  District — each  with  specific 
action  steps,  as  well  as  a  timeframe  and 
a  lead  agency  to  see  each  action 
through,  providing  quantifiable  goals  by 
which  to  measure  progress. 

1 .  Private  Investment  and  Development 
A  key  to  success  is  drawing  private 
investment  with  strategic  public  invest- 
ment. The  City  set  a  target  of  25,000 


With  over  300  performances  a  year,  the 
Met  Theater  helped  drive  the  Davenport 
District's  revitalization. 


360      DOWNTOWN    SPOKANE 


LEGEND 

I  Existing  Supporting  Businesses 

I  Existing  Performance  Venues/Galleries 

I  Development  Opportunity  Sites  —  uj 


^^™  Planned  Post  Street  Improvements 
^^  Phase  I  Streetscape  Improvements 
■■  Phase  II  Streetscape  Improvements 
Phase  III  Streetscape  Improvements 
■■■■  ProposedTrolley  Route 
1 1 1 1  ii  ►  listing  Railtracks 

®     Major  Railroad  Viaducts 

1/c     Major  New  Developments 

©     Transit  Centers 

®     Parking 

■Tl     Entry  Feature 


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THIRD 


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INTERSTATE  90 


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The  Davenport  District  includes  about  18  square  blocks  in  the  heart  of  Downtown. 


DOWNTOWN    SPOKANE       36 


square  feet  of  artist  studio  space  and 
50,000  square  feet  of  preferred  business 
investment  each  year  to  measure  the 
Plan's  success.  The  Plan  identified 
potential  catalytic  sites,  such  as  the  Met 
Theater  block,  surface  parking  lots, 
vacant  buildings  and  underutilized  com- 
mercial and  industrial  buildings. 
Preferred  businesses  included  four  cate- 
gories that  would  mutually  complement 
and  energize  each  other: 

■  Cultural /Arts:  Movie  and  live  theater, 
dance  studios,  performance  space, 
museums,  galleries,  art  supplies,  artist 
studios,  live  music  clubs,  art  schools. 

■  High  Tech /Professional:  Software, 
multi-media,  communications, 
marketing/advertising,  interior 
design,  architecture /landscape 
architecture,  nonprofit  organizations, 
graphic  design,  legal  services. 

■  Home  Improvement:  Antiques,  lighting, 
custom  millwork,  imports,  custom 
manufacturing,  specialty  hardware, 
textiles /fabrics,  designer  clothing. 


A  $38  million  renovation  of  the  historic  Davenport  Hotel  spurred  tremendous  investment 
in  the  area. 


STEVE  DAWSON  111 


After  sitting  vacant  for  almost  two  decades,  the  Davenport  Hotel  now  offers  280  hotel  rooms 
and  25,0OO  square  feet  of  meeting  space.  An  18-story  addition  will  provide  300  more 
rooms. 


STEVE  DAWSON  III 


362      DOWNTOWN    SPOKANE 


■  Food  and  Beverage:  Farmers  market, 
culinary  school,  delicatessens /cafes, 
coffee  bars,  unique  restaurants,  micro - 
brewery,  wine  tasting,  bakeries, 
butcher /seafood  shops,  green  grocers, 
natural  foods,  bed  and  breakfasts/ 
hotels. 

Guided  by  the  plan's  investment  strategy, 
major  restoration  projects  added  new  life 
to  the  District's  historic  buildings.  After 
sitting  vacant  for  more  than  1 8  years,  the 
Davenport  Hotel's  2002  grand  reopening 
added  280  rooms  and  25,000  square  feet 
of  meeting  space  to  the  District.  The  suc- 
cess of  its  $38  million  renovation 
removed  a  major  psychological  hurdle  to 
investing  in  Downtown  and  was  the  cata- 
lyst for  a  torrent  of  new  investment. 
Between  2002  and  2004,  the  number  of 
retail  operations  in  the  area  jumped  52 
percent. 

Community  leaders  saved  the  Fox 
Theater  from  demolition  with  a  "Save 
the  Fox"  effort — drawing  contributions 
of  over  $  1  million  from  more  than 


The  1930  Art  Deco  Fox  Theater  is  now 
being  renovated,  after  the  community 
donated  $1  million  to  save  it.  It  is  home  to 
the  Spokane  Symphony. 


FOX  THEATER 


1 ,300  citizens.  New  nightclubs,  sports 
bars,  jazz  clubs,  a  casino,  a  dinner  the- 
ater, restaurants,  art  galleries  and  shops 
have  appeared.  Renovation  of  Spokane's 
historic  Odd  Fellows  Hall  includes  a 
new  community  theater,  with  multiple 
stages  for  dinner  and  cabaret  perform- 
ances, musical  events,  poetry  readings, 
and  rehearsal  space  for  small  and 
medium-size  arts  organizations. 


The  renovated  Odd  Fellows  Hall  is  home  to 
CenterStage,  a  new  community  theater. 
Distinctive  signage  has  become  a  hallmark 
of  the  Davenport  District. 

JEREMY  BOLTON 


DOWNTOWN    SPOKANE      363 


The  Big  Easy  is  a  new  concert  venue,  dance 
club  and  Cajun-style  restaurant. 

STEVE  DAWSON  Ml 


Art  gallery  openings  attract  collectors  and  artists  to  the  Davenport  District. 


LORINDA  KNIGHT  GALLERY 


364      DOWNTOWN    SPOKANE 


2.  Public  Improvements  and  Infrastructure 
Proposed  public  infrastructure 
improvements  were  designed  to  attract 
private  development,  creative  busi- 
nesses, artists  and  patrons.  The  Plan  set 
street  improvements  on  First  Avenue 
(between  Post  and  Madison)  as  a 
benchmark  for  this  strategy,  though 
extensive  improvements  were  made 
throughout  the  District.  Many  of  the 
streets  in  the  area  are  identified  as 
"green  streets,"  emphasizing  pedes- 
trian-friendly streetscapes  and 
circulation.  The  railroad  tracks  became 
a  unique  District  experience  with 
improved  lighting  and  art  elements. 


The  urbane  Montvale  Hotel  is  actually  the  oldest  hotel  in  the  City,  built  in  1899  and  aban- 
doned since  1974.  After  a  $3  million  renovation,  the  hotel  reopened  in  February  2005. 


STEVE  DAWSON  III 


DOWNTOWN    SPOKANE      365 


STA  plaza  is  the  main  City  transit  hub,  with  shops,  events  and  concerts  throughout  the  year. 


STEVE  DAWSON  III 


Davenport  District  banners  help  create  a 
sense  of  identity. 


The  Plan  also  calls  for  significant  trans- 
portation improvements,  and  better 
utilization  of  the  Spokane  Transit 
Authority  (STA)  Transit  Plaza,  a  hub  for 
Downtown  transit  as  well  as  an  event 
and  performance  venue. 

The  Davenport  District  Arts  Board 
(DDAB)  used  local  artists  and  designers 


to  create  banners  that  emphasize  the 
District's  identity,  street  art,  and  way- 
finding  kiosks  to  help  residents  and 
visitors  explore  the  galleries,  shops, 
hotels,  restaurants,  theaters  and  clubs. 

3.    Organizational  Capacity  To  build 
the  organizational  and  financial  capacity 
of  District  partners,  the  DDAB 


embarked  on  a  number  of  strategic  ini- 
tiatives, including  increasing  DDAB's 
annual  budget  to  more  than  $85,000 
and  adding  one  full-time  staff  member. 
DDAB  and  the  Arts  Commission  collab- 
orated on  developing  artist  resource 
packages  to  help  with  grants,  housing, 
workspace,  business  planning  and 
patronage  development. 


366      DOWNTOWN    SPOKANE 


Brochures  and  a  website  promote 
Davenport  District  businesses  and  events. 


4.  Marketing  and  Communications  In 
fulfilling  Plan  action  steps,  DDAB  and 
the  Arts  Commission  established  a  visual 
identity  for  the  District  and  developed 
cross-promotional  activities,  such  as  dis- 
counts for  restaurants  and  performance 
venues.  The  District  initiated  a  new 
website,  davenportdistrict.com,  provid- 
ing a  central  location  for  information  on 
events,  galleries,  performance  venues, 
accommodations,  clubs  and  restaurants. 


The  DDAB  endeavored  to  increase  venue 
attendance  by  75  percent  in  2006 
through  a  District- wide  marketing  pro- 
gram that  included  advertising  and  flyers. 

5.  Arts  Events  and  Programs  To  animate 
the  District  and  encourage  community 
participation,  the  DDAB  strengthened 
and  promoted  a  number  of  events  and 
programs  for  various  age  groups.  The 
first  Beaux  Arts  Ball  in  2004  raised 
funds  and  promoted  awareness  for 
District  developments.  In  August  2005, 
families  from  the  entire  Spokane  region 
visited  Davenport  to  enjoy  the  first-ever 
Chalk  Art  Festival,  bringing  the  arts  to 
the  streets  of  Spokane. 

6.  Regulations  and  Incentives  The 
District  developed  a  coordinated  set  of 
regulatory  reforms  aimed  at  making  it 
easier  to  develop  retail  and  entertain- 
ment, as  well  as  live/work  spaces  and 
performance  venues  in  under- 
utilized buildings.  Building  codes  were 
revised  to  make  developments  less 
costly  without  compromising  safety 


The  market-rate  Metropole  Apartments  are 
within  easy  walking  distance  of  the  river 
and  employment  areas. 


The  new  American  West  Bank,  located  on  the 
edge  of  the  Davenport  District,  won  Second 
Place  in  the  2005  International  Masonry 
Competition  as  a  commercial  building  with 
intricate  brickwork  not  commonly  seen  in 
modern  buildings.  The  building  faithfully 
followed  the  new  Downtown  Design 
Guidelines. 

MICK  MCDOWELL  PROJECTS 


DOWNTOWN    SPOKANE      367 


(such  as  the  new  ordinance  that  allows 
use  of  woodframe  construction  in 
buildings  up  to  65  feet  tall),  and  tax 
incentives  and  adaptive  reuse  bonuses 
were  provided  (such  as  an  increase  in 
allowable  floor  area  ratios  if  property 
owners  work  with  local  arts  organiza- 
tions to  include  performance  space). 

Performance  Measures 

The  Plan  set  seven  priorities  with  specific 
performance  measures.  The  targets  and 
measures  were  designed  to  be  revisited 
and  revised,  based  on  changing  economic 
conditions  and  further  research. 

THE  GREAT  SPOKANE  RIVER  GORGE 
STRATEGIC  MASTER  PLAN 

The  Spokane  River  Gorge  area  is  visible 
from  Downtown  and  adjacent  neighbor- 
hoods, accessible  by  public  trails  and 
bridge  overlooks  and  adjacent  to  hun- 
dreds of  acres  of  open  space.  The  gorge 
area  has  the  potential  to  increase  a  wide 
range  of  compelling  recreational  oppor- 


tunities, stimulate  adjacent  land  devel- 
opment, promote  tourism  and  visita- 
tion, enhance  business  development 
opportunities  and  restore  sensitive 
habitat  areas. 

The  Olmsted  Brothers  had  proposed  a 
"Great  Gorge  Park"  as  early  as  1 908 — an 
1 1  -mile  area  that  would  be  an  accessible 
greenbelt,  connecting  various  parks  on 
its  banks.  Over  the  years,  the  Spokane 
Park  Board  purchased  and  set  aside 
riverbank  land.  Today,  about  80  percent 
of  the  land  identified  by  the  Olmsteds 
for  parks  is  maintained  as  open  space 
and  parks. 

Existing  Neighborhoods 

The  Plan  is  designed  to  coexist  with 
current  private  land  ownership  and 
focuses  on  five  areas: 

■  Peaceful  Valley,  a  historic  district 
along  the  river  that  has  seen  signifi- 
cant new  investment  and  develop- 
ment. 


The  Peaceful  Valley  neighborhood  lies 
alongside  the  riverbank. 


In  recent  years  new  housing,  such  as  these 
townhomes,  has  been  constructed  in 
Peaceful  Valley. 


368      DOWNTOWN    SPOKANE 


Whitewater  Park 

Boat  Launch  Areas 

Freeway 

Railroad 

Parking  Lot 

Enhanced  Pedestrian 

Crosswalks 


P8  Centennial  Trail  Completion  throughout  the  Gorge 

P9  Southern  Gateway  Development  Area 

P10  Peaceful  Valley  Boat  Launches 

P11  Whitewater  Park 

P12  Tribal  Cultural  Center 

P1 3  Huntington  Park  Improvements 

P14  Monroe  Street  Bridge  South  Undercrossing 

P15  High  Bridge  Park  Master  Plan  Development 


0         200'     4O0'     600'      8O01 


The  Spokane  River  Gorge  Master  Plan  is  seen  as  a  tool  for  economic  development  as  well  as  for  environmental  protection,  conservation 
and  recreation. 


DOWNTOWN    SPOKANE      369 


Historic  buildings  along  Broadway 
characterize  the  West  Central  Neighborhood. 


West  Central,  one  of  Spokane's 
treasures,  with  many  historic  build- 
ings and  63  acres  of  conservation 
land.  A  77-acre  area  (the  Summit 
site)  is  scheduled  for  residential 
development. 

High  Bridge  Park,  a  currently  under- 
used 200-acre  City  park  on  both 
sides  of  the  river. 


The  Spokane  River  flows  through  the  entire 
City  of  Spokane. 


STEVE  DAWSON  III 


Monroe  Street  Bridge,  which  was 
recently  renovated.  The  Plan  calls  for 
pedestrian  links  under  the  bridge. 

■  Lower  Falls,  the  center  piece  of  the 
gorge  area  and  sacred  to  many  Native 
Americans,  marking  the  transition 
between  Downtown  and  the  river. 

Friends  of  the  Falls  (FOF)  and  the  City 
proposed  improvements  to  the  Spokane 
River  Gorge  that  would  unite  the  area 
with  adjacent  neighborhoods,  concen- 
trate new  developments  outside  the 
gorge  on  the  periphery,  increase  use  of 
existing  parks,  and  protect  existing 
neighborhoods  and  natural  areas.  Similar 
to  the  Downtown  Plan,  this  Plan  sug- 
gests that  all  projects  value  the  gorge 
area's  diverse  history — strengthening  a 
sense  of  place  while  encouraging 
uniquely  related  private  investment, 
including  recreational  outfitters  and 
outdoor  retailers. 

The  Plan  integrates  seven  major  ele- 
ments (with  1 5  priority  projects)  to 
create  a  comprehensive  approach  to  the 
entire  gorge  area. 


1 .  Interpretive  Facilities  and  Program 

An  extensive  new  signage  and  wayfind- 
ing  program  will  include  new  overlooks 
and  visitor  arrival  points.  By  coordinat- 
ing information  from  local  tourism, 
education,  tribal,  cultural,  historic  and 


Priority  Project  1 :  More  interpretive  signage, 
such  as  this  signage  at  the  hydroelectric 
development,  will  help  explain  the  gorge 
area's  diverse  natural  and  cultural  resources. 


DOWNTOWN    SPOKANE       37  I 


Priority  Project  3:  A  North  Point  overlook 
would  offer  interpretation  and  panoramic 
views  of  the  gorge  and  Downtown. 


PAULTUTTLE 


business  interests,  the  Plan  envisions  a 
set  of  wayfinding  and  interpretive  signs 
to  reinforce  the  cohesive  identity  of  the 
gorge  area.  The  Plan  calls  for  creating 
new  interpretive  sites,  including  a 
North  Point  Overlook  and  Confluence 
Area  Visitor  Arrival  Point.  A  new  Tribal 
Cultural  Center  located  near 
Downtown  would  provide  a  space  for 
cultural  activities  and  exhibits  pertain- 
ing to  Spokane's  American  Indian 
history 


The  Confluence  area's  (top)  natural  beauty 
and  central  location  make  it  ideal  for  an 
arrival  and  interpretive  point.  It  is  currently 
underused  (above). 


^    t»u. 


Priority  Project  4:  The  new  Confluence  area 
arrival  point  will  offer  directional  and  inter- 
pretive signage  at  the  south  end  of  the 
new  Sandifir  Memorial  Bridge. 

PAULTUTTLE 


372      DOWNTOWN    SPOKANE 


Priority  Project  1 2:  A  new  Tribal  Cultural 
Center  could  replace  this  temporary  facility, 
on  a  bluff  overlooking  the  Confluence  area. 


Priority  Project  1 3:  A  pedestrian  interpre- 
tive plaza  could  open  a  grand  vista  of  the 
river,  and  connect  Huntington  Park,  the 
river  and  the  falls. 


FRANK  SANFORD 


2.    Transportation,  Circulation  and 
Parking  Improvement 

To  develop  accessible,  ecologically  sensi- 
tive entries  to  the  gorge  area,  the  Plan 
recommends  creating  a  panoramic 
Spokane  Gorge  Boulevard  along  the 
north  shore  of  the  river.  The  Boulevard 
would  include  connectivity  features  to 


the  Summit  area,  Spokane's  West 
Central  Neighborhood  and  Downtown. 
To  accommodate  varied  land  use  and 
building  densities,  the  Plan  outlines  an 
array  of  road  configurations  for  pull-in 
parking  at  overlook  sites,  integrated 
bike  lanes  and  access  to  hiking  trails. 


^-^ 


Priority  Project  2:  A  new  Spokane  Gorge  Boulevard  will  be  incorporated  with  the  Centennial 
trail,  offering  overlook  points,  pedestrian  amenities,  multi-use  roadway  treatments  and 
urban  stormwater  runoff  treatments. 


PAULTUTTI.F 


DOWNTOWN    SPOKANE      373 


At  the  southwest  end  of  the  boulevard, 
a  gateway  development  would  offer  a 
dramatic  and  easily  identifiable  entry 
just  north  of  the  1-90  and  Highway  95 


interchange.  The  gateway  would  divert 
heavy  traffic  away  from  southern  neigh- 
borhoods and  invite  investment  oppor- 
tunities for  visitor-serving  amenities, 


while  serving  as  the  central  parking 
hub.  Shuttles  would  connect  gateway 
parking  to  key  sites  along  the  river  to 
reduce  the  impact  of  vehicular  traffic. 


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Priority  Project  7:  A  new  Gorge  Loop  Trail  will  link  existing  and  new  neighborhoods  with  Downtown  and  the  river. 


374      DOWNTOWN    SPOKANE 


3.  Pedestrian  and  Bike  Ways 

The  Plan  calls  for  a  Great  Spokane 
River  Gorge  Loop  Trail,  making  a  com- 
plete loop  around  the  gorge  area  and 
providing  a  smaller  loop  around  the 
Monroe  Street  Bridge  to  Downtown. 
The  planned  loop,  running  along  the 
bi-state  Centennial  Trail,  incorporated 
existing  roads  and  smaller  trails  includ- 
ing informal  pathways  to  provide  direct 
access  to  the  river's  edge.  A  variety  of 
proposed  trail  features  will  adjust  the 
trail  according  to  unique  neighbor- 
hoods and  areas  with  roadside  ameni- 
ties. Bridge  renovations  will  allow  for 
safe  crossings  and  leveled  access  on 
steep  grades. 


Priority  Project  8:  The  Centennial  Trail  will  link  Riverfront  Park  with  Spokane  Gorge  Drive 
on  the  north  side  of  the  river;  the  trail  actually  begins  in  Coeur  D'Alene,  Idaho,  and  will  be 
fully  accessible  to  people  of  all  ages  and  physical  abilities. 


PAULTUTTLE 


Priority  Project  14:  A  new  Monroe  Street 
Bridge  undercrossing  will  provide  a  safe 
pedestrian  connection  across  the  street  and 
will  connect  with  the  Centennial  Trail. 


4.  Recreation 

To  integrate  new  recreational  opportuni- 
ties, the  Plan  balances  the  goals  of 
recreation  enthusiasts,  private  investors, 
ecologists  and  community  members. 
Three  key  recreation  sites — Water 
Avenue,  Clarke  Avenue  and  boat 
launches  and  a  whitewater  park — were 
strategically  located  to  provide  easy,  low- 
impact  access  at  active -use  entry  points. 

With  15  time-limited  parking  spaces, 
the  boat  launch  minimizes  on-street 
parking  by  non-residents,  provides 
evening  parking  for  area  residents  and 


DOWNTOWN    SPOKANE      375 


encourages  a  turnaround  drop-off  point 
for  recreational  shuttles.  Basic  facilities, 
including  restrooms,  trash  receptacles 
and  wayfinding  signage,  were  designed 
to  minimize  impacts  on  nearby  neigh- 
borhoods. 

The  Plan  also  proposes  a  new  white- 
water  park,  adding  various  waterscape 
elements  to  a  designated  area  of  the 


river  for  use  by  rafters,  kayakers  and 
other  recreational  enthusiasts.  The 
whitewater  park's  varied  water  feature 
heights  ensure  an  extended  kayaking 
and  rafting  season  despite  seasonal 
changes  in  the  river  levels,  and  provide 
a  manageable  focal  point  for  recre- 
ational impact  in  the  gorge.  Park  water 
features  will  also  create  deep  pools  that 


provide  resting  places  for  trout,  and 
waterfalls  that  increase  oxygen  supplies 
to  support  river  food  sources.  With  the 
support  of  the  City,  the  Chamber  of 
Commerce  and  area  legislators,  FOF 
secured  a  $400,000  appropriation  from 
the  Washington  State  Legislature  to 
begin  construction  of  the  whitewater 
park. 


Priority  Project  1 0:  The  Plan  concentrates 
boat  entries  with  parking  at  three 
locations  to  minimize  impacts  on  nearby 
neighborhoods. 


Priority  Project  1 1 :  The  character  of  the 
river  lends  itself  to  a  whitewater  park, 
which  will  also  enhance  fish  habitat. 


Priority  Project  1 5:  The  high-quality 
resources  that  High  Bridge  Park  offers 
would  be  improved  with  a  new  master  plan, 
including  programming,  increased  trail 
access,  amenities  and  protection  for 
sensitive  species  in  areas  like  Hangman 
Creek. 


376      DOWNTOWN    SPOKANE 


5.  Habitat  Preservation  and  Restoration 

Preservation  and  restoration  efforts  will 
be  directed  at  the  two  most  damaged 
sites  in  the  gorge:  the  Confluence  area 
and  North  Point  Overlook.  The  Plan 
calls  for  gradual  replanting  of  a  native 
plant  palette  to  provide  wildlife  cover 
and  support  for  the  river's  ecosystem 
with  shade  and  nutrients.  Planned 


interpretive  elements  at  these  sites  will 
highlight  cultural,  archeological  and 
natural  history  information.  Short  loop 
trails  off  the  main  trail  are  designed  to 
offer  interpretation  of  the  native 
ecosystem,  the  significance  of  plants 
and  water  to  native  peoples  and  historic 
uses  of  the  landscape. 


6.  Economic  Development 

By  encouraging  access  and  sustainable 
recreational  opportunities,  the  Plan 
opens  the  gorge  to  a  variety  of  out- 
door- and  recreation-related  private 
investment.  Economic  development 
efforts  are  focused  on  the  Southern 
Gateway — both  for  its  convenient 
access  to  regional  highways  and  the 
river's  key  recreational  sites. 


m 


Priority  Project  5:  The  Confluence  area  is  a  very  sensitive  ecological  and  cultural  site  that  is 
constantly  reforming  through  the  river's  natural  processes  of  erosion  and  deposition. 


Priority  Project  6:  The  slopes  below  the 
North  Point  Overlook  were  disturbed 
during  construction  and  would  be 
improved  by  restoring  the  hillsides 
with  native  species  re-vegetation. 


DOWNTOWN    SPOKANE      377 


The  existing  south  entrance  should  signify  a  connection  to  the  river  while  providing  recre- 
ation-related retail  development. 


Priority  Project  9:  A  new  Southern  Gateway  will  become  an  energized  recreation  hub  that 
announces  the  river  and  provides  visitor-serving  amenities,  revitalizing  an  area  in  need  of 
reinvestment. 


7.  Green  Infrastructure 

To  ensure  a  protected  natural  environ- 
ment well  into  the  future,  the  Plan 
established  Green  Infrastructure 
Zones — limiting  new  developments  to 
strategic  locations  around  the  gorge, 
and  setting  guidelines  to  reduce  their 
environmental  impact.  For  example, 
new  structures  within  a  specified  region 
are  now  required  to  effectively  manage 
all  storm  water  runoff  onsite — reducing 
potential  impact  on  the  gorge. 


Design  Palette 

The  Downtown  Spokane  Zoning 
Ordinance  and  Design  Guidelines  pro- 
vide direction  to  developers  and  innova- 
tive design  solutions.  The  guidelines  are 
a  collection  of  ideas  for  making  great 
places,  focusing  on  improving  the  social 
fabric  of  Spokane's  urban  environment 
and  how  people  use  spaces. 


PAULTUTTLE 


378      DOWNTOWN    SPOKANE 


Management  and 
Operational  Issues 

SPOKANE  PLAN  FOR  A  NEW 
DOWNTOWN 

The  Downtown  Spokane  Partnership 
(DSP),  a  private  nonprofit  organization 
composed  of  Downtown  business, 
government  and  community  leaders, 
initiated  the  planning  process  and 
remains  the  primary  marketing  and 
organizational  force  behind  Downtown 
projects,  coordinating  efforts  between 
various  agencies.  The  creation  of  the 
Economic  Development  Council,  and 
the  subsequent  nonprofit  Downtown 
Spokane  Ventures  Association,  enabled 
the  City  to  organize  key  administrative 
and  economic  initiatives  to  streamline 
and  coordinate  all  development-related 
issues  and  to  provide  support  for  public 
and  private  developments. 

The  Plan  assigns  all  action  strategies  to  a 
key  responsible  agency  for  implementa- 
tion and  a  specific  timeframe  for  each 


action.  The  DSP,  assigned  partial  respon- 
sibility in  nearly  all  projects,  ensures 
consistency  and  monitors  progress. 
Streetscape  and  infrastructure  improve- 
ments were  assigned  to  the  City,  and 
remaining  tasks  were  distributed  among 
private  property  owners,  developers, 
neighborhood  associations,  the  Spokane 
Transit  Authority,  Chamber  of 
Commerce  and  others. 

RIVERFRONT  PARK  MASTER  PLAN  AND 
NORTH  BANK  DEVELOPMENT  PLAN 

The  Spokane  Park  Board  controls  a 
large  portion  of  the  North  Bank  and 
Riverfront  Park.  While  private  invest- 
ments have  increased  public  interest  in 
Riverfront  Park  and  the  North  Bank, 
many  of  this  Plan's  initiatives  depended 
exclusively  on  investment  from  the  Park 
Board  and  major  private  investments 
(coordinated  by  the  Downtown 
Spokane  Partnership). 


DAVENPORT  DISTRICT  STRATEGIC 
ACTION  PLAN 

The  Plan  includes  eight  case  studies  of 
successful  arts  and  cultural  districts  in 
the  United  States  and  Canada.  The 
Davenport  District  followed  the  lead  of 
successful  arts  districts  across  the  coun- 
try by  creating  a  nonprofit  authority  to 
coordinate  development  efforts  and 
provide  marketing  services. 

The  detailed  action  steps  outlined  in  the 
Plan  include  prioritization,  a  timeframe 
(ranging  between  two  and  ten  years) , 
performance  targets  and  the  designation 


Street  maintenance  and  grafitti  removal  are 
high  priorities  in  the  Downtown  area. 


DOWNTOWN    SPOKANE      379 


of  a  lead  agency  for  each  action.  The 
lead  agencies  include: 

■  Davenport  District  Arts  Board — a  non- 
profit created  to  lead  the  District's 
redevelopment,  the  board  took  on  the 
majority  of  responsibilities  delegated 
in  the  Plan.  The  District  channeled 
nearly  all  organizational  development, 
communications,  and  programming 
strategies  through  the  board — as  well 
as  various  private  investment  and 
public  improvements  projects.  As  the 


Local  artists  created  unique  street  benches 
using  metal  salvaged  from  the  old  steam 
plant. 


central  organizing  agency  for  the 
District,  the  board  organized  a  "Metal 
to  Magic  Auction"  to  kick-start  infra- 
structure improvements.  District 
artists  sculpted  cast-off  metal  compo- 
nents from  the  nearby  Steam  Plant, 
and  the  Arts  Board  directed  revenues 
from  the  auction  to  commission 
unique  benches  for  placement 
throughout  the  District.  The  Board 
operates  an  informational  District 
website  and  manages  all  marketing 
efforts. 

Downtown  Spokane  Partnership — the 
DSP  maintains  District  statistics 
and  monitors  plan  implementation 
against  performance  targets.  The  DSP 
managed  all  regulation  and  incentive- 
related  Plan  actions,  as  well  as  vari- 
ous streetscape  and  transportation 
improvements. 

Spokane  Arts  Commission — an  all- 
volunteer  organization  that  maintains  a 
local  arts  directory  calendar  and  coor- 
dinates an  annual  awards  program.  The 
Plan  drew  on  the  Arts  Commission's 
strengths  in  outreach  to  artists,  includ- 
ing commissioned  projects  and  the 
First  Friday  Art  Walk  program. 


■  The  City  of  Spokane — serves  as  the 
lead  responsibility  for  all  transit-  and 
streetscape-related  projects  and  the 
secondary  responsibility  for  regulatory 
reforms  and  other  economic  incen- 
tives to  facilitate  private  development 
in  the  District. 

THE  GREAT  SPOKANE  RIVER  GORGE 
STRATEGIC  MASTER  PLAN 

Friends  of  the  Falls  (FOF),  responsible 
for  initiating  the  Master  Plan  for  the 
gorge  area,  emerged  as  the  convener 
and  coordinator  for  future  develop- 
ments. Following  the  success  of  the  sim- 
ilar Three  Rivers  Community 
Roundtable  project  (in  the  nearby  Tri- 
Cities  area),  FOF  recognized  the  need 
to  establish  an  independent  nonprofit, 
tax-exempt  agency  to  facilitate  commu- 
nication and  collaboration  among  organ- 
izations, agencies  and  businesses  for 
implementing  the  Master  Plan.  The 
resulting  Spokane  River  Gorge 
Coalition  (SRGC),  supported  and 
administered  by  FOF,  will  monitor  Plan 
implementation. 


380      DOWNTOWN    SPOKANE 


To  accomplish  this  task,  the  SRGC 
brings  together  key  stakeholders  in 
voluntary  meetings  and  builds  strategic 
partnerships  with  community  organiza- 
tions, neighborhood  associations  and 
related  businesses.  To  maintain  and 
encourage  interest  in  the  gorge  area,  the 
SRGC  promotes  annually  programmed 
events  and  activities,  including  competi- 
tions and  educational  outings. 

As  the  landowner  of  an  estimated  400 
acres  of  open  space  in  the  gorge  area, 
the  Spokane  Parks  and  Recreation 
Department  serves  as  the  primary 
authority  for  new  developments.  By 
providing  a  full  and  complete  board 
approval  for  all  initiatives  on  their  prop- 
erties, the  department  ensures  continu- 
ity between  new  projects  and  decades  of 
gorge  area  stewardship. 


User  Feedback 

Kim  Pearman-Gillman,  Itron; 
Jormer  chair,  Davenport  District 

"The  transformation  of  the  Downtown 
area,  full  of  one-of-a-kind  historical 
treasures,  has  been  nothing  short  of 
phenomenal!  As  a  result  of  the  plan- 
ning. .  .almost  every  historic  property 
within  the  Davenport  District  has 
undergone  an  amazing  redevelopment. 

"What  happened  completely  reversed  a 
fast-moving  tide  of  despair  and  neglect 
to  one  of  community  engagement, 
hope,  action  and  results.  People  from  all 
walks  of  life,  as  well  as  artists,  business 
owners,  neighborhood  groups  and  civic 
leaders,  banded  together  to  create  a 
vision  and,  more  importantly,  a  realistic 
action  plan  to  aggressively  attack  the 
issues.  This  area  of  former  blight  is  now 
a  thriving  center  of  activity.  You  can  see 
how  treasuring  our  unique  heritage 
can  actually  make  a  community 
marketable Wc  have  redefined 


ourselves  as  'urban  chic'  and  done  it  by 
being  authentically  ourselves. 

"The  process  itself  has  become  a  model 
for  our  community  and  an  example  of 
what  can  be  accomplished  by  dedicated 
people,  when  given  the  right  tools  and 
thoughtful  attention  to  details  of  com- 
munity building." 

Mike  Edwards,  Downtown  Spokane 
Partnership  (Jormer  president) 

"The  biggest  idea  was  to  identify 
projects  and  put  them  in  a  sequence  in 
which  they  become  catalytic,  one  lead- 
ing to  the  next.  The  first  project  was 
River  Park  Square,  which  established 
the  area  as  a  regional  center.  That 
triggered  interest  in  a  new  convention 
center,  the  largest  single  new  develop- 
ment. That  in  turn  led  to  more  interest 
in  office,  retail  and  hotels,  like  the 
Davenport  renovation. 

"Because  we  involved  all  stakeholders, 
neighborhoods  were  able  to  clearly  see 


DOWNTOWN    SPOKANE       38  1 


the  advantage  to  them  of  helping  the 
areas  surrounding  Downtown.  A  whole 
section  on  neighborhood  economic 
development  went  into  the  Plan.  That 
was  a  big  missing  piece  that  brought 
everyone  on  board.  When  the  Plan  was 
done,  everyone  wanted  it,  because 
everyone  had  ownership  of  it. 

"Spokanites  have  always  loved  their 
Downtown.  Now  it's  become  much 
more  vital.  It's  a  great  place  to  be." 

Jim  Kolva,  Kolva  Associates 

"The  Downtown  Plan  was  very  inclusive 
and  had  a  real  sense  of  optimism.  It  had 
strong  buy-in  from  Downtown  inter- 
ests, as  well  as  the  City  as  a  whole.  It's 
been  very  successful. 

"With  the  design  guidelines,  the 
Downtown  Plan  has  set  a  pattern  for 
development  of  new  buildings.  The  Plan 
recognized  the  importance  of 
streetscape  to  the  Downtown  and  the 
renovation  of  historic  buildings  as  an 


asset  for  Downtown.  People  recognize 
the  need  and  see  that  as  positive.  So 
we've  had  several  major  historic  build- 
ing renovations,  including  the 
Davenport  Hotel.  Also  we've  had 
some  buildings  redeveloped  for  lofts 
and  apartments,  including  the 
[ConoverBond]  Havermale  project, 
which  is  a  historic  rehab  project.  We 
have  a  really  lively  residential  market. 
The  City  recently  adopted  an  anti-dem- 
olition ordinance  for  historic  buildings 
and  the  roots  of  that  were  in  the 
Downtown  planning  process  as  well. 

"An  example  of  a  new  building  is  the 
American  West  Building,  which  really 
followed  the  design  guidelines  and  every- 
one agrees  it  is  a  successful  building. 

"We  still  have  things  to  do.  We  need  to 
focus  on  office  retention  and  major  new 
office  space.  But  as  a  user  of  the 
Downtown,  there's  a  positive  attitude 
that  the  Downtown  is  quite  improved. . . 
it's  become  much  more  vital.  It's  a 
really  great  place  to  be." 


Rob  Brewster,  ConoverBond  Developers 

"After  I  graduated  from  Lewis  and 
Clark  High  School,  Spokane  wasn't  very 
exciting.  It  was  just  a  spot  between 
Seattle  and  Minneapolis.  From  my  grad- 
uating class,  there  are  very  few  people 
who  actually  still  live  in  Spokane.  That 
was  a  big  educational  brain  drain.  I  went 
to  Washington,  D.C.,  to  enjoy  being 
someplace  that  is  something.  I  redevel- 
oped townhouses  there  and  in  Seattle.  I 
came  back  here  when  I  was  30  and 
found  a  Spokane  that  had  failed  to  take 
care  of  itself.  We  hadn't  invested  in  cre- 
ating environments  that  are  unique  to 
Spokane,  fun,  energetic  and  creative.  As 
recently  as  five  years  ago,  the  area 
around  the  Davenport  Hotel  was  a 
blight.  Redeveloping  it  removed  a  psy- 
chological hurdle. 

"Redeveloping  the  Montvale  Hotel  was 
a  kind  of  a  metaphor  for  the  entire  City. 
It  was  built  by  a  judge  in  1 899  as  a  sin- 
gle room  occupancy  hotel.  But  later  it 
became  sort  of  a  flophouse  and  during 


382       DOWNTOWN    SPOKANE 


Expo,  a  youth  hostel.  And  then  it  was 
empty  for  20  years.  It  was  old  and 
decrepit,  but  it  was  irreplaceable  and 
had  so  much  potential  to  be  a  fun,  cool 
place.  It's  about  creating  more  of  a  com- 
munity and  helping  the  City  develop 
into  something  that's  more  interesting. 

"The  Downtown  Spokane  Partnership 
study  that  showed  a  range  of  people 
want  to  live  Downtown  was  an  impor- 
tant factor  in  building  housing  too. 
Having  data  to  demonstrate  demand 
makes  a  big  difference  with  lenders. 

"There  have  been  so  many  great  things 
happening  Downtown.  Market-rate 
housing  is  making  Spokane  a  24-hour 
city.  It  will  bring  needed  vibrancy  and 
energy  and  diversity  of  living  options. 
Downtown  has  changed  so  much  over 
the  past  few  years.  This  is  such  an  excit- 
ing time  for  Spokane." 


Susan  Matteson,  Peters  and  Son;  chair, 
Davenport  Arts  Board 

"Taking  a  run-down,  negative  area  of 
Downtown  Spokane  and  turning  it  into 
the  Davenport  District  has  made  an 
immense  change  in  the  area.  Customers 
are  filling  the  sidewalks  in  the  District 
during  the  day  and  evenings.  Foot  traffic 
is  everything  to  a  small  business  like 
ours  (flowers  and  gifts)  and  we  would 
not  have  stayed  in  the  Downtown  area  if 
the  District  had  not  been  revitalized. 

"The  Arts  Board  had  been  working  on 
this  revitalization  for  many  years.  When 
the  DSP  began  the  strategic  plan,  they 
incorporated  our  group  and  our  previ- 
ous work  and  visions. 

"The  future  of  the  Davenport  District 
looks  very  bright!" 


Paul  Delanej,  River  City  Runners 

"I've  been  involved  in  the  river  gorge 
area  for  almost  20  years  in  a  whitewater 
club,  but  never  in  the  planning  of  this 
type  of  project.  The  process  was 
remarkable. .  .people  saw  that  from  the 
outset.  The  presentations,  organization 
of  meetings,  focus  group— type  situa- 
tions . . .  we  went  from  segment  to 
segment  and  gave  our  input.  I  think 
about  how  all  of  the  different  facets  of 
the  community  were  brought  together 
in  one  room  and  I  tell  you,  I  was 
impressed.  I  felt  my  input  was  heard. 

"There  were  areas  of  real  concern — the 
residents  of  Peaceful  Valley  having  their 
part  of  the  world  left  as  it  has  been  for 
the  last  100  years.  So  we're  now  work- 
ing on  a  whitewater  rafting  launching 
area  that  won't  have  an  impact  on  them. 
The  Native  American  population  was 
concerned  about  protecting  traditional 
gathering  and  fishing  areas,  and  they 
said  they've  been  satisfied. 


DOWNTOWN    SPOKANE      383 


"A  lot  has  been  done  to  open  the  eyes  of 
politicians  and  business  owners — this 
has  been  a  huge  success.  Over  the 
course  of  the  last  three  years,  we've 
taken  trips  down  the  river  with  political 
and  business  leaders.  I  took  (one  busi- 
nessman) under  the  footbridge  in  the 
Riverfront  Park  area  and  he  said,  'I've 
been  in  town  for  25  years,  and  I'm 
embarrassed  to  say  this  is  the  first  time 
I've  seen  this  bridge!'  It's  just  10  min- 
utes from  Downtown.  Hoteliers  went 
on  a  trip  this  year,  and  they  just  went 


gaga  over  the  idea  of  being  able  to  have 
conventioneers  take  a  trip — they  could 
get  out  of  a  meeting  at  2  pm  and  by 
3  pm  they  would  be  on  a  raft.  This  is 
a  huge  selling  point  for  us. 

"We  opened  their  eyes  to  what  is  within 
a  stone's  throw  of  Downtown.  There's 
no  river  anywhere  in  the  world  that 
rivals  the  Spokane  for  proximity  to 
Downtown.  We're  finally  looking  at  the 
river  for  what  it  offers  us." 


384      DOWNTOWN    SPOKANE 


"City  design  is  the  art  of  creating  possibilities. ...It  manipulates  patterns 
in  time  and  space  and  has  as  its  justification  the  everyday  human 
experience  of  those  patterns!' 


KEVIN  LYNCH 
A  THEORY  OF  GOOD  CITY  FORM 


LESSONS    FROM    THE    PROJECTS 

INCLUSIVE    DESIGN    GUIDELINES 

This  set  of  inclusive  design  guidelines  is  based  on  lessons  learned  from  selected 
project  examples.  Regardless  of  the  type  of  public  building  or  space  you  are  designing, 
reading  through  all  of  these  guidelines  can  provide  an  intuitive  sense  of  how  your  own 
projects  can  incorporate  inclusive  design.  For  example,  if  you're  designing  a  school, 
you'll  find  helpful  information  in  the  guidelines  for  an  institutional  building  and  for 
parks,  as  well  as  in  the  guidelines  for  schools.  It  is  our  hope  that  this  information  will 
help  you  expand  your  own  creative  solutions  for  inclusive  environments. 


387 


DEPENDENCY  COURTS 


These  guidelines  were  developed  for  the 
Edelman  Children's  Courthouse.  Only 
the  inclusive  design  guidelines  that  can 
be  extended  to  other  settings  are 
included  here  (ADA  guidelines  must 
also  be  followed) . 

ENTRANCE  AND  LOBBY 

The  Court's  entrance  and  lobby  provide 
a  reference  or  orientation  point  for  the 


building.  They  create  an  initial  image  for 
visitors  so  it's  critical  that  these  spaces 
make  a  bold  statement  about  the 
character  of  the  building. 

The  initial  entry  into  a  site,  either  by 
foot  or  by  car,  should  have  a  clear  view 
to  the  building's  main  entrance  (Figure 
2).  Easy  and  safe  access  and  understand- 
able signage  are  key.  The  architecture, 


landscaping  and  site  elements  must 
clearly  communicate  that  this  place  is 
about  children  and  families. 

The  entrance  should  be  one  or  two 
story,  with  maximum  natural  light.  The 
perceived  scale  of  the  building  is  essen- 
tial to  creating  a  friendly  entrance. 
Provide  a  transition  from  the  drop-off 
zone  into  the  building  with  outdoor 
rooms,  gateways  and  trellises  that  create 


Figure  1 .  The  anthropometric  scale  for  children  brings  buildings  and  furniture  down  to  appropriate  heights. 


388      INCLUSIVE    DESIGN     GUIDELINES 


Figure  2.  The  building  orientation  places  the  play  area  in 
the  sun  and  ensures  that  the  parking  structure  is  not  so 
visible  from  the  highway. 


Figure  3.  Children  feel  less  intimidated  by  an  entrance  with  more  natural 
and  familiar  forms  and  plants. 


an  intimate  setting.  Use  window  details, 
color,  vegetation  and  artwork  to 
enhance  the  intimacy  (Figure  3). 
Provide  numerous  places  to  sit. 

The  lobby  should  have  a  feature  that 
causes  people  to  stop  and  look  around 
them.  The  feature  should  be  symbolic  or 
spiritual,  providing  an  interpretation  of 
family  and  the  spirit  of  childhood. 

BUILDING  APPEARANCE 

Dependency  court  buildings  should 
reflect  a  friendly  yet  dignified  appear- 


ance. Ajriendlj  building  possesses  the 
following  attributes: 

■  Human-scaled  dimensions  and  propor- 
tions, especially  in  windows,  doors, 
stairways,  roofs,  columns,  canopies  and 
ceiling  heights  (Figure  1 ) 

■  Continuity  between  elements  such  as 
between  the  building  facade, 
approaches  and  entrance 

■  Plants  and  vegetation  to  soften  build- 
ing lines  and  edges 

■  Warm  materials  such  as  brick,  wood 
and  canvas 

■  Views  out  of  the  building 


■  Daylight  entering  through  skylights 
and  windows 

A  dignified  building  appearance  can  be 
achieved  with: 

■  Clean,  simple  geometric  lines 

■  Geometric,  symmetrical  spaces 

■  Well-defined  gateway  entrances 

■  Subdued  colors 

■  Durable,  contrasting  materials  such  as 
marble,  stone,  brick  and  steel 

■  Proper  use  of  symbols  of  authority 


DEPENDENCY  COURTS      389 


CIRCULATION 

Create  clear  orientations  through  the 
lobby  with  a  brightly  lit  reception  desk 
about  50  feet  into  the  lobby,  and  infor- 
mation boards  behind.  Create  an  easy 
transition  to  elevators  (Figure  4).  If 
security  is  required,  orient  the  security 
to  one  corner.  It  should  be  clearly  visible 
so  people  know  someone  is  watching, 
but  should  not  make  people  feel  locked 
in.  Provide  direct,  clearly  marked  circu- 
lation routes  between  the  reception 
area,  waiting  areas  and  other  rooms 
(Figure  5). 

CORRIDORS 

Avoid  creating  long,  cave-like  corridors. 
Break  them  up  with  windows  in  walls 
and  doors  that  offer  views  outside  or 
into  other  activities.  Differentiate  corri- 
dor segments  by  varying  colors  and 
widths  (Figures  6  and  7). 

PUBLIC  WAITING  AREAS 

Public  waiting  areas  should  be  more 
than  a  space  for  passing  time;  through 
proper  design  and  management,  the  set- 
ting should  help  reduce  the  child's  and 
family  member's  anxiety  as  they  prepare 
for  the  hearing  process.  It  should  be  a 
comfortable  setting  near  the  family 
mediation  and  interview  rooms. 


* 


ENTRANCE 


a 


OTHER 
AREAS 


.o 


GD 


SEATING 


Figure  4.  The  lobby  area  sets  the  tone  and  ambience  for  the  entire  building. 


Figure  5.  Hearing  rooms  require  support  facilities  including  areas  for  waiting,  interview 
rooms,  reception  and  information  materials,  and  play. 


390      INCLUSIVE    DESIGN    GUIDELINES 


Set  up  the  area  with  movable  furniture 
to  accommodate  adults  and  children 
in  mixed  and  segregated  groups  of 
between  one  and  five  people.  A  group 
of  semi-permanent  seats  in  an  "L" 
configuration  can  anchor  seating  clusters 
(Figure  8).  Provide  small,  low  tables  and 
end  stands  that  can  hold  plants,  maga- 
zines and  pamphlets.  Seats  with  backs 
create  spaces  for  quiet  reading  or  study, 
while  "bean  bag"  seats  are  ideal  for 
children  to  relax  in. 

Locate  a  Resource  and  Referral  Desk 
on  each  floor  adjacent  to  the  waiting 
and  children's  play  area.  While  parents 
are  at  the  desk,  children  can  play. 
Partial  walls  provide  some  privacy 
while  allowing  views  into  the  play 


c=@ 


Figure  6.  Interesting  alcoves  and  interior  windows  break  up  long  corridors. 


Figure  7.  Doors  with  windows 
break  up  corridors  and  provide 
additional  security. 


Figure  8.  An  "L"  configuration  anchors  seating  clusters.  Movable  furniture  lets  groups  and 
individuals  arrange  their  own  space. 


DEPENDENCY  COURTS       391 


Figure  9.  Parents  and  staff  can  consult  at  the  Resource  Desk  while 
children  play. 


Figure  10.  Each  hearing  room  requires  its  own  support  facilities  with 
separate  entries. 


area  (Figure  9).  Provide  a  special 
"trouble  area"  near  the  hearing  rooms 
and  the  security  desk  to  separate  con- 
tentious adults  from  each  other  and 
from  children  and  their  caregivers. 

HEARING  ROOMS 

The  hearing  room  must  be  designed  to 
serve  its  function  as  effectively  as  possi- 
ble, while  protecting  and  respecting  the 
child's  special  interests  and  needs. 

Provide  a  central  entry  to  the  hearing 
room  to  create  a  greater  sense  of  for- 
mality. The  Judge  should  enter  directly 
out  of  the  Judge's  Chambers.  Staff 
should  have  separate  entries  that  can 
also  double  as  the  entry  for  children  in 
dependent  care  (Figure  1 0) .  Consider 
providing  separate  entrances  and  exits 
so  that  families  do  not  exit  directly  into 
the  waiting  area  and  instead  can  transi- 
tion into  another  area  to  calm  down 
after  a  hearing.  Provide  a  small  ante- 
room as  part  of  the  entry  to  create  a 
transition  from  the  informal  waiting 
area  to  the  dignified  hearing  room. 

The  furniture  should  be  modular  so  each 
Judge  can  rearrange  as  needed,  and  regu- 
lar office  size,  not  monumental  in  scale. 
Place  clear  signage  on  each  desk  so 
children  know  the  role  each  person  is 


392       INCLUSIVE    DESIGN    GUIDELINES 


Figure  1 1 .  The  design  and  layout  of  Shelter  Care  facilities  should  allow  for  a  free  choice  of  activities. 


playing.  Provide  natural  light  if  possible, 
or  at  least  indirect  light  and  natural  color. 
Carpet  the  rooms  and  provide  a  thick 
pad  for  sound  absorption.  State  flags  can 
be  effective  decorative  elements.  A  state 
seal  can  be  displayed  as  a  piece  of  art. 

Create  a  dignified,  yet  friendly  appear- 
ance in  each  room.  Basic  functional 


criteria  include  clear  sight  lines,  flexibil- 
ity to  allow  the  child  a  choice  of  where 
to  sit  and  where  to  testify,  and  clear 
visual  and  physical  access  for  the  Bailiff 
(see  Configurations  1  through  4,  pages 
40-1-1  in  "Helping  Children  Heal: 
Edelman  Children's  Court"  for  sample 
room  configurations). 


SHELTER  CARE 

Shelter  Care  sets  the  tone  of  the  entire 
court  experience  for  detained  children 
and  youth.  As  with  any  physical  setting, 
it  is  influenced  by  the  program  of 
activities  within  it,  the  management 
policies  that  govern  its  use  and  the 
attitude  of  the  people  who  staff  the 
facility.  The  physical  environment  must 


DEPENDENCY  COURTS      393 


respond  to  the  needs  of  the  children  it 
serves  by  providing  a  range  of  experi- 
ences. But  strong,  positive  experiences 
can  only  be  created  by  a  well-structured 
program  of  activities  and  quality  staff- 
child  interaction.  All  three  aspects 
of  the  facility — physical  setting, 
programs  and  management — must 
work  together  to  create  a  truly  child- 
sensitive  environment. 

Structure  the  environment  so  that  rules 
of  behavior  are  clearly  communicated  in 
the  spatial  layout  and  through  provision 
of  "props"  (play  and  recreation  items, 
reading  materials,  etc.)  rather  than 
through  heavy-handed  adult  instructions. 
A  carefully  structured  environment 
will  allow  a  good  measure  of  personal 
responsibility  and  control,  reducing  feel- 
ings of  powerlessness  and  expressions  of 
frustration.  Design  spaces  to  accommo- 
date fluctuations  in  the  number  of 
children  (70—120)  and  age  distribution. 
Provide  separate  primary  areas  for 
children  (5—12)  and  youth  (13-17), 
subdividing  each  area  into  a  variety  of 
activity  zones  (Figure  11). 

Children  and  youth  entrance.  Provide 
a  separate,  smaller  children's  entry  that 
is  distinct  from  the  main  entry  so  chil- 
dren do  not  have  to  interact  with  the 


Figure  1 2.  The  eating  area  separates  age  groups,  yet  is  also  a  common  place  to  meet. 


public  or  their  family  if  they  don't  wish 
to.  The  approach  and  entry  should 
emphasize  inviting  views  of  child-  and 
youth-related  activities  that  create  a 
friendly  feeling  rather  than  intensifying 
a  fear  of  walking  into  the  "unknown." 
Window  details,  color,  vegetation  and 
artwork  also  add  warmth.  The  recep- 
tion area  should  provide  a  space  for 
children  and  youth  to  check  in  and 
become  oriented  to  the  space.  There 
should  be  easy  physical  and  visual 
access  to  outdoors. 

Primary  areas.  Subdivide  the  primary 
care  area  into  different  activity  zones 
so  children  and  youth  can  choose  the 
area  in  which  they  feel  most  com- 
fortable (Figure  11).  Children's  zones 
can  include  small  gathering  areas, 
manipulative  play  and  building,  wall 
areas  with  felt  or  magnetic  boards, 
games,  resting,  movie  corner,  art 
center,  dramatic  play  (with  props  and 
costumes),  science  area  and  animal 


care  (with  small  animals  such  as  ham- 
sters, guinea  pigs,  fish  and  turtles). 

The  youth  area  should  look  different, 
with  different  management  policies 
so  youth  don't  feel  that  they're  being 
treated  as  children.  Youth  who  come 
to  court  are  fighting  for  independ- 
ence, yet  may  be  scared,  confused 
and  angry.  The  physical  environment 
must  support  their  basic  needs  for 
comfort,  privacy  and  interaction,  and 
offer  high-quality  programs  and 
plenty  of  adult  support.  Zones  can 
include  music  and  dance,  games, 
study  and  resting,  telephone,  conver- 
sation "pit,"  multimedia  studio,  and 
personal  care  and  make-up  areas. 

Eating  areas.  Arrange  the  area  as  a 
flexible,  multiple-use  space  adjacent 
to  "home  bases"  for  children  and 
youth  so  siblings  can  choose  to  meet 
and  eat  with  each  other  (Figure  12). 
An  outdoor  eating  area  can  double  as 


394      INCLUSIVE    DESIGN     GUIDELINES 


a  gathering  spot  and  a  transition 
between  indoor  and  outdoor  areas. 

Outdoor  play  areas  and  nature  areas. 
(See  "Trail  Settings"  and  "Play  Areas" 
for  more  details  on  outdoor  areas.) 

Family  visiting  rooms.  Visiting  rooms 
can  be  located  near  the  Shelter  Care 
facility  so  "detained"  children  can  have 
a  monitored  visit  with  their  families. 
The  rooms  can  also  become  interview 
rooms  for  attorneys  to  meet  privately 
with  children  before  hearings.  Rooms 
should  be  set  up  like  a  family  living 
room  with  a  variety  of  movable  furni- 
ture (Figure  13). The  room  should  be 


large  enough  to  accommodate  six 
people.  Interior  windows  and  angled 
corridors  seem  less  formal  and  pro- 
vide good  sight  lines  for  security.  The 
security  desk  should  be  positioned  to 
provided  unobstructed  visual  and 
physical  access  to  both  the  rooms  and 
the  private  entrance  to  Shelter  Care 
(Figure  14). 

Time-out  areas.  Create  special  quiet 
areas  for  children  who  are  anxious, 
tense  and  unable  to  handle  their  emo- 
tions outside  main  rooms  and  out  of 


sight  of  other  children  (Figure  15). 
Provide  visual  access,  and  if  possible, 
direct  access  from  the  quiet  area  to 
natural  elements.  Filtered,  natural 
light,  views  of  greenery  and  the  sound 
of  running  water  can  help  calm  emo- 
tions. A  rocking  chair  and  hammock 
offer  seating  with  relaxing  movements. 

Restrooms.  Provide  appropriately 
scaled  toilets  for  children  that  are 
separate,  single  toilet  rooms,  opening 
directly  into  the  activities  area.  Each 


Figure  1  3.  An  informal  "family  room"  with 
table  and  movable  chairs  provides  a  homey 
feeling. 


SHELTER  CARE 
ADMINISTRATION 


Figure  1 4.  The  home-style  windows  of  the  family  visiting  rooms  add  a  familiar  feeling 
and  provide  clear  sight  lines  for  security. 


DEPENDENCY  COURTS      395 


room  should  have  a  door  with  a 
window  starting  at  three  feet  off  the 
ground  (head  height  when  seated). 
This  provides  privacy  and  visual 
access.  Door  levers  should  be  six 
inches  lower  than  standing  height. 
Doors  should  be  slow  closing  with 
locks  that  can  be  opened  from  the 
outside  with  a  key. 

For  youth,  provide  toilets  in  individual 
rooms  with  a  sink  and  mirror.  Locate 
the  rooms  so  they  open  into  the  main 
activity  room.  All  doors  should  have 
locks  with  a  key  on  the  outside,  not 
latch  locks.  Do  not  put  windows  in 
the  doors. 


FAMILY  INTERVIEW  ROOMS 

Interview  rooms,  located  near  the 
hearing  rooms,  are  for  attorneys  to 
meet  privately  with  parents  before 
hearings.  They  should  be  large  enough 
for  a  round  table  and  four  chairs — 80 
square  feet  minimum  (Figure  16). 
Furnish  with  wood  furniture  and  paint 
walls  in  warm  tones.  Provide  a  carpet 
with  a  deep,  warm  color.  Each  room 
should  have  a  window  looking  into  the 
waiting  area,  with  thick  enough  glass 


to  serve  as  a  sound  barrier  (Figure  17). 
This  makes  the  room  seem  larger  and 
friendlier  and  provides  visual  access  for 
security.  Provide  enough  interview 
rooms  to  meet  demand  (six  to  eight 
per  waiting  area). 


Figure  1 6.  Interview  rooms  should  be  large 
enough  to  accommodate  all  parties  that 
need  to  meet. 


Figure  1  5.  Time-out  areas  should  be  very  informal  to  induce  calmness. 


Figure  1  7.  Windows  help  create  a  human 
scale. 


396      INCLUSIVE    DESIGN     GUIDELINES 


Figure  18.  Round  tables  are  conducive  to  socializing  while  plant  dividers  provide  a 
sense  of  privacy. 


PUBLIC  EATING  AREAS 

Design  the  eating  area  with  individual 
tables  and  chairs  that  can  be  moved  to 
accommodate  different  size  groups  and 
opened  up  to  create  a  larger  room  for 
large  groups.  Create  intimate  indoor 
eating  areas  by  providing  task  lighting 
over  tables,  warm  colors,  vegetation 
(with  large  plants  as  dividers),  children- 
created  artwork  and  movable  tables 
(Figure  18).  Outdoor  eating  areas  should 
be  located  adjacent  to  the  indoor  areas 
and  visible  from  the  inside  (Figure  19). 


Provide  large  doors  that  can  be  opened 
in  warm  weather  to  increase  the  con- 
nection to  the  outside  and  provide  an 
open,  sunny  feeling  inside.  Provide 
picnic  tables  with  shade  outdoors. 

OTHER  AMENITIES 

Several  design  amenities  can  make  a 
building  a  friendlier  place  for  staff  and 
other  professionals  who  use  the  building 
every  day. 

■  Ad  hoc  work  space.  Provide  a  hierar- 
chy of  spaces  (ideally  on  every  floor) 
that  are  flexible  and  usable  by  differ- 
ent professions:  rooms  separate  from 
the  interview  rooms  where  attorneys, 
social  workers  and  police  can  meet  or 
work;  a  number  of  small  workspaces 
next  to  waiting  areas  and  hearing 
rooms;  and  rooms  equipped  with 
desks,  storage,  book  cases  and  privacy 
phones. 

■  Employee  childcare  center.  Provide 
for  children  of  employees:  a  quality 
childcare  center  can  increase  morale 
and  peace  of  mind,  and  decrease 
absenteeism. 

■  Staff  gym .  Provide  an  exercise  facility 
with  shower  for  staff.  Exercise  before 
work,  at  lunchtimc  or  after  work 
reduces  staff  stress  levels. 


Figure  1 9.  Outdoor  vegetation  visible  from 
indoors  adds  a  human  touch  to  rooms. 


DEPENDENCY  COURTS      397 


COMMUNICATIONS  LINKS 

Effective  communications  links  between 
the  hearing  room  and  the  other  areas  of 
the  courthouse  keep  operations  flowing 
smoothly.  Communications  can  be  audio 
or  visual. 

Chambers  to  hearing  room.  Children 
testifying  in  chambers  should  be  seen 
and  heard  in  the  hearing  room  so 
testimony  doesn't  need  to  be  reread. 

1   Hearing  room  to  waiting  room.  The 
bailiff  needs  to  easily  inform  people  in 
the  waiting  room  of  the  next  case  so 
people  can  be  prepared  when  it  is 
their  turn. 

■  Hearing  room  to  attorney's  offices. 
Direct  phone  links  and  quick  transit 
routes  reduce  the  amount  of  time 
needed  for  attorneys  to  reach  the 
hearing  room. 

■  Court  office  to  DCS  field  staff.  A 
direct  phone  link  between  the  court 
officer's  desk  in  the  hearing  room  and 
relevant  field  staff  offices  can  help 
contact  staff  quickly. 


■  Court  Clerk  to  other  court  staff. 
The  Court  Clerk  needs  to  quickly 
communicate  with  staff  elsewhere  to 
access  files  and  documents  needed  in 
the  hearing  room. 

Bailiff  to  Shelter  Care  and  jail.  The 
bailiff  needs  to  quickly  communicate 
with  Shelter  Care  and  jail  facilities  to 
request  individuals  needed  in  the 
hearing  room. 

LIGHTING 

Lighting  reinforces  the  social  character 
and  importance  of  space.  Light  con- 
tributes to  the  spirit  of  an  activity  and 
affects  people's  feelings  of  spaciousness 
or  enclosure.  It  can  also  affect  people's 
attention  and  behavior  in  an  environ- 
ment. In  a  courthouse: 

Maximize  natural  light  through  use  of 
windows  and  skylights. 

c  Provide  electric  lighting  that  emulates 
the  qualities  of  natural  light  (warm, 
soft,  diffused). 


Allow  user  control  of  lighting  to  the 
extent  feasible. 


VENTILATION 

Whenever  possible,  provide  windows 
that  can  be  opened. 

ACOUSTICS 

Create  a  calm  ambience  in  each  space  by 
providing  good  acoustic  control.  Use 
sound  playfully  or  as  an  orientation  tool. 
Wind  chimes,  bells  or  flapping  banners 
can  create  pleasant  and  calming  effects. 
Minimize  any  traffic  noise  through 
special  treatments  of  windows  that  face 
highways.  Pay  particular  attention  to 
noise  levels  if  a  play  area  is  located  out- 
doors; install  a  sound  wall  if  needed. 


398      INCLUSIVE    DESIGN    GUIDELINES 


V«*k 


SCHOOLS  (K-12) 


Both  interior  and  exterior  areas  can  be 
wonderful  learning  environments.  These 
guidelines  emphasize  basic  planning  and 
design,  assuming  that  designers  will 
meet  building  codes,  ADA  requirements 
and  safety  laws. 

Most  of  the  current  accessibility  guide- 
lines and  regulations  are  based  on  the 
anthropometrics  of  adult  wheelchair 
users.  When  designing  spaces  for  chil- 
dren one  must  consider  an  additional 
set  of  dimensions  because  children  have 
smaller,  shorter  bodies  and  less  strength 
and  coordination  than  adults.  They  may 
have  more  trouble  maneuvering  with 
wheelchairs  or  mobility  aids  and  more 
difficulty  seeing  or  reaching  for  certain 
objects  (see  Dependency  Courts  Design 
Guidelines,  page  388,  for  an  anthropo- 
metric chart  for  children) . 

EXTERIOR  ENVIRONMENT 

The  outdoor  settings  of  the  school 
should  be  considered  as  extensions  of 
the  classroom — places  where  children 


can  exercise  their  bodies  and  minds. 
Outdoor  school  settings  should  be 
designed  for  four  purposes: 

■  To  allow  movement  and  gatherings  of 
large  groups. 

■  To  be  used  by  teachers  as  outdoor 
classrooms. 

■  To  provide  quiet,  green  "respite" 
areas. 

■  To  provide  areas  for  recreation  and 
sports  activities. 

SITE  ACCESS 

Schools  should  have  an  organized, 
welcoming  entry  that  appears  secure 
and  friendly.  Entries  serve  as  gathering 
areas  where  parents  and  community 
members  become  oriented  to  the 
school.  Both  parents  and  children  often 
wait  there  during  drop-off  and  pick-up 
times.  Entry  areas  should  be  large 
enough  to  accommodate  a  small  group 
of  people  and  provide  some  seating  (a 
minimum  of  625  sq.  ft.).  Seating  can  be 
sculptural  with  tiles  or  murals  to  add  an 


artistic  element.  Other  aspects  of  the 
entry  include: 

■  Signage  with  school  name  (on  or  near 
the  building),  orientation  sign,  regu- 
latory signs 

■  Information  kiosk  and  school  bulletin 
board 

3  Seating  for  parents  and  students  using 
benches  or  a  seat  wall 

■  Perimeter  fencing  that  is  6'  to  8'  high 
(often  depending  on  size  of  school- 
yard— a  higher  fence  will  keep  in 
bouncing  balls).  If  funding  is  an  issue, 
an  ornamental  metal  fence  can  be 
selected  for  the  entry  and  chain  link 
for  the  perimeter.  A  see-through  fence 
is  desirable. 

Attractive,  colorful  and  fragrant  plant- 
ing announces  the  entry  and  adds  a 
warm,  homey  touch.  Planting  should 
also  be  provided  along  the  perimeters  of 
the  site.  Planting  should  be  low  enough 
so  that  the  playground  is  visible  from  a 
car  driving  by  on  the  street. 


SCHOOLS  (K-12)     399 


CIRCULATION 

From  the  main  entry,  the  route  to  class- 
rooms and  offices  should  be  clearly 
stated  in  multiple  languages  and /or 
graphic  symbols.  Pedestrian  walkways 
can  be  opportunities  for  artwork,  such  as 
impressions  in  the  pavement  or  painted 
patterns  on  pavement  for  games.  People 
regularly  move  through  walkways  and 
corridors  so  they  are  good  places  to 
locate  core  messages,  school  philosophies 
or  themes  to  inspire  people. 

Roads  around  and  within  a  school  site 
need  to  take  into  account  a  relationship 
with  pedestrians  at  heights  that  are 
lower  to  the  ground  because  small  chil- 
dren walking  or  persons  using  wheel- 
chairs can  be  difficult  to  see  from  a 
driver's  point  of  view.  Ideally,  circula- 
tion should  allow  vehicles  to  drive 
through  the  loading  zone  by  means  of  a 
circular  route,  so  they  can  enter  and 
exit  without  having  to  back  up.  Additional 
design  elements  to  consider: 

■  Keep  plantings  low  (2'— 3'  maximum) 
at  median  islands,  corners  and  pedes- 
trian crossings  to  provide  clear  views 
(see  Figure  20). 

■  Locate  crosswalks  convenient  to  areas 
where  children  congregate  such  as 
loading  zones  or  entries. 


Crosswalks  should  be  clearly  visible 
to  both  pedestrians  and  vehicles  with 
identifying  marks  such  as  striping  and 
signage.  Add  flashing  lights  and 
chirping  sounds  at  signals  to  aid 
individuals  with  hearing  and  visual 
impairments. 

Crosswalk  surfaces  should  be  stable 
and  non-slippery  when  wet. 

If  additional  speed  enforcement  is 
needed,  post  signs  or  install  traffic 
calming  measures  such  as  speed 
bumps,  textured  pavement  or  road 
narrowing  to  serve  as  visual  cues  to 
drivers. 

Bulb -outs  at  corners  or  protected 
median  islands  assist  those  with  limited 
mobility  who  may  need  additional 
protection  when  crossing  the  street. 


Figure  20.  Keep  plantings  low  at  pedestrian 
crossings  to  provide  clear  views. 


■  Install  bicycle  paths  next  to  the  side- 
walks adjacent  to  schools.  These  paths 
should  have  a  level  surface,  be  well  lit, 
and  have  signs  and  clearly  identifying 
pavement  markers. 

PARKING 

Parking  is  typically  on  the  street  or  at  a 
nearby  parking  lot.  Parking  should  be 
convenient  to  school  entries  but  should 
not  have  a  dominating  visual  presence. 
It  should  be  safely  separated  from 
pedestrian  walkways  and  from  drop-off 
and  pick-up  zones.  Bike  parking  should 
be  separated  from  vehicle  traffic  and 
convenient  to  school  entries.  Permeable 
durable  surfaces  are  friendlier  to  the 
environment  than  paving  and  asphalt. 
Shade  trees  can  mitigate  unsightly 
expanses  of  paving  and  parked  cars. 
Ground  cover  and  low  shrubs  should  be 
planted  below  the  trees  in  islands  and  in 
perimeter  areas. 


Schoolyard  Settings 

CLASSROOM  PATIOS 

The  classroom  patio  is  a  paved,  outdoor 
multi-purpose  area  adjacent  to  or 
attached  to  each  ground  floor  class- 
room. The  patio  is  an  extension  to  the 


400      INCLUSIVE    DESIGN    GUIDELINES 


classroom  area  and  offers  a  transition 
zone  between  the  playground  and  the 
classroom,  as  well  as  a  place  to  do 
messy  projects.  Where  possible,  provide 
one  per  classroom,  about  300  square 
feet  in  size. 

Provide  movable  work  tables  and  seat- 
ing: one  picnic  table  per  patio  with  two 
benches  (or  seat  wall)  per  patio.  For 
this  area,  concrete  paving  works  best. 
Outdoor  elements  can  be  playful  and 
educational,  while  softening  the  pave- 
ment. For  example,  bright  windsocks, 
weather  vanes  or  tile  work  on  seat  walls 
can  be  made  by  children  as  class  proj- 
ects. Surrounding  each  patio  with  shade 
trees  and  plantings,  even  in  containers, 
provides  privacy  between  classrooms 
and  a  more  natural  setting. 

MULTI-PURPOSE 
OUTDOOR  CLASSROOMS 

The  multi-purpose  outdoor  classroom  is 
a  laboratory  space  to  practice  project- 
based  learning  that  expands  the  class- 
room curriculum.  This  area  is  designed 
to  be  flexible,  supporting  a  variety  of 
curriculum  activities  including  those 
related  to  science,  environmental  educa- 
tion, art  and  social  studies.  They  can  be 
large  enough  to  accommodate  several 


classes  at  the  same  time.  For  example, 
to  accommodate  50—75  students,  about 
900—1 ,200  square  feet  should  be  pro- 
vided. They  should  be  located  in  areas 
where  they  are  accessible  from  more 
than  one  classroom. 

Where  possible,  include  a  platform  or 
stage  area,  power  outlets,  water  and 
storage. 

As  with  the  small  patio  areas,  provide 
movable  worktables  and  seating  to 
accommodate  different  size  groups. 
Concrete  paving  for  the  main  areas  can 
be  softened  with  soft  surface  pathways, 
shade  trees  and  plantings  (that  also  help 
divide  up  the  area).  Include  playful  art 
elements  created  by  children. 

GARDEN  OUTDOOR  CLASSROOMS 

The  garden  outdoor  classroom  expands 
the  classroom  and  provides  an  area  for 
outdoor  curriculum  projects  related  to 
science  and  art.  The  area  should  have  a 
central,  prominent  location  to  encour- 
age visibility  and  use.  It  should  be  near 
the  kitchen  if  possible  to  encourage 
food  preparation  activities.  An  area 
about  50'  x  50'  would  be  ideal  with 
additional  room  for  expansion.  Students 
can  create  playful  and  educational 


Figure  21.  Multi-purpose  outdoor  classrooms 
can  also  serve  as  a  stage  or  group  project 
area. 


elements  such  as  birdhouses  and  sun- 
dials, and  decorated  fences.  Some  site 
elements  to  include  are: 

■  Secure  storage  for  tools  and  project 
materials 

■  Compost  boxes  and  soil  bins 

■  Raised  planter  boxes  for  accessible 
gardening 

■  Shade 

■  Site  drainage  as  required 

■  Ornamental  plants  at  the  community 
edge  of  the  site 

■  Movable  worktables  and  seating 

■  Potting  table 

■  Fencing  (4—6'  high  woven  wire 
fences  to  allow  views  to  planting) 

■  Trash  receptacles 


SCHOOLS  (K-I2)       40I 


Figure  22.  Outdoor  gardens  are  multi- 
sensory  learning  environments. 


Gardens  must  have  a  steward.  This  can 
be  a  classroom  teacher,  specialized 
teacher  or  community  member.  Basic 
infrastructure  should  be  provided  with 
the  expectation  that  the  garden  stewards 
will  further  develop  the  garden. 

NATURAL  AREA  OUTDOOR 
CLASSROOMS 

The  natural  area  outdoor  classroom 
serves  as  a  teaching  station  for  science 
and  ecology  studies  as  well  as  an  area 
for  student  projects  and  outdoor 
instruction.  It  is  a  protected  area  of  pri- 
marily native  vegetation  that  supports 
habitat,  controls  storm  water  run- off, 
and  stimulates  play  and  learning.  This 


area  is  optimally  located  near  a  natural 
area  adjacent  to  the  school  such  as  a 
creek,  hillside,  park,  rock  outcropping 
or  grove  of  trees  (Figure  22).  It  can  also 
be  integrated  with  a  natural  play  oppor- 
tunity. Areas  for  observation  and  an  out- 
door classroom  support  science  studies. 
Ideally,  provide  a  water  element  such  as 
a  simulated  stream  segment  or  natural 
drainage  of  sufficient  size  to  foster  a 
habitat  attractive  to  insects  and  other 
wildlife.  Provide  plants  that  support 
occasional  harvesting  such  as  reeds, 
willow,  grasses  and  bamboo. 

Informal  seating  such  as  boulders,  logs 
and  tree  stumps  work  well  with  wood 
tables.  Provide  accessible  pathways  made 
of  wood  fiber  or  decomposed  granite 
(bare  soil  is  not  accessible  to  all  users). 

Natural  areas  need  to  be  about  50'  x  50' 
to  provide  enough  area  for  habitat.  The 
area  does  not  require  fencing,  though 
some  separation  from  the  schoolyard  at 
large  is  desirable.  Low  fencing  and /or 
shrub  plantings  can  serve  this  purpose. 
Views  into  the  area  allow  for  supervision. 

Natural  areas  must  have  a  steward.  This 
can  be  a  classroom  teacher,  specialized 
teacher  or  community  member.  Basic 
infrastructure  should  be  provided  with 


the  expectation  that  the  natural  area 
stewards  will  further  develop  the  envi- 
ronment over  time. 

OUTDOOR  EATING  AREA 

The  outdoor  eating  area  is  a  shaded  out- 
door eating  facility  for  use  during  lunch, 
group  picnics  and  other  activities  during 
non-school  hours.  The  area  may  also  be 
used  as  an  outdoor  classroom  or  gather- 
ing area.  The  surface  should  be  concrete 
paving,  with  shade  trees.  This  area  also 
provides  an  excellent  opportunity  for 
art  projects,  poetry  reading  and  games. 
Design  should  take  noise,  circulation, 
light  and  air  circulation  into  account. 

Site  elements  include: 

■  Tables  and  seats  for  120—150  students 

■  Shade  (steel  or  wood  arbor  shade 
structure — not  an  impervious 
cover — for  locations  away  from  the 
building) 

■  Trash  receptacles 

■  Trees 

LARGE  GATHERING  AREA 

The  large  gathering  area  is  a  2,000— 
3,000  square  foot  assembly  area  for  the 
staging  and  viewing  of  outdoor  programs 
and  events  that  can  accommodate 
approximately  100—150  children,  parents 


40E       INCLUSIVE    DESIGN    GUIDELINES 


and  staff.  It  can  also  be  used  after  school 
hours.  The  area  should  have  a  central, 
prominent  location  to  encourage  visibil- 
ity and  use,  but  should  be  located  away 
from  the  most  active  play  areas.  It  needs 
accessible  pathways  and  seating,  in  addi- 
tion to  lawn  seating.  Noise,  circulation, 
light  and  air  circulation  should  be  given 
careful  consideration. 

Site  elements  include: 

■  Stage  or  raised  platform 

■  Provisions  for  simple  stage  sets 

■  Shade  for  viewers 

■  Formal  seating  with  benches,  movable 
chairs  or  seat  walls  and  informal 
seating  such  as  a  lawn  area 

■  Trash  receptacles 

SMALL  GATHERING  AREA 

The  small  gathering  area  is  a  300—700 
square  foot  shaded  area  for  small  group 
instruction,  reading  and  storytelling,  or 
quiet  space  for  students  during  recess.  It 
is  separated  from  other  activity  areas  by 
planting  with  seating  for  S— 12  students. 

Site  elements  include: 

■  Small  stage  presentation  area 

■  Seating  (benches  without  backs  or 
seat  walls) 


■  Work  table  or  game  table 

■  Shade 

■  Planting 

HARD  COURT  AREAS 

The  hard  courts  are  large  paved  areas 
that  support  the  physical  education  cur- 
riculum during  school;  they  could  also 
be  used  by  the  community  during  non- 
school  hours.  They  also  serve  as  gather- 
ing and  waiting  spaces  before  and  after 
school.  The  courts  are  secured  with  high 
perimeter  fencing  (8'  at  street  edge)  and 
gates  to  accommodate  maintenance  and 
emergency  vehicle  access.  A  pedestrian 
gate  will  provide  access  during  non- 
school  hours.  Perimeter  planting  and 
shade  trees  create  a  more  inviting  court 
area.  Each  school  community  should 
determine  the  appropriate  mix  and 
configuration  of  courts. 

Site  elements  include: 

Basketball  half- court 
a  Basketball  full  court 
Basketball  standards 

■  Ball  wall 

3  Running  track  and  lanes 

■  Compass  rose  (painted) 

■  Circles,  30"  diameter  each  (painted) 


■  Foursquare  and  other  school  games 
(painted) 

■  Mazes  (painted) 

■  Benches 

■  Tetherball 

■  Hopscotch 

■  Trash  receptacles 

■  Drinking  fountain 
n  Lighting 

■  Lockable  storage 

TURF  FIELDS 

The  turf  field  is  a  multi-purpose  play 
field  with  well-drained  and  easily  main- 
tained turf.  Fields  are  usually  located 
next  to  the  hard  courts  and  should  be 
sized  so  that  they  meet  the  requirements 
for  children's  community  and  local 
sports  field  user  groups.  They  could  also 
be  used  by  the  community  during  non- 
school  hours.  The  courts  are  a  secured 
space  with  6'  high  perimeter  fencing  and 
gates  to  accommodate  maintenance  and 
emergency  vehicle  access.  A  pedestrian 
gate  will  provide  access  during  non- 
school  hours.  Turf  fields  require  a  struc- 
tured management  program  that 
includes  field  maintenance  and  manage- 
ment of  field  use.  A  heavily  used  field 
will  require  a  shutdown  period  for 
renovation  at  least  once  a  year. 


SCHOOLS  (K-12)      403 


Site  elements  include: 

H  Benches  and /or  bleachers 

■  Equipment  storage 

H  Portable  goals  and  back  stops 

■  Trash  receptacles 

PLAY  EQUIPMENT  AREA 

Play  equipment  areas  include  age-appro- 
priate play  structures  and  equipment 
settings  for  social  play  and  exploratory 
learning  and  physical  development.  Play 
equipment  should  also  provide  upper 
body  strengthening  activities. 

The  area  should  be  a  minimum  of 
40'  x  40'  in  a  central  location  that  is 
easily  supervised.  It  should  offer  com- 
munity access  during  non-school  hours. 
The  ground  surface  can  be  wood  fiber 
or  synthetic  rubber  safety  surfacing. 
Adult  yard  supervisors  should  be 
present  to  ensure  safe  behavior  and  to 
ensure  that  the  proper  age  group  is 
using  the  play  equipment. 

Site  elements  include: 

■  Manufactured  play  equipment  with  a 
variety  of  components  for  climbing, 
swinging,  crawling,  socializing, 
sliding,  etc. 

E  Safety  surfacing  such  as  modular 
tiles,  wood  fiber  safety  surfacing  with 


drainage  blanket  or  poured-in-place 
synthetic  safety  surfacing 

■  Sub-surface  drainage  inlet  (connect- 
ing to  the  site  storm  drain  system) 

■  Concrete  curb  to  contain  safety 
surfacing 

■  Access  ramp 

KINDERGARTEN  AND 
PRE-SCHOOL  AREA 

The  play  area  is  a  multi-purpose,  out- 
door play  and  outdoor  classroom  area 
for  children  between  the  ages  of  3  years 
and  5  years.  The  area  must  be  fully 
enclosed  and  secure;  a  waiting  area  for 
parents  should  be  located  directly  out- 
side. The  area  should  be  sized  to  allow  a 
minimum  of  75  square  feet  per  child. 
There  should  be  a  minimum  3 '6"  fence 
or  wall  around  the  yard,  with  gates  to 
the  main  schoolyard  and  to  the  commu- 
nity. The  ground  surface  should  be 
asphalt  or  concrete  paving,  turf  and  sand, 
with  synthetic  safety  surfacing  at  play 
equipment  areas  and  decomposed  granite 
paths.  Staff  supervision  and  daily  site 
inspection  and  maintenance  should  be 
provided. 

Features  and  activities  should  support  a 
learning-through-play  approach.  Site 
elements  include: 


Play  equipment  (linked  play  structure) 

Ball  play  area  (paved) 

Painted  wheeled  toy  path 

Sand  and  water  play  with  sand  cover 

Gardening  area  with  planter  boxes 

Display  area 

Shade 

Tricycle  storage 

General  storage 

Seating 

Small  stage 

Movable  picnic  and  work  tables  and 
benches 

Trash  receptacles 


Interior  Settings 

STANDARD  CLASSROOM 

The  classroom  plays  an  essential  role  in 
providing  accessible  education.  The  class- 
room environment  influences  personal 
attitudes,  levels  of  participation  and 
quality  of  work.  People  are  more  atten- 
tive and  productive  when  they  are  physi- 
cally comfortable  and  can  clearly  see, 
hear  and  be  directly  engaged  with  the 
instructor. 

Classrooms  should  be  arranged  so  that 
students  have  an  unobstructed  view  of 
the  instructor,  audiovisual  screens  and 


404      INCLUSIVE    DESIGN     GUIDELINES 


demonstration  areas.  To  make  exhibits 
and  demonstrations  clearly  visible,  con- 
sider using  movable  desks  and  tables 
with  an  adjustable  mirror  over  the 
demonstration  table. 

Desks  should  be  arranged  so  that  there 
is  clear,  adequate  aisle  space  for  children 
with  mobility  aids  to  circulate  freely 
about  the  classroom  without  having  to 
ask  others  to  move  their  chairs,  desks  or 
personal  belongings. 

Work  areas  should  be  comfortable  and 
adjustable  to  meet  individual  needs  and 
preferences.  Tables  with  adjustable 
heights  allow  users  to  modify  the  height 
to  meet  their  physical  needs  and  the 
activity  at  hand.  For  example,  activities 
requiring  fine  motor  skills  (such  as 
writing  or  drawing)  should  be  per- 
formed with  the  desk  or  tabletop  at 
elbow  level.  Activities  that  are  more 
physical  and  require  some  degree  of 
force  (such  as  molding  clay)  should  be 
performed  approximately  1 0  inches 
lower  than  the  elbow  to  ease  the  effort 
required . 

Movable  furniture  allows  instructors 
flexibility  to  rearrange  the  classroom  to 
meet  the  changing  needs  of  a  particular 
curriculum  or  the  students.  Furniture 


should  be  stable  and  firmly  situated  on 
the  ground  so  that  when  people  lean  on 
the  table  for  assistance  in  getting  up,  it 
resists  firmly  without  wobbling.  Tables 
with  raised  leaves  will  help  accommo- 
date people  who  use  wheelchairs  with 
high  armrests.  All  furniture  in  the  class- 
room should  respect  knee  and  toe  clear- 
ances for  wheelchair  users. 

Work  surfaces  should  be  smooth  with  a 
matte  finish  to  minimize  glare.  Items 
that  are  used  frequently,  such  as  writing 
materials  and  art  supplies  should  be 
placed  within  a  child's  range.  This  will 
enable  the  child  to  work  more  inde- 
pendently. 

FLOORING  AND  SURFACES 

Floor  coverings  and  surfaces  should  be 
selected  to  promote  wheelchair  mobil- 
ity and  minimize  tripping  hazards. 
Walking  and  wheelchair  surfaces  should 
be  slip-resistant  and  firm,  level  and  easy 
to  maintain.  Carpets  should  be  low  pro- 
file, tightly  woven  and  secured  firmly  to 
the  floor.  Carpet  pads  that  add  spongi- 
ness  and  height  to  the  carpet  profile 
should  be  avoided  if  possible;  they  can 
hinder  wheelchair  users  and  create 
problems  for  people  with  weak  lower 
extremities. 


In  general,  floor  patterns  should  be 
muted.  Complicated  or  high-contrasting 
patterns  can  decrease  the  functionality 
for  those  with  vision  impairments  or 
diminished  depth  perception. 

VISUAL  CUES 

In  some  cases  color  can  serve  as  a  visual 
cue  for  demarking  hazards,  such  as 
stairs,  or  offer  orientation  and  direc- 
tional guidance,  such  as  marking  entries 
or  different  parts  of  a  room. 

LIGHTING 

Provide  general  light  and  enough  elec- 
trical outlets  around  the  room  (or  at 
desks)  so  that  individual  "task  lights"  can 
be  provided  at  desks  or  tables  to  assist 
in  individual  work  if  supplemental  light 
is  needed. Those  outlets  will  also  be 
useful  for  personal  readers,  recorders  or 
listening  devices. 

WINDOWS 

Exposure  to  natural  light  is  necessary 
for  physical  and  emotional  health. 
However,  the  amount  of  light  entering 
the  room  should  be  controlled  (through 
curtains,  blinds  or  other  window  treat- 
ment) because  direct  sunlight  can  cause 


SCHOOLS   (K-12)      405 


glare  and  visual  distractions.  Windows 
that  open  with  a  twist,  slide  or  push 
motion  are  easier  to  open  than  tradi- 
tional double -hung  windows  that  open 
and  close  by  a  push-up  and  pull-down 
motion. 

COMPUTERS 

Provide  adjustable  elements  so  that  indi- 
viduals can  modify  the  workstation  to 
meet  their  physical  needs  (the  type  of 
chair,  monitor  height,  knee  space  and 
other  assistive  devices). 

ART  ROOMS 

The  art  room  should  be  designed  so  that 
all  students  can  participate  actively  in  all 
art  processes  to  the  fullest  extent  of 
their  skills  and  abilities.  All  art  rooms 
should  have  ample  lighting  (and  task 
lighting),  good  ventilation  and  storage, 
sinks  and  display  areas. 

Storage  should  be  provided  at  a  variety 
of  heights.  Peg  boards  for  hanging  tools 
and  shelves  and  cupboards  for  general 
storage  should  be  accessible  to  persons 
in  a  wheelchair  or  with  limited  reach. 
Provide  adjustable  height  wheelchairs 
and  printing  presses  or  tables  that  can 
be  raised  or  lowered. 


Provide  extra- wide  drawing  implements 
or  holders  for  chalk  and  pencils  that 
offer  gripping  assistance.  Lightweight, 
easy  to  maneuver  rolling  carts  can  help 
students  with  mobility  difficulties  trans- 
port art  supplies  from  storage  areas  to 
art  tables,  drying  areas  or  display  cases. 

MUSIC  ROOMS 

Music  classes  are  an  opportunity  to 
develop  both  individual  skills  and  to  be 
with  others  in  a  group  setting.  Students 
who  have  limited  verbal  abilities  can 
participate  in  classes  that  engage  multiple 
senses. 

Access  to  performance  areas  and  tiered 
seating  must  be  provided.  Additional 
lighting  at  music  stands  may  assist  those 
with  visual  impairments.  Provide 
secure,  accessible  lockers  near  the  music 
room  for  storage  of  instruments  and 
equipment  so  that  students  do  not  have 
to  carry  them  throughout  the  day. 

HOME  ECONOMICS 

Home  economics  classes  teach  life  skills 
such  as  cooking  and  sewing  that  will 
help  students  lead  more  independent 
lives.  These  classrooms  generally  contain 
work  tables  or  counters,  storage  areas 
and  various  appliances. 


Work  tables  should  have  clearance  as 
required  by  code.  Pedestal-type  tables 
eliminate  the  obstruction  caused  by 
table  legs  and  allow  many  users  to  sit 
next  to  each  other  in  either  standard 
chairs  or  wheelchairs.  Portable  raised 
table  leaves  also  enable  a  person  with  a 
larger  wheelchair  to  sit  as  part  of  a 
group  at  the  same  table  (Figure  23). 

The  room  environment  should  have 
good  ambient  light  and  task  lights  avail- 
able for  handwork  such  as  sewing  and 
other  detailed  work. 

The  activities  associated  with  home 
economics,  such  as  students  working  in 
groups  and  operating  appliances,  can 
generate  noise  that  may  be  distracting 
or  disturbing  to  some  students.  To  miti- 
gate, provide  acoustic  treatment  such  as 
fabric  wall  hangings,  acoustic  panels  and 
window  treatment  to  help  absorb  noise. 

If  there  is  a  living  room  or  lounge 
associated  with  the  home  economics 
room,  armchairs  should  be  provided  for 
students  with  weak  muscle  tone  or  for 
those  who  need  leverage  assistance  to 
stand  up  from  a  sitting  position. 


406      INCLUSIVE    DESIGN    GUIDELINES 


COOKING  AREAS 

Stovetops  should  be  mounted  on  a  low- 
height  counter  so  that  seated  individuals 
can  participate  fully  in  the  activity.  This 
range  should  be  flush  with  the  adjoining 
counter  so  students  can  slide  pots  and 
pans  safely  from  the  range  to  the  adja- 
cent surface.  The  stove  appliance  should 
be  selected  for  safety  considerations  of 
those  who  may  be  seated.  An  appropri- 
ate appliance  would  have  staggered 
burners  so  a  person  can  use  the  back 
burners  without  reaching  over  the  front 
ones,  and  front  or  side  controls  so  a 
person  can  reach  them  without  reaching 
over  the  front  burners. 

Ovens  should  have  side  hinges  and  a 
pull-out  board  beneath  the  oven  to  rest 
hot  or  heavy  dishes.  Exhaust  fans  should 
be  located  on  the  counter  apron  so  that 
seated  individuals  can  access  them. 

Serving  and  eating  utensils  should  be 
selected  for  ease  of  use  by  students  with 
limited  motor  control  or  weak  grasp; 
they  should  be  symmetrically  designed 
for  use  by  right-  or  left-handed  people. 
Consider  providing  large-diameter 
handles  on  silverware,  textured  glass- 
ware, large  and  easy-to-grasp  handles, 


Figure  23.  Work  tables  with  pedestal-type 
bases  allow  students  to  sit  next  to  each 
other  in  either  standard  chairs  or  wheel- 
chairs. 


and  small,  but  lightweight  containers 
(such  as  pitchers  or  serving  dishes) . 

Fire  extinguishers  should  be  centrally 
located.  Portable,  lightweight  extin- 
guishers can  be  provided  in  more  than 
one  location  including  near  workstations 
for  easy  access. 

SCIENCE  LABS 

Science  lessons  and  demonstrations  are 
significantly  enhanced  by  hands-on  activ- 
ity and  experiments.  However,  much  of 
the  equipment  in  a  lab  poses  safety  risks 
such  as  fragile  glassware,  open  flames 


and  hazardous  chemicals.  Design  work- 
spaces to  allow  students  to  work  as  inde- 
pendently as  possible  with  the  lowest 
potential  for  accidents. 

Equipment  and  supplies  should  be 
stored  within  a  variety  of  reach  ranges 
and  all  equipment  should  have  large  on- 
off  indicator  lights  so  people  with  visual 
or  hearing  impairments  can  easily  deter- 
mine when  equipment  is  on. 

LAB  STATIONS 

Accessible  lab  stations  should  be  located 
as  close  as  possible  to  the  accessible  path 
of  egress  so  that  individuals  with  disabili- 
ties may  be  assisted  in  case  of  emergency 
evacuation.  Placement  of  accessible  lab 
stations  should  allow  easy  access  to 
shared  equipment  and  should  minimize 
conflicts  with  circulation  patterns  in  the 
room  to  facilitate  wheelchair  maneuver- 
ing and  pedestrian  activity. 

A  drop-leaf  in  a  section  of  the  accessible 
workstation  will  allow  wheelchair  users 
to  access  the  workstation  (see  Home 
Economics  Room  for  additional  ideas 
about  work  tables). 

Sinks  and  storage  areas  should  be 
accessible. 


SCHOOLS  (K-12)     407 


SAFETY  EQUIPMENT 

All  users  should  have  access  to  safety 
equipment  such  as  first  aid  kits  and  fire 
extinguishers.  Emergency  procedures 
and  instructions  are  mandated  by  fed- 
eral standards.  Provide  instructions  in 
multiple  languages  using  graphic  and 
accessible  formats. 

Provide  protective  eyewear  for  all  stu- 
dents. Heavy  rubber  aprons  for  protec- 
tion from  spilled  chemicals  should  be 
made  available  for  seated  individuals  and 
those  with  sensory  limitations. 

Provide  an  eyewash  station,  and  addi- 
tional eyewash  solution  at  the  lab  areas 
of  students  who  cannot  easily  reach  or 
access  the  station.  Flexible  hoses  can 
also  be  used  to  dispense  solution. 

Accessible  lab  stations  should  be  located 
near  emergency  showers  or  near 
another  means  of  "hosing  down"  in  case 
of  spills.  A  pull-chain  for  operation 
should  be  provided  within  easy  reach. 

Building  and  fire  codes  regulate  the 
location  and  placement  of  fire  extin- 
guishers in  a  room.  In  addition,  light- 
weight portable  extinguishers  should  be 
provided  at  lab  stations  or  worktables. 


Gas  jets  often  have  a  "hissing"  sound 
when  turned  on.  Consider  adding  an 
odorant  to  the  gas  supply  so  people 
with  hearing  impairments  can  detect 
the  presence  of  gas. 

In  case  of  power  outages,  emergency 
lighting  is  helpful  for  people  with  hearing 
impairments  who  rely  on  visual  cues. 

ASSEMBLY  AREAS 

School  auditoriums  and  other  assembly 
areas  are  places  for  people  to  come 
together  for  special  gatherings  and 
performances.  Assembly  areas,  dressing 
rooms,  backstage  and  ticket  booths 
must  be  accessible  to  accommodate 
audience  members,  speakers  and 
performers.  Audience  members  need 
adequate  seating  and  aisle  circulation, 
views  of  the  stage  and  assistive  listening 
systems  when  necessary. 

Ideally,  wheelchair  seating  should  be 
integrated  into  areas  of  fixed  seating  in  a 
variety  of  locations  with  equivalent 
viewing.  Wheelchair  seating  should  be 
located  along  an  accessible  route  and  in 
close  proximity  to  a  means  of  egress. 

Adequate  stage  lighting  assists  persons 
with  hearing  and  sight  limitations  to 


read  lips,  facial  expressions  and  body 
language.  Special  attention  should  be 
paid  to  avoiding  shadows  on  hands,  faces 
and  torsos.  Provide  proper,  non-glare 
lighting  on  the  sign  language  inter- 
preter. The  sign  language  interpreter 
should  be  located  to  the  side  of  or 
directly  behind  the  person  speaking. 

GYMNASIUMS 

The  gymnasium  often  serves  a  double 
purpose  as  an  assembly  and  perform- 
ance area.  All  areas  should  be  fully 
accessible  to  performers  and  audience 
members.  Special  consideration  may  be 
needed  to  ensure  that  the  sound  system 
is  of  good  quality  (to  obtain  a  static-free 
sound).  Provide  bleachers  with  gradual, 
accessible  slopes  and  handrails,  and  slip- 
resistant  floor  coverings. 

The  height  of  athletic  equipment  such  as 
basketball  hoops  should  be  adjustable  if 
possible  to  allow  persons  in  wheelchairs 
to  participate  in  games. 

CAFETERIAS 

Cafeterias  are  multi-purpose  spaces, 
serving  as  dining  rooms,  gymnasiums, 
study  halls  and  assembly  and  meeting 
areas. 


408      INCLUSIVE    DESIGN    GUIDELINES 


Aisles,  food  service  lines  and  circula- 
tion, counter  tops,  tables  and  vending 
machines  should  all  be  accessible.  Every 
opportunity  should  be  made  to  achieve 
equivalent  experiences.  The  accessible 
entry  should  provide  the  same  decor 
and  services  as  the  rest  of  the  area  and 
be  usable  by  the  general  public. 

To  promote  interaction  with  the  entire 
school  community,  accessible  seating 
should  be  provided  throughout  with  a 
mix  of  seating  options.  This  may  include 
tables  of  a  variety  of  shapes,  sizes  and 
configurations  with  fixed  and  removable 
seats  or  no  seats  for  wheelchair  access. 

LIBRARY/MEDIA  CENTERS 

Libraries  offer  a  variety  of  books,  com- 
puter programs  and  audio-visual  materi- 
als that  allow  people  to  engage  fully  in 
learning.  The  design  of  these  spaces 
must  accommodate  a  variety  of  users. 

Many  of  the  required  elements  have 
been  discussed  previously.  Although 
library  collections  are  mostly  catalogued 
now  on  computer,  for  facilities  that  have 
a  card-catalogue  system,  a  lateral  filing 
system  is  preferred  because  the  backs  of 
card  catalogues  are  easier  to  reach  by 


those  seated.  For  catalogues  on  com- 
puter, auditory  and  large-print  direc- 
tions should  be  available  on  request. 


Other  Site  Elements 

LANDSCAPE  AREAS 

Landscape  can  be  functional  as  well  as 
aesthetic.  Lawns,  shrub  borders  and 
trees  can  be  designed  to  promote  play, 
socialization,  relaxation  or  other  learn- 
ing experiences.  These  elements  can 
also  be  used  to  define  areas,  provide 
shelter  and  shade,  and  reduce  back- 
ground or  traffic  noise  levels. 

Landscape  areas  can  serve  as  buffers  that 
separate  pedestrian  traffic  from  vehicu- 
lar traffic,  creating  a  safe  zone  for 
pedestrians.  Additionally,  they  provide 
locations  for  signage  with  a  natural 
buffer  around  the  pole,  so  persons  with 
limited  vision  or  attention  span  are  less 
likely  to  bump  or  walk  into  the  pole 
(Figure  24). 

Select,  locate  and  maintain  plants  and 
trees  to  minimize  protruding  objects  and 
maximize  lines  of  sight.  For  example, 
trees  should  be  located  3'— 4'  from  a 
walkway.  Branches  should  be  pruned  so 


they  do  not  hang  lower  than  80"  above  a 
walkway  as  they  pose  a  danger  to  people 
with  limited  or  no  vision.  Walkways 
should  be  swept  regularly  to  remove 
fallen  debris  such  as  leaves,  seedpods, 
twigs  and  small  branches. 

Earth  berms  should  not  be  more  than  3 
feet  high  so  a  seated  person  (such  as  in  a 
wheelchair)  can  see  over  them. 

EDGED  WALKWAYS 

Raised  edging  along  walkways,  espe- 
cially between  the  walkway  and  a  soft 
surface  such  as  grass  or  landscaping,  can 
help  keep  wheelchairs  from  slipping  off 
the  walk. 

BARRIERS 

Ensure  that  barriers  are  clearly  visible. 
Chains  should  not  be  used  adjacent  to 
landscape  areas  because  they  are  diffi- 
cult for  those  with  limited  vision  to  see 
(due  to  the  lack  of  contrast),  and  are 
not  easily  detected  by  a  cane. 

SITE  FURNITURE 

Place  site  furniture  next  to  walkways. 
Turnouts  with  a  space  adjacent  to  a 
bench  allow  for  wheelchairs  to  move 
subtly  off  the  path  and  transfer  onto  the 


SCHOOLS  (K-12)     409 


Figure  24.  Landscaping  serves  as  a 
protective  buffer  around  a  sign  pole  or 
tall  tree. 


bench  or  sit  next  to  a  friend  who  is  on 
the  bench. 

Seating  (benches  or  chairs)  should  be 
located  so  there  is  clear  space  in  front  of 


the  bench  to  accommodate  people's  feet 
without  impeding  the  adjacent  walkway 
and  path  of  travel . 

Pavement  that  surrounds  site  furniture 
should  be  accessible:  smooth,  yet 
slip -resistant.  The  pavement  could  be 
designed  with  a  different  color  to  alert 
people  with  limited  vision  that  furni- 
ture or  other  elements  are  located  in 
this  area. 

EXTERIOR  LIGHTING 

Lighting  helps  increase  safety  and 
security  on  school  sites  and  provides 
illumination  for  evening  events.  Along 
pedestrian  walkways,  light  fixtures 
should  be  located  to  provide  even  illu- 
mination rather  than  pools  of  light  with 


dark  stretches  between.  Lighting  is 
especially  critical  in  these  areas: 

■  Entrances 

■  Locations  where  there  are  abrupt 
changes  in  grade  or  levels 

■  Areas  where  there  are  automobiles 
such  as  driveway  entrances,  parking 
lots,  transit  stops  and  loading  zones 

■  Circulation  routes  such  as  pathways, 
ramps,  walkways,  crosswalks  and 
curb  ramps 


4IO        INCLUSIVE    DESIGN    GUIDELINES 


I  MUSEUMS 


Autonomous  visits  to  museums  are 
made  possible  by  the  simplicity  and 
precision  of  the  directional  information 

systems. 

SPATIAL  ORGANIZATION 

Simplicity  is  the  key  to  a  successful 
tactile  visit  through  a  museum  as  is  the 
case  for  any  large  facility.  Reduce  the 
number  of  navigational  decisions  to  a 
minimum.  For  example,  a  straight  line 
is  easy  for  visitors  to  follow,  but  an 
itinerary  with  sculptures  placed  in  a 
"treelike"  pattern,  especially  involving 
more  than  one  room,  is  difficult. 

If  the  museography  can  be  redone, 
arrange  the  art  pieces  in  straight  rows. 
If  the  art  cannot  be  moved,  select 
pieces  for  the  tactile  itinerary  that  will 
allow  visitors  to  follow  a  simplified 
route  if  desired.  Use  a  tactile  map,  as 
shown  in  the  Valenciennes  case  study, 
(see  "Rediscovering  the  Touch  of  Art: 
Musees  des  Beaux  Arts,"  page  105)  and 


Braille  instructions,  as  well  as  audio 
information  that  all  visitors  can  use. 

NAVIGATIONAL  AIDS 

Three  navigational  elements  should  be 
used  at  the  entrance  to  each  gallery: 
tactile  maps,  Braille  signs  and  audio 
programs. 

Be  precise  about  how  to  move  through 
the  room  by  describing  the  number  of 
paces  and  angles.  Explain  angle  orienta- 
tion with  the  times  on  a  clock  face  (e.g. , 
2  o'clock,  3  o'clock,  etc.).  Present 
distances  in  paces.  For  example:  "The 
elevators  are  straight  ahead,  ten  paces." 
If  possible,  use  a  continuous  handrail 
and  send  visitors  from  the  rail  to  the  art 
pieces,  stating  exactly  how  many  paces 
to  take  and  whether  they  should  turn.  If 
a  continuous  rail  is  not  feasible,  simplify 
the  tactile  itinerary  route  as  much  as 
possible. 


FLOOR  MARKINGS 

Tactile  floor  markings  are  an  excellent 
method  for  directing  people  with 
visual  impairments.  They  can  be  made 
of  different  materials  than  the  floor, 
such  as  fiberglass  or  granite,  with  a 
rugged  surface  or  a  raised  edge,  and 
when  possible,  they  can  be  in  bright  or 
contrasting  colors.  Marks  should  be 
about  six  inches  apart  so  people  can 
follow  them  or  tap  them  with  their 
canes. 

SIGNAGE 

ADA  regulations  in  the  United  States 
include  signs  that  identify  permanent 
spaces  such  as  stairways  and  room 
numbers.  To  achieve  a  truly  unified 
system,  every  sign  in  the  facility  must 
be  considered,  including  the  means  by 
which  people  are  directed  to  reach  the 
signs.  Children,  the  elderly  and  people 


MUSEUMS 


41  I 


in  wheelchairs  need  to  be  able  to  move 
up  next  to  the  sign  to  touch  or  read  it, 
without  being  in  the  way  of  traffic  or 
doors. 

PEDESTALS 

Pedestals  with  signage  not  only  enhance 
the  sculpture,  but  also  facilitate  their 
discovery.  The  pedestal  height  must  be 
adapted  to  the  scale  of  the  artwork,  but 
ideally,  the  height  should  be  no  lower 
than  32"  and  no  higher  than  48". To 
eliminate  the  challenge  of  searching  for 
information  on  an  adjacent  wall,  the 


Braille  and  text  should  be  incorporated 
into  the  pedestal  design.  The  informa- 
tion should  be  presented  on  a  slanted  or 
horizontal  surface,  as  reading  Braille  on 
a  vertical  surface  is  uncomfortable  for 
the  wrist.  The  text  color  should  contrast 
with  the  background,  which  must  be  a 
non-glaring  surface.  Tactile  signs  take 
longer  to  read  than  Braille,  so  the  words 
must  be  short  so  readers  don't  lose 
their  place.  Typeface  size  should  be  at 
least  24  point. 


4-12        INCLUSIVE    DESIGN     GUIDELINES 


CHILDREN'S  ZOOS 


Three  overall  design  parameters  relate 
to  children's  zoos  in  general,  as  well 
as  to  other  types  of  non-formal  educa- 
tional institutions  that  also  target 
children  and  families  (such  as  botanical 
gardens  and  children's  museums,  if  they 
have  a  central  focus  on  nature  and 
learning) . 

A  children's  zoo  is  about  immersion  in 
nature.  This  means  literally  being  sur- 
rounded and  engulfed  by  touchable, 
smellable,  visible,  audible  nature.  This  is 
the  crucial  motivational  dimension  for 
children.  To  be  active  and  rewarding,  a 
zoo  must  be  a  place  for  hands-on 
experiences  with  nature. 

A  children's  zoo  is  a  non-formal  educa- 
tional facility.  Its  environment  must 
express  and  reinforce  the  zoo's  educa- 
tional mission  and  means  of  delivery. 
The  Hamill  Family  Play  Zoo  (see 
"Growing  Caring  Children:  Explore!  A 
Child's  Nature," page  111)  has  an  exten- 
sively researched  and  well-articulated 


educational  mission,  which  is  to  foster  a 
love  for  animals  and  nature  in  children 
early  in  life.  The  chosen  strategy  is  man- 
ifested through  play  in  a  nature-rich, 
playful  environment  facilitated  by 
trained  play  staff.  Other  children's  zoos 
may  choose  different  strategies;  how- 
ever, given  the  wealth  of  research  about 
nature  and  children,  it  is  difficult  to 
imagine  any  strategy  being  effective  in 
an  environment  where  live  nature  is  not 
dominant. 

A  children's  zoo  contains  a  mix  of  indoor 
and  outdoor  spaces.  These  can  take  many 
forms  according  to  the  size  and  shape  of 
the  site,  whether  the  facility  is  new  con- 
struction or  a  renovation  (or  both) , 
budgetary  constraints,  and  other  factors. 
The  normal  distinction  between  indoors 
and  outdoors  is  whether  or  not  the 
space  is  air-conditioned. This  leaves  out 
a  realm  of  intermediate  space  that  is 
neither  fully  outdoors  nor  indoors. 
Examples  include  pavilions,  gazebos, 
covered  decks  and  porches,  open 


corridors,  walkways,  pergolas — spaces 
that  accommodate  activity  settings,  pro- 
vide gathering  areas,  make  transition 
zones  between  indoors  and  outdoors, 
and  increase  the  feeling  of  being 
immersed  in  nature.  To  design  effective 
environments  in  these  terms,  close  col- 
laboration between  architects,  landscape 
architects  and  other  design  disciplines  is 
required.  This  is  fundamental  to  success. 

INDOORS  AND  OUTDOORS 

A  children's  zoo  should  contain  a  vari- 
ety of  relationships  between  indoors  and 
outdoors  to: 

m  Increase  climatic  adaptability  and 
usability  year-round 

■  Increase  activity  options  for  a  broader 
range  of  user  groups,  particularly 
those  who  must  rest  frequently  in  the 
shade,  cool  or  warmth  because  they 
have  a  low  tolerance  for  extreme 
weather  conditions  and /or  a  low 
threshold  for  fatigue 


CHILDREN'S  ZOOS       413 


:  Increase  program  flexibility  by  provid- 
ing ad  hoc  activity  stations 

Increase  closeness  to  nature  by  provid- 
ing a  "fine  grain"  mix  of  indoor,  out- 
door and  intermediate  spaces 

FACILITY  APPROACH 

A  children's  zoo  is  likely  to  be  part  of  a 
larger  facility,  typically  developed  as  a 
low -density  site  with  relatively  large 
spaces  between  indoor  facilities.  Visitors 
will  approach  the  children's  zoo  facility 
from  a  distance.  As  they  approach: 

The  feel  of  living  nature  must  be 
dominant,  ideally  achieved  by  a  vari- 
ety of  plantings  or  trees,  perennials 
and  possibly  annual  plantings. 

:  Messages  about  the  mission  and /or 
themes  of  the  children's  zoo  should 
be  presented  in  a  friendly  style  using 
a  variety  of  means  (banners,  boards, 
flags,  paving  inscriptions,  archways, 
etc.). 

FACILITY  ENTRY 

A  children's  zoo  entry  should  feel 
friendly,  inviting  and  fun. 

■  Design  elements  such  as  gates, 
arches,  pergolas  and  ticket  counters 
should  be  child-scale. 


m  Clearly  detailed  wayfinding  should  be 
provided  to  ensure  that  visitors  of  all 
ages  are  made  aware  of  the  choices 
that  lie  ahead. 

c  Motorized  vehicles  and  vehicle  spaces 
(except  visitor  shuttles)  should  not  be 
present  in  the  facility  entry  zone. 

BUILDING  ENTRY 

Similar  to  the  facility  entry,  the  building 
entry  should  be  inviting,  friendly  and 
easily  accessible. 

If  ADA  ramps  are  required,  they 
should  be  designed  as  an  integral 
part  of  the  entry  landscape  and  not 
perceived  as  a  separate  element. 

If  possible,  providepower  doors  for 
ease  of  ingress  and  egress  for  care- 
givers with  hands  full  and  for  young 
children  unable  to  open  heavy  doors. 

~  In  cold  climates,  provide  an  airlock 
with  a  double  set  of  power  doors. 

s  Provide  stroller  parking,  preferably 
just  before  the  building  entry  in  a 
covered  area  or  just  after  the  building 
entry. 

■  Lockers  and /or  clothes  hooks  should 
be  provided  to  leave  unwanted  per- 
sonal possessions  such  as  clothing 
during  the  visit. 


WAYFINDING 

Wayfinding  should  be  considered  an 
integral  part  of  the  design. 

■  It  should  be  executed  via  a  primary 
circulation  system  (accessible  route) 
with  a  simple  form  (e.g.,  circular  or 
linear),  limited  branching  (not  more 
than  4-way  at  any  primary  node),  and 
cul-de-sac  settings  (entry  and  exit  at 
the  same  point). 

Use  a  system  of  landmarks  (e.g., 
totems,  signage,  repeated  design 
feature  such  as  seating,  etc.)  to  mark 
major  and  minor  nodal  points  and 
setting  points  of  entry  and  exit. 

Wayfinding  signage  should  follow  a 
graphic  standard  and  consistent 
location  within  the  facility — inside 
and  outside. 

Place  names  indicating  different 
settings  within  the  zoo  may  use 
customized  type  faces.  Titles  should 
function  as  visual  landmarks:  type 
should  be  bold,  with  strong  figure/ 
ground  contrast,  and  contain  no 
more  than  three  words  per  title. 

c  Create  aural,  tactile  and  olfactory 
cues,  for  example,  by  using  chimes, 
bells,  gongs,  etc.,  and  variations  in 
paving  textures  and  patterns,  hanging 
textiles,  fragrant  plants,  etc. 

■  Locate  windows  to  exhibit  particular 
views  and  outdoor  view  frames  to 
direct  attention. 


414       INCLUSIVE    DESIGN    GUIDELINES 


CIRCULATION/PATHWAYS 

The  structure  of  the  circulation  system 
and  pathway  hierarchy  mirror  and  sup- 
port clear  wayfinding. 

■  Indoors,  the  primary  circulation 
should  follow  a  clearly  and  consis- 
tently identified  spine  (accessible 
route).  In  the  Hamill  Family  Play  Zoo 
and  Play  Gardens  (see  "Growing 
Caring  Children:  Explore!  A  Child's 
Nature"),  the  circulation  system  was 
extremely  simple — a  loop  around  the 
central  mountain,  with  individual  set- 
tings immediately  off  it — like  stores 
on  an  airport  concourse.  In  another 
facility,  the  next  level  of  complexity 
could  be  several  such  "loops,"  always 
returning  to  a  central  meeting  point. 
The  most  important  principle  for 
user  comfort  is  that  the  geometry 
should  have  a  cognitively  memorable 
form. 

■  Outdoors,  the  same  principle  applies, 
that  is,  a  primary  circulation  (accessi- 
ble) route  should  connect  directly  to 
all  activity  settings,  ensuring  that  the 
whole  site  is  accessible.  Primary  path- 
ways should  have  a  strong  identity 
through  consistent  visual  treatment 
such  as  tinted  concrete,  inlaid  animal 
footprints  or  other  appropriate  deco- 
rative motifs. 


As  primary  pathways  are  designed  to 
take  the  highest  traffic,  especially  on  the 
busiest  days,  they  should  be  the  widest. 
They  should  have  shady  seating  oppor- 
tunities such  as  benches,  sitting  walls 
and  tree  stumps  at  frequent  intervals. 
Lighting  levels  should  be  the  highest. 
Drinking  fountains  should  be  located  on 
primary  pathways.  They  can  be  associ- 
ated with  sitting  areas  as  landmarks. 

Outdoors  is  a  more  extensive  environ- 
ment than  indoors  and  therefore 
provides  opportunities  for  secondary 
and  even  tertiary  pathways.  Often, 
secondary  pathways  are  necessary  to 
connect  subsettings  or  to  provide  access 
within  the  subsetting  (e.g.,  the  walkway 
though  the  Play  Zoo  Bug  Walk). 
Secondary  pathways  should  be  wheel- 
chair accessible  if  possible. 

The  tertiary  pathways  in  the  Play 
Gardens  are  designed  as  "secret  path- 
ways"— small  loops  connected  to  a 
primary  or  secondary  pathway.  The 
narrow,  woodchip-surfaced  pathway 
through  the  forest  maze  is  an  example 
of  a  natural  path  that  can  still  be  accessi- 
ble to  a  manual  wheelchair  user  with 
help,  although  it  does  not  meet  the 
ADA  requirements. 


INDOOR  ACTIVITY  SETTINGS 

Ensuring  that  there  is  sufficient  space, 
but  not  too  much,  for  visitors  within 
settings  is  a  challenging  issue.  There  is  a 
tendency  in  the  design  of  children's 
environments  to  oversize  them  by  over- 
estimating the  space  required  for  chil- 
dren's activities  or  by  assuming  children 
need  lots  of  space  because  they  are 
going  to  be  running  around.  But  this 
does  not  happen  if  children  are 
engaged,  i.e.,  if  the  exhibits  are 
designed  to  respond  to  their  interest. 
Play  does  not  need  to  be  boisterous  to 
be  effective. 

A  key  issue  is  to  ensure  sufficient  space 
for  periodic  wheelchair  users  or  a 
permanent  staff  wheelchair  user.  The 
most  effective  strategy  is  to  ensure 
flexibility  by  designing  as  many 
elements  as  possible  to  be  movable. 
Spaces  can  be  reconfigured  or  adjusted 
to  accommodate  wheelchair  space. 
Reach  range  is  not  such  an  issue  since 
the  reach  of  young  children  and  wheel- 
chair users  is  similar. 

OUTDOOR  ACTIVITY  SETTINGS 

Depending  on  the  setting,  universal 
design  considerations  may  be  major  or 


CHILDREN'S  ZOOS       415 


minor  issues.  Topographic  change  in 
level  can  be  challenging.  Sometimes  an 
asphalted  path  up  a  hill  would  be  too 
expensive  and  result  in  erosion  and 
drainage  issues.  Try  a  decomposed  gran- 
ite, woodchip  or  dirt  trail.  This  type  of 
trail  is  not  ADA  compliant,  but  with 
help,  manual  chair  users  can  get  to  the 
top  of  a  hill,  while  power  chair  users 
can  make  the  trip  independently. 

Water  features  designed  at  ground  level 
can  be  problematic  for  wheelchair 
users.  Parts  of  a  stream  can  be  elevated 
to  enable  wheelchair  users  to  make 
contact  with  the  water  and  possibly  to 
transfer  to  get  their  feet  into  it. 
Elevated  or  partially  elevated  water 
features  are  more  universal  as  they 
allow  young  children  to  play  in  the 
water  with  their  hands,  even  when  the 


weather  is  not  warm  enough  to  get  wet. 
Elevation  also  makes  it  much  easier  for 
caregivers  to  join  in  the  play. 

BALANCING  SUN  AND  SHADE 

In  the  context  of  a  facility  such  as  a  play 
zoo,  shade  is  a  subtle  universal  design 
variable.  Visitor  comfort  and  protection 
from  the  sun  must  be  balanced  with  full 
sun  requirements  of  many  of  the  most 
vigorous,  showy  perennials  that  are 
there  to  attract  visitors.  Large  shade 
trees  usually  cast  shade  over  too  wide  an 
area,  which  reduces  the  diversity  of 
understory  plantings. 

Small  pockets  of  shade  or  semi-shade 
work  best,  so  full  exposure  to  the  sun  is 
not  long  enough  to  raise  visitor  body 
temperatures  to  uncomfortable  levels. 


Shade  relief  is  always  just  a  few  steps 
away.  This  is  especially  important  for 
individuals  who  must  walk  slowly  (eld- 
erly, sight  impaired,  walker  users)  or 
manual  wheelchair  users.  Shade  pockets 
can  be  provided  by  small  trees,  large 
shrubs,  trellises,  pergolas,  arbors,  and 
bowers  or  manufactured  shade  struc- 
tures. A  wide  variety  of  attractive  textile 
shade  structures  are  available.  They  can 
be  installed  as  a  temporary  measure 
until  natural  shade  is  established  or 
designed  as  permanent  features. 

Install  water  misters  in  several  locations 
for  use  during  the  hottest  time  of  the 
year.  Kids  love  to  stand  under  them,  and 
even  adults  find  relief  from  the  sun.  And 
for  the  landscape,  they  can  supplement 
irrigation  quite  nicely. 


416        INCLUSIVE    DESIGN    GUIDELINES 


PLAY  AREAS 


A  quality  play  area  is  more  than  just  a 
collection  of  play  equipment.  It  is  a 
place  for  play  and  learning — a  place 
where  children  develop  essential 
physical,  social  and  cognitive  skills, 
where  different  generations  share 
common  experiences,  and  where  com- 
munity members  gather  and  build 
relationships. 

Play  areas  should  support  a  range  of 
both  mental  and  physical  challenges. 
Well-designed  play  areas  provide  access 
for  a  person  to  physically  arrive  at  a  play 
element,  interact  socially  and  choose 
whether  to  do  an  activity  on  or  at  the 
play  element. 

Play  areas  are  heavily  regulated  by 
safety  and  accessibility  codes.  The 
guidelines  described  here  emphasize 
inclusive  planning  and  design  principles 
based  on  the  assumption  that  compli- 
ance with  all  applicable  codes  and  regu- 
lations will  be  achieved. 


PUBLIC  PARTICIPATION 

Public  park  design  must  consider  the 
needs  of  children  with  and  without 
disabilities,  adults  with  disabilities  and 
the  elderly.  Site  analysis  and  planning 
should  include  surveys  to  identify  any 
physical  and  perceptual  barriers  to 
accessibility. 

m  Community  workshops  that  bring 
together  a  park's  various  constituent 
groups  can  help  assess  needs  and 
involve  people  in  the  design  process. 
First,  ask  the  group  to  define  the  term 
"people  with  special  needs"  so  that 
everyone  understands  the  variety  of 
abilities  and  disabilities,  and  the  level 
to  which  people's  needs  are  being 
met. 

■  Second,  ask  the  group  to  walk  the 
park  site,  using  maps  to  identify 
opportunities  and  constraints  for 
accessibility.  Individuals  should 
observe  and  note  physical  accessibility 
(i.e.,  slope,  path  width,  drop-off  area, 
proximity  to  restrooms,  access  to 
equipment,  activity  and  natural  areas, 


etc.),  program  accessibility  (for  use  by 
people  with  a  range  of  abilities)  and 
communication  accessibility  (i.e., 
maps  and  signs,  telecommunication 
devices  for  the  hearing  impaired  and 
wayfinding) . 

Discussion  at  community  meetings  may 
also  lead  to  the  identification  of  place- 
based  themes  when  held  in  the  early 
stages  of  the  planning  and  design 
process.  Designers  should  ask  about  the 
historical,  cultural  and  natural  elements 
that  are  meaningful  to  people  and  that 
invoke  pride  of  place.  The  theme  can  be 
developed  using  these  aspects  of  a 
community,  helping  to  make  the  park 
distinctive  and,  at  the  same  time,  pro- 
viding an  ongoing  education  about  the 
place  in  which  people  live.  For  example, 
at  Ibach  Park  in  Tualatin,  Oregon,  the 
play  environment  draws  on  the  natural 
and  cultural  history  of  the  area  by 
including  a  Mastodon  rib  cage  climber,  a 
climbing  meteor,  Native  American 
Indian  petroglyphs  carved  into  the  sand 
play  area,  and  a  stylized  river  that  runs 


PLAY  AREAS       4  1  7 


through  the  park — historical  elements 
that  have  been  adapted  and  interpreted 
for  this  contemporary  setting. 

CHILDREN'S  INVOLVEMENT 

A  children's  design  workshop  is  an 
excellent  way  to  gather  information 
directly  from  one  of  the  primary  users 
of  the  park,  especially  regarding  the 
imaginative  play  opportunities  that  pro- 
vide the  context  for  manufactured  play 
equipment.  Children's  ideas  can  be 
drawn  out  creatively  by  asking  kids  to 
build  models  or  draw  pictures  of  an 
ideal  park  (Figure  25),  selecting  their 
favorite  idea  using  photos  of  different 
environments  or  telling  a  story  to  a 
"park  reporter." 

To  recruit  children  who  use  or  may  use 
the  park,  post  flyers  or  set  up  a  booth  at 


Figure  25.  Children  can  construct  simple 
models  using  preconstructed  elements  to 
convey  their  ideas  for  a  park's  design. 


the  park  itself,  make  announcements  at 
nearby  schools  or  local  youth  groups, 
and  authorize  youth  to  invite  or  speak 
to  their  friends.  If  an  event  is  not  possi- 
ble, questionnaires  or  surveys  can  be  a 
good,  quick  way  to  get  input  on  what 
children  would  like  or  dislike  in  a  park. 

SOCIAL  ACCESSIBILITY 

Play  areas  must  make  the  social  experi- 
ence accessible  to  all.  Children,  includ- 
ing those  with  disabilities,  can  interact 
in  many  ways.  Placing  less  challenging 
activities  next  to  those  that  are  more 
physically  challenging  encourages  inter- 
action across  all  ability  levels.  Providing 
access  to  a  featured  play  structure  by 
using  synthetic  or  rubberized  safety 
surfacing  allows  a  wheelchair  to  roll 
right  up  to,  through  and  underneath  the 
structure  so  that  a  child  can  be  in  the 
center  of  action. 

ACCESSIBLE  ROUTES 

An  accessible  route  should  connect 
every  activity  and  accessible  play  com- 
ponent in  the  play  area.  The  route 
provides  children  with  an  opportunity 
and  allows  choice  and  integration  with 
others.  It  can  be  designed  to  be  a  play 


experience  in  itself,  such  as  a  pathway 
that  supports  wheeled  toys, 
games  and  exploration. 


running 


SETTINGS 

Provide  a  variety  of  settings  and  diverse 
play  opportunities  within  the  settings. 
Inclusive  design  addresses  a  variety  of 
interests,  senses  and  skills.  Settings 
should  incorporate  a  diversity  of  ele- 
ments so  children  have  choices.  Provide 
a  range  of  settings  that  address  func- 
tional needs  as  well  as  play  opportunities 
as  described  throughout  this  section. 

ENTRANCES 

Entrances  help  orient  and  inform  play 
area  users,  introducing  them  to  the  site. 
Entrances  are  transition  zones,  places 
for  congregating  and  areas  for  posting 
local  information. 

The  entrance  should  convey  the 
message:  "All  users  are  welcome." 

PATHWAYS 

Pathways  can  be  designed  to  create 
different  play  behaviors  and  experi- 
ences. Consider  pathways  as  play 
elements,  supporting  wheeled  toy 


418        INCLUSIVE    DESIGN     GUIDELINES 


activity  and  running  games,  as  well  as 
opportunities  for  exploration.  Pathway 
patterns  set  the  tone:  they  can  be  wide 
with  small  branches,  long  and  straight, 
or  circuitous  and  meandering.  They 
can  wind  through  trees  or  lead  directly 
to  a  primary  destination.  A  pathway 
can  be  enhanced  for  play  if  it  has 
unique  items  embedded  into  it  such  as 
colorful  mosaic  tiles,  stamped  animal 
tracks,  leaf  impressions,  letters  or 
numbers.  Access  throughout  the  area 
must  be  provided  for  all  children  with- 
out creating  hazards  (for  example, 
don't  design  access  ramps  that  double 
as  skateboard  ramps).  Synthetic  surfac- 
ing will  allow  wheelchair  access  along- 
side, under  and  through  equipment 
and  different  areas. 

FENCES  AND  ENCLOSURES 

Boundaries  are  not  only  safety  devices; 
they  differentiate  the  children's  play  area 
from  other  areas  within  a  park  or  urban 
area. They  help  children  orient  them- 
selves to  the  places  designed  for  them. 
Fences  and  enclosures  can  be  used  to 
define  spaces,  protect  planted  areas  or 
fragile  environments  and  define  path- 
ways. Fences  and  enclosures  can  also 
enhance  social  settings  (Figure  26):  a 


Figure  26.  Fences  can  define  areas  for 
social  interaction. 


nook  in  a  fence  creates  a  small  gathering 
space;  a  hole  in  a  fence  creates  a 
passageway. 

SIGNAGE 

A  combination  of  text,  color,  form,  pic- 
tures, graphics  and  tactile  qualities  make 
signs — and  the  park — more  accessible 
(Figure  27).  Graphics  and  tactile  infor- 
mation, such  as  Braille,  should  be  placed 
at  a  child's  level.  For  young  children, 
tilted  signs  should  be  approximately 
24—30"  above  the  ground,  or  if  vertical, 
about  36^-2"  high.   Consider  anthropo- 
metric data  for  the  primary  user.  For 
example,  average  eye  level  for  a  stand- 


Figure  27.  Informational  and  identification 
signs  should  be  placed  at  a  child's  level. 


ing  six  year  old  in  the  U.S.  is  about  41 ", 
and  about  38"  for  a  five  year  old  in  a 
wheelchair. 

PLAY  EQUIPMENT 

Play  equipment  offers  unique  experi- 
ences such  as  swinging  and  sliding,  and 
activities  that  require  large -muscle 
coordination.  Equipment  also  supports 
nonphysical  aspects  of  child  develop- 
ment. It  allows  children  to  experience 
height  and  can  serve  as  wayfinding  and 
landmarks  for  orientation.  Equipment 
also  becomes  a  gathering  place  for  social 
interaction — a  place  to  display  skills, 
hide,  chase  and  practice  sharing.  The 
small,  semi-private  places  on  or  under 
equipment  and  themed  elements  such 
as  steering  wheels,  windows  and 
counter  tops  encourage  a  quieter  social 
and  dramatic  play.  Allowing  children 


PLAY  AREAS       4|  9 


with  disabilities  to  get  into  the  middle 
of  the  action  is  as  important  as  being 
able  to  reach  the  highest  point. 

MULTIPURPOSE  GAME  AREAS 

Flat  open  spaces,  either  a  hard  court  or 
soft  groundcover  such  as  turf,  are  valu- 
able spaces  for  large  group  games,  ball 
games  and  team  sports.  Hard  surfaces 
also  accommodate  wheelchair  access 
very  well. 


LAND  FORMS  AND  TOPOGRAPHY 

Topographic  variety  stimulates  imagi- 
native and  creative  play.  Children  use 
hills  to  create  hide  and  seek  games, 
develop  orientation  skills,  roll,  climb 
and  jump.  High  points  or  summits 
should  be  made  accessible  to  wheel- 
chairs and  provide  support  to  children 
with  other  disabilities. 


Figure  28.  A  small  grove  of  trees  becomes  a  "forest"  for  children's  play. 


TREES  AND  VEGETATION 

Vegetation  and  trees  provide  sensory 
stimulation  that  cannot  be  replicated  by 
manufactured  materials.  Children  use 
natural  materials  as  backdrops  and 
props  in  fantasy  play  (for  example,  trees 
become  a  magic  forest  and  sticks 
become  horses),  and  in  cognitive  activi- 
ties (for  example,  counting  and  compar- 
ing, etc.).  If  trees  and  vegetation  are 
used  as  a  specific  play  feature,  provide  a 
means  of  access  to  and  around  the  natu- 
ral elements  (Figure  28). Tree  grates 
and  other  site  furniture  can  support  and 
enhance  use  by  persons  in  wheelchairs 
and  those  using  other  mobility  devices. 

GARDENS 

Gardens  enhance  the  multi-sensory 
experience  in  a  play  area  through  the 
visual,  scented,  sound,  taste  and  tactile 
qualities  of  the  plantings.  Gardens 
should  be  made  accessible  by  providing 
at  least  one  garden  bed  in  an  area  that  is 
raised  above  the  ground  surface  with 
adequate  circulation  around  it.  This  not 
only  makes  it  so  that  persons  in  wheel- 
chairs can  garden,  it's  good  for  teachers 
and  adults  who  have  trouble  bending 
over  and  reaching  down. 


420      INCLUSIVE    DESIGN    GUIDELINES 


ANIMAL  HABITATS 

Children  develop  responsibility  by 
caring  for  other  living  things.  Often, 
children  in  urban  areas  haven't  had 
much  contact  with  natural  animal  habi- 
tats. Plantings,  feeders  and  birdhouses 
can  attract  insect  and  bird  life.  Contact 
with  or  observation  of  wildlife  and 
domestic  animals  produces  a  therapeutic 
effect  and  offers  learning  opportunities. 
Animal  habitats  should  offer  adequate 
protection  for  the  animals  and  all  users. 

WATER  PLAY 

Water  is  a  universal  play  material 
because  it  can  be  manipulated  in  so 
many  ways.  Children  can  splash  and 
pour  it,  float  objects  in  it,  and  use  it  to 
mold  dirt  or  sand.  At  least  a  portion  of 
water  play  areas  must  be  wheelchair 


accessible.  Water  sources  and  courses 
can  be  raised  to  allow  children  to  roll 
up  to  and  access  the  water  (Figure  29). 

SAND  PLAY 

Children  will  play  in  dirt  wherever  they 
can  find  it;  a  sandbox,  essentially  a 
structural  version  of  plain  old  dirt, 
works  best  if  it  retains  some  natural  dirt 


play  qualities  including  small  rocks  and 
twigs.  Sand  play  areas  can  be  made 
accessible  through  raised  areas  so  that 
wheelchairs  can  roll  up  to  the  sand  and 
children  can  place  their  hands  in  the 
sand's  surface  (Figure  30).  If  children 
are  allowed  to  get  into  the  sand  with 
their  whole  bodies  in  a  digging  area,  a 


Figure  29.  Water  tables  provide  access  for 
children  using  wheelchairs;  there  are  many 
design  alternatives. 


Figure  30.  Elevated  sand  areas  allow  children  in  wheelchairs  to  play.  Natural  elements  such 
as  logs  and  boulders  add  interest  and  aid  in  transfer  into  sand  play  area. 


PLAY  AREAS       42 


Figure  31.  A  defined  space  with  a  wall  and 
seating  can  become  a  stage  for  dramatic 

play- 


transfer  system  should  be  provided  so 
that  children  can  get  down  into  the  sand 
for  play.  A  place  within  the  sand  area 
should  be  provided  so  a  person  can  rest 
or  lean  against  a  firm,  stationary  back 
support  in  close  proximity  to  the  main 
activity  area. 

LOOSE  PARTS 

Children  love  to  manipulate  their  envi- 
ronment. Being  able  to  do  so  builds 
fine-motor,  social  and  cognitive  skills, 
and  provides  opportunities  to  practice 
independence,  self-control  and  manage- 
ment. Found  objects  such  as  stones, 
sticks,  bottle  caps  and  popsicle  sticks 
and  plant  parts,  and  larger  manufac- 
tured items  such  as  blocks,  dress-up 
clothing  and  wheeled  toys  can  enhance 


play  and  social  interaction.  These  items 
are  relatively  accessible. 

GATHERING  PLACES 

Gathering  places  should  be  designed  to 
promote  social  interaction  and  accom- 
modate various  size  groups.  A  portion 
of  gathering  places  within  a  play  area 
should  be  located  adjacent  to  an  accessi- 
ble route  with  an  accessible  ground 
surface.  Elements  within  the  gathering 
space  should  offer  variety  (in  type  and 
arrangement)  and  support  for  play,  eat- 
ing, watching,  talking  or  congregating 
for  an  activity.  Some  of  the  seating 
should  be  without  backs,  and  tables  or 
game  tables  should  include  an  accessible 
space  on  one  side. 

PERFORMANCE  PLACE 

An  informal  stage  can  provide  a  place 
for  storytelling,  impromptu  perform- 
ances or  group  productions,  adding 
another  dimension  to  play,  and  often 
serving  as  a  focus  for  community 
gatherings  (Figure  31).  Provide  a  well- 
defined  stage,  which  may  be  slightly  ele- 
vated, and  if  possible  an  adjacent  "prep" 
space.  An  accessible  route  to  the  stage 
area  and  the  elevated  stage  itself,  as 
well  as  accessible  audience  seating  is 
required.  Designing  the  space  for 


multiple  uses  extends  its  value  and  inte- 
grates activities  in  the  overall  setting. 

STORAGE 

Storage  facilities  for  play  equipment, 
loose  parts  and  maintenance  tools  should 
be  provided.  Users,  including  employees 
and  children,  should  have  easy  access  to 
these  facilities. 

GROUND  COVERING  AND 
SAFETY  SURFACING 

Soft  and  hard  play  surfaces  support  dif- 
ferent types  of  activities.  Consider  how 
the  ground  covering  and  safety  surfacing 
can  support  the  play  area's  theme.  Turf 
and  natural  ground  covers  support  run- 
ning games,  provide  contact  with  nature 
and  may  encourage  some  amount  of 
wildlife.  Safety  surfacing  comes  in  many 
color  variations,  which  could  be  used  to 
interpret  thematic  elements  such  as 
water,  lily  pads  or  planets.  Rather  than 
simply  providing  access  up  to  a  piece  of 
equipment,  the  surfacing  could  expand 
to  create  forms  that  inspire  dramatic 
play.  Engineered  wood  fiber,  an  accessi- 
ble, shock-absorbing  safety  surface  with 
a  natural  appearance,  could  be  used  to 
support  settings  with  outdoor  themes. 


•422      INCLUSIVE    DESIGN     GUIDELINES 


PLAZAS 


Inclusive  design  seeks  to  make  quality 
space  for  everyone.  The  following 
guidelines  can  be  applied  to  retail  plazas 
and  urban  parks.  The  goal  is  to  create 
public  spaces  that  speak  to  a  wide 
constituency. 

LANDSCAPE 

■  Use  landscape  to  soften  the  edges  of 
buildings  and  street;  landscaping  pro- 
vides a  friendly  feeling. 

■  Provide  lawn  areas  for  sitting  with 
adequate  drainage. 

■  Use  plants  that  have  seasonal  color 
and  interest. 

■  Use  deciduous  shade  trees  in  the  pub- 
He  areas  (to  allow  for  winter  sunlight) . 

3  Use  a  variety  of  plants. 

■  Place  plantings  at  different  levels  so 
all  can  touch,  smell  and  experience 
the  landscape. 

■  Install  quality  plant  materials  to  give 
a  subtle  message  that  the  space  is 
important. 

■  Locate  planters  so  they  create  space 
and  enclose  or  direct  movement. 

■  Use  tree  grates  in  paving  to  reduce 
soil  compaction  and  increase  the 
usable  walking  surface  without  com- 


promising tree  health  and  longevity 
(grates  must  be  accessible). 

Provide  a  landscape  maintenance  man- 
ual to  ensure  that  the  intent  of  the 
design  is  maintained  over  time. 

SEATING 

Provide  a  combination  of  movable 
and  permanent  seating. 

Provide  seating  with  and  without 
backs  and  arms  to  increase  choices 
and  accessibility. 

Use  durable  and  well-finished  surfaces 
for  seating  (e.g.,  colored  concrete 
seatwalls,  metal  or  teak  chairs,  etc.) 
and  ensure  that  wheelchair  users  can 
congregate  as  part  of  a  group. 

■  Locate  seating  so  that  there  is  always 
some  in  the  shade. 

■  Arrange  some  seating  at  right  angles 
to  facilitate  conversation. 

■  Locate  seating  along  the  edges  of 
activity  areas  and  settings. 

Q  Allow  lawn  areas  to  be  used  as 
impromptu  seating. 

ENTRYWAYS  AND  CIRCULATION 

■  Use  artificial  or  natural  elements  to 
mark  entries  into  the  space. 


■  Locate  signage  at  entry  ways. 

■  Use  an  entry  or  gateway  feature  to 
direct  people  from  one  space  to 
another. 

■  Use  changes  in  paving  color  and  tex- 
ture to  mark  change  from  street  edge 
to  interior  walks. 

Use  a  change  in  paving  material  and 
color  to  mark  major  entries. 

Make  wide  pedestrian  passageways  for 
people  to  safely  pass  each  other,  includ- 
ing strollers,  toddlers,  the  elderly,  and 
people  using  mobility  devices. 

r  Locate  paths  in  a  route  that  helps  to 
organize  the  space. 

■  Denote  the  hierarchy  of  path  systems 
by  changes  in  material  and  width. 

B  Provide  space  at  pathway  intersections 
for  people  to  gather  without  blocking 
circulation. 

BIKE  PARKING 

■  Locate  sufficient  bike  parking  adja- 
cent to  main  entries. 

■  Connect  bike  lot  to  main  pedestrian 
path  system. 

■  Provide  enough  bike  racks  for  bike 
security  and  to  control  illegal  bike 
parking. 


PLAZAS      423 


Use  landscaping  to  partially  screen 
bike  lots  from  main  activity  areas. 

Provide  lighting  and  shade  at  bike 
parking  areas. 

Provide  two  entries  into  bike  parking 
lots. 


VEHICLE  PARKING 

■  Provide  sufficient  on-street  parking, 
in  addition  to  any  parking  structures 
to  accommodate  people  with  limited 
mobility  so  they  can  park  close  and 
travel  with  relative  ease. 

B  Shade  the  parking  lot;  about  50  per- 
cent shade  is  ideal. 

h  Design  the  parking  lot  so  that  it  does 
not  hinder  safe  pedestrian  travel. 

m  Use  raised  pedestrian  crossings  to 
slow  traffic  in  the  parking  lot  and 
driveway  traffic  and  to  connect 
pedestrian  corridors,  without  creat- 
ing barriers  to  access. 

■  Use  barrier  plantings  to  deter  pedes- 
trians from  walking  through  parking 
medians  and  between  cars. 


VARIETY  OF  SPACES 

r !  Provide  positive  outdoor  spaces  (pos- 
itive spaces  are  partly  enclosed — they 
seem  bounded  even  when  sides  are 
open).  People  tend  to  feel  safer  when 
they  are  partly  surrounded  and  their 
backs  are  protected. 


■  Surround  each  space  with  wings  of 
buildings,  trees,  hedges,  fences, 
arcades  and  trellised  walks. 

■  Provide  a  space  large  enough  for 
community  events,  rallies,  musical 
performances,  etc. 

■  Provide  spaces  where  parents  can  let 
their  children  run  around  and  play 
without  disturbing  shoppers. 

3  Incorporate  a  "stage"  area  into  the 
plaza  paving. 

a  Provide  quieter,  smaller  spaces. 

a  Create  positive  spaces  around  the 
buildings,  using  trees,  seat  walls  and 
hedges  to  create  a  sense  of  enclosure 
and  safety. 

INTANGIBLE  FEATURES 

The  intangible  qualities  of  spaces  are 
often  what  makes  an  open  space 
unique.  "Proximity  of  uses"  addresses 
the  physical  arrangement  of  inside  and 
outside  spaces;  "sacred  spaces"  recog- 
nize the  importance  of  the  commu- 
nity's memory  and  tradition. 

PROXIMITY  OF  USES 

Urban  parks  are  often  bounded  by 
major  traffic  spines  that  link  one  major 
land  use,  such  as  a  city  hall  or  retail 
area,  with  another.  Successful  down- 
towns locate  retail,  restaurants,  copy 


shops,  banks,  offices,  churches,  daycare 
and  housing  in  close  proximity.  This 
same  concept  can  be  applied  to  the  lay- 
out of  activities  in  a  park  or  plaza.  A 
central  lawn  can  be  the  spine,  with  dif- 
ferent "rooms"  and  paths  located  on  its 
edges.  This  proximity  of  uses,  both  on 
the  exterior  and  the  interior,  makes  a 
place  for  everyone.  It  creates  excite- 
ment, encourages  social  interaction, 
and  makes  the  place  a  community 
destination. 

SACRED  SPACES 

A  sacred  space  lives  in  the  hearts  and 
minds  of  the  community.  It's  a  place 
where  people  go  for  renewal,  commu- 
nity, connection  and  memory.  It's 
important  to  recognize  the  significance 
of  that  space,  even  if  it  is  not  unique  in 
design:  it  may  be  as  simple  as  a  grove  of 
trees  or  a  fountain.  The  challenge  is  to 
recognize  the  qualities  that  make  the 
space  sacred  and  incorporate  these  into 
expanded  designs  without  altering  their 
fundamental  nature.  The  community 
itself  will  often  provide  the  essential 
direction.  Keep  spaces  simple  and  flexi- 
ble; be  careful  not  to  overbuild,  and 
keep  the  sacred  space  intact. 


424      INCLUSIVE    DESIGN    GUIDELINES 


TRAIL  SYSTEMS 


For  the  most  part,  trails  designed  for  the 
Presidio  of  San  Francisco  are  similar  to 
back  country  settings  and  were  designed 
to  comply  with  Federal  Access  Board 
(Regulatory  Negotiation  Committee 
1 999)  guidelines  for  accessible  trail 
construction  and  trail  rehabilitation, 
rather  than  the  ADA  Accessibility 
Guidelines  (ADAAG)  that  are 
applicable  to  buildings  and  facilities 
(see  "Connecting  Urban  and  Natural 
Settings:  Presidio  Trails  and  Bikeways"). 
A  major  difference  is  that  steeper  slopes 
are  allowed  because  of  the  constraints 
posed  by  the  natural  environment  and 
different  expectations  of  trail  users. 
Since  natural  settings  often  have  a  dual 
mission  of  enhancing  access  to  natural, 
cultural  or  historic  resources  and  at  the 
same  time  protecting  those  resources, 
special  techniques  are  often  required. 

These  design  guidelines  supplement 
local  design  standards,  such  as  those 
published  by  transportation  agencies  for 
bikeways  and  the  Access  Board  guide- 


lines. They  are  intended  for  back  coun- 
try, informal,  park-like  settings  where 
the  natural  environment  predominates 
in  rural,  suburban  or  urban  areas.  The 
guidelines  provide  trail  design  and  con- 
struction techniques  that  promote 
resource  conservation,  enhance  trail 
sustainability  and  maintainability, 
increase  trail  safety,  and  minimize  user 
conflicts.  They  are  not  only  sound  con- 
struction practice,  they  also  enhance 
trail  access  for  people  of  all  abilities. 

ACCESSIBLE  TRAILS 

It  is  not  realistic,  or  desirable  from  a 
visitor  experience  point  of  view,  to 
make  all  trails  accessible  to  all  users. 
Increasing  accessibility  would  not  be 
appropriate  if  doing  so  would: 

■  Cause  substantial  harm  to  cultural, 
historic  or  significant  natural  features 
or  characteristics 

■  Substantially  alter  the  nature  of  the 
setting  or  the  purpose  of  the  trail 


s  Utilize  construction  methods  or 
materials  that  are  prohibited  by  law 

D  Require  technically  infeasible 
solutions  due  to  terrain  or  prevailing 
construction  practices 

If  a  trail  cannot  meet  the  guidelines 
because  of  any  of  the  above  exceptions, 
efforts  should  be  made  to  ensure  that  as 
much  of  the  trail  is  as  accessible  as 
possible.  In  locations  where  trails 
are  not  accessible,  ensure  equivalent 
accessible  trail  experiences. 

PEDESTRIAN  TRAILS 

Providing  variety  and  choice  increases 
access  for  people  of  all  abilities.  A 
system  that  provides  both  primary  and 
secondary  trails,  for  example,  allows  a 
non-athletic  wheelchair  user  or  a  pedes- 
trian who  wants  an  easy  stroll  to  enjoy 
an  excursion  on  a  moderately  wide, 
gentle  path,  while  a  more  adventure- 
some person  would  try  a  narrower, 
steeper  trail. 


TRAIL  SYSTEMS      425 


Accessible  portions  of  pedestrian  trails 
should  comply  with  Access  Board  guide- 
lines for  outdoor  developed  areas.  One 
of  the  chief  distinctions  between 
recreational  trails  and  a  path  of  travel 
governed  by  ADAAG  criteria  for  build- 
ings and  facilities  is  slope.  No  more  than 
30  percent  of  the  total  length  of  a 
designated  accessible  trail  should  exceed 
a  running  slope  of  1 : 1 2  (8.3  percent)  or 
have  a  cross  slope  greater  than  1 :20  (5 
percent).  In  general,  the  running  slope 
of  an  accessible  trail  should  be  less  than 
1 :20  (5  percent).  However,  steeper 
trails  could  be  considered  accessible  in 
the  following  conditions: 

a  Maximum  "running  slope"  (in 
the  direction  of  travel)  of  1 : 1  2 
(8.3  percent)  for  200'  with 
resting  intervals 

■  Maximum  running  slope  of  1 : 1 0 
(10  percent)  for  30'  with  resting 
intervals 

o  Maximum  running  slope  of  1 : 8 
(12.5  percent)  for  10'  with  resting 
intervals  (Figure  32) 

MULTI-USE  TRAILS 

Multi-use  trails  should  meet  all  the 
special  requirements  of  pedestrian 
trails.  Although  steeper  grades  are  per- 


FEATHER  TRANSITION 
TO  ORIGINAL  GRADE 

ORIGINAL  GRADE 


WIDTH  OF  TRAIL  p 12"  SHOULDER 

FOR  ACCESSIBLE  TRAILS)    ^    . 


PROVIDE  ROUND 
EDGE  FOR 
POSITIVE 
DRAINAGE 


TRAIL  SURFACE  VARIES 
BY  LOCATION 


BACK  SLOPE  VARIES 
WITH  ANGLE  OF  REPOSE 
OF  UNDERLYING  SOIL. 
USE  RETAINING  WALL  WHERE 
REQUIRED. 


Figure  32.  Cross  slopes  can  reach  a  maximum  of  5  percent  in  areas  to  increase  drainage. 


mitted,  easy  grades  of  less  than  1 :20  (5 
percent)  are  recommended  to  provide 
greater  accessibility  for  persons  with 
disabilities  and  recreational  bicyclists. 

Typically,  multi-use  trails  are  a  mini- 
mum of  8'  wide.  This  allows  bike  lanes 
with  a  minimum  of  4'  in  each  direction. 
Depending  on  the  number  of  people 
using  the  trail,  the  width  could  be  much 
greater  (Figure  33). 

To  increase  accessibility  for  runners  or 
the  elderly  who  desire  softer  surfaces 


that  minimize  impacts  on  bone  struc- 
ture, provide  soft  surface  pedestrian 
shoulders  on  one  or  both  sides  that  can 
be  used  as  walking  or  running  paths. 

A  typical  multi-use  trail  corridor  might 
then  be  a  minimum  of  1 2'  wide,  assum- 
ing a  minimum  width  hard  surface  and 
2'- wide  soft  surface  shoulders  in  each 
direction.  If  the  multi-use  trail  is  to  be 
used  by  maintenance  vehicles,  a 
minimum  lO'-wide  hard  surface  is 
recommended. 


426      INCLUSIVE    DESIGN     GUIDELINES 


Figure  33.  Multi-use  trails  can  range  from  6  to  10'  wide,  plus  shoulder  width  for  runners 
and  other  users. 


Hardened  surfaces  are  usually  asphalt  or 
granular  aggregate  material  stabilized 
with  a  binder.  Soft  surface  portions  can 
be  fine  granular  stone  (crushed  rock  or 
decomposed  granite). Trails  for  skaters 
should  have  a  smooth,  paved  surface. 

Tread  obstacles  such  as  steps  or  water- 
bars  should  be  avoided  on  multi-use 
trails.  Drainage  grates  generally  should 
be  located  outside  the  trail,  or  designed 
with  small  openings  perpendicular  to 
the  path  of  travel  for  wheelchair  and 
bicycle  safety. 


Figure  34.  If  width  is  a  constraint,  give 
preference  to  uphill  bicycle  lanes,  while 
downhill  bikers  share  the  road  with  cars. 


BIKE  WAYS 

Road  width  constraints  and  volume  of 
traffic  are  the  primary  determinants  for 
the  type  of  on-road  bikeway  provided. 
Where  possible,  provide  striped  bike 
lanes  on  both  sides  of  major  roads. 
Where  road  width  is  a  constraint, 
priority  is  given  to  uphill  bike  lanes 
(Figure  34). 

Although  the  American  Association  of 
State  Highway  and  Transportation 
Officials  (AASHTO)  minimum  width 
for  bikeways  is  4' ,  the  recommended 
minimum  width  for  marked  bike  lanes 
on  each  side  of  the  roadway  should  be  5' 
to  accommodate  a  wider  spectrum  of 
cycling  skill.  Even  wider  lanes  of  6'  or 
more  should  be  considered  in  those 
areas  where  recreational  cyclists 
predominate  to  allow  two  cyclists  to 
ride  side  by  side. 

Some  roadways  and  service  roads  have 
low  traffic  volumes  with  low  speeds. 
If  the  roads  are  appropriately  signed, 
bicyclists  and  autos  can  share  them 
safely  without  marked  bicycle  lanes. 

Most  bikeway  grades  are  the  same  as 
existing  roadway  grades,  which  vary 
from  nearly  flat  to  very  steep. 


TRAIL  SYSTEMS      427 


Therefore,  when  designating  bikeways, 
roadway  topography  should  be  reviewed 
and  routes  chosen  with  gentle  grades, 
preferably  1:20  (5  percent)  or  less 
where  possible.  Where  roadway  grades 
are  steep,  off-road  bikeways  should  be 
considered  that  permit  gentle  slopes.  In 
areas  such  as  large  parks  where  a  range 
of  visitor  experience  is  important,  bike- 
way  routing  should  offer  a  range  of 
difficulty,  from  easy  to  challenging. 

Bicycle  Lane  Markings 

Bikeways  should  be  signed  to  indicate 
appropriate  usage  for  cyclists  and 
motorists.  For  example,  where  autos 
and  bicycles  share  the  road,  it  is  impor- 
tant that  both  drivers  and  cyclists  be 
alerted  to  the  conditions. 

Raised  pavement  markings  or  raised 
traffic  separators  can  pose  hazards  to 
cyclists  of  all  abilities.  Except  in  special 
circumstances,  bike  lanes  should  be 
separated  from  motor  vehicle  traffic  by 
painted  lane  markings. 

Conflicts  and  safety  concerns  often 
occur  at  intersections  or  where  trails  or 
bikeways  cross  roadways.  A  number  of 
improvements  or  traffic  calming  tech- 


niques can  increase  safety  and  accessibil- 
ity for  all  users. 

a  Crossing  islands  or  medians  decrease 
the  distance  across  a  wide  or  heavily 
trafficked  roadway.  To  maximize 
accessibility,  crosswalks  should  cut 
through  crossing  islands  or  medians  at 
the  same  elevation  as  the  roadway. 

■  Curb  extensions  or  bulb-outs  can  narrow 
the  roadway  and  increase  safety  at 
points  where  trails  cross  streets.  Curb 
extensions  should  not  extend  into 
travel  or  bicycle  lanes.  This  may 
require  that  traffic  and  bike  lanes  be 
narrowed  at  the  intersection. 

■  Curb  radius  reduction  is  particularly 
effective  in  improving  pedestrian 
safety  at  crossings  by  slowing  right- 
turning  vehicles,  reducing  crossing 
distances,  and  improving  visibility 
between  drivers  and  pedestrians. 

■  Raising  an  entire  intersection  or  crosswalk 
is  an  effective  means  of  encouraging 
motorists  to  yield  the  right-of-way  to 
pedestrians.  Tactile  warning  strips  at 
edges  enable  people  with  visual  dis- 
abilities to  detect  the  crossings,  and 
also  alert  sighted  people  that  they  are 
entering  a  roadway.  Since  raised  cross- 
ings are  effectively  speed  bumps  that 
also  slow  down  emergency  vehicles, 
their  placement  should  be  limited  and 
their  location  should  have  adequate 
sight  distances.  Depending  on  traffic 


volume,  textured  warning  strips  for 
approaching  vehicles  or  other  devices 
such  as  flashing  lights  should  be  con- 
sidered. 

■  Textured  crosswalks  can  be  visual  and 
tactile  markers  for  pedestrian  traffic, 
and  also  can  provide  aesthetic 
enhancement.  However,  crosswalks 
should  not  be  constructed  of  materials 
that  create  unsafe  or  inaccessible  con- 
ditions for  bicyclists  or  people  with 
disabilities.  Since  textured  paving  is 
uncomfortable  for  some  wheelchair 
users,  use  a  pattern  that  includes  a 
smooth  crossing  path. 

TRAILHEADS 

Trailheads,  at  a  minimum,  should  pro- 
vide orientation,  a  place  to  meet  or  wait 
for  others,  and  a  place  to  rest.  These  are 
the  required  elements: 

■  Standard  trail  signs  with  information 
regarding  trail  conditions  and  degrees 
of  difficulty 

*  Places  to  sit,  including  space  for 
wheelchairs  and  companion  seating 

Trailheads  also  function  as  links  to  other 
modes  of  transportation.  Therefore, 
where  appropriate,  include: 

n  Convenient  access  to  shuttle  and/or 
transit  stops 


428      INCLUSIVE    DESIGN     GUIDELINES 


■  Automobile  parking,  including  parking 
spaces  reserved  for  persons  with  dis- 
abilities 

■  Secure  bicycle  parking  (racks  or 
lockers) 

To  create  "full  service"  trailheads,  also 
include  as  many  as  possible  of  the  fol- 
lowing elements: 

■  Wayfinding  kiosks,  with  orientation 
and  interpretive  information  (see 
Wayfinding  below) 

■  Drinking  water 

■  Trash  receptacles 

■  Restrooms  or  directions  to  restrooms 

■  Scenic  viewpoints  or  overlooks 

■  Staging  or  gathering  spaces 

OVERLOOKS 

Most  overlooks  can  be  accessible  to  all 
visitors.  Minimum  considerations 
include: 

■  Interpretive  signage,  accessible  to 
people  in  wheelchairs,  including 
Braille  and  possibly  other  languages 

■  Places  to  sit,  including  space  for 
wheelchairs  and  companion  seating 

■  Places  outside  the  circulation  path  for 
viewing 


If  viewing  places  are  provided,  each  area 
should  have  at  least  one  wheelchair 
maneuvering  space  with  a  firm  and  stable 
surface  a  minimum  of  5'  in  diameter, 
and  typically  1 :50  (2  percent)  slope  in 
any  direction.  Although  the  Access  Board 
guidelines  permit  slopes  of  1 : 33  (3  per- 
cent) as  an  exception  to  ensure  proper 
drainage,  it  is  not  recommended. 

Overlooks  should  provide  at  least  one 
unrestricted  viewing  opportunity  for 
each  distinct  point  of  interest  at  a  height 
between  32"  and  SI".  Railings  or  safety 
barriers  should  not  intrude  on  the 
viewing  "window." 

Successful  primary  overlooks  will  also 
include  such  facilities  as: 

■  Automobile  parking,  if  the  overlook  is 
also  adjacent  to  a  roadway,  including 
parking  spaces  reserved  for  persons 
with  disabilities 

■  An  accessible  route  to  site  features 
associated  with  the  overlook 

0  Other  amenities,  such  as  trash  recep- 
tacles and  bike  parking 

Secondary  overlooks,  intended  as  places 
of  rest  or  quiet  sanctuary,  should  only 
include  accessible  places  to  sit,  since 


other  features  might  distract  from  the 
purpose  of  the  overlook. 

WAYFINDING 

Signs  that  provide  visitors  with  informa- 
tion about  directions,  trail  conditions 
and  trail  locations,  as  well  as  specific 
accessibility  information  serve  trail 
users  and  visitors  of  all  abilities. 
Multiple  languages,  including  Braille, 
may  also  enhance  accessibility  for  a 
wide  range  of  users.  Signage  will  need 
to  comply  with  the  standards  of  the 
agency  having  jurisdiction. 

Trailhead  Signs 

Signage  at  trailheads  should  provide 
information  about  trail  conditions  for  all 
visitors,  so  they  can  judge  any  difficul- 
ties the  trail  might  cause.  Locate  trail- 
head  signs  at  the  starting  points  of  trails 
and  at  key  intersections  of  major  trail 
corridors.  Designated  accessible  trails 
should  display  the  international  symbol 
of  accessibility.  If  the  trail  is  not  accessi- 
ble, it  should  be  signed  "Not  Accessible" 
at  the  trailhead.  Trailhead  signs  should 
provide  as  much  as  possible  of  the 
following  information: 


TRAIL  SYSTEMS      429 


a  Name  of  the  trail 

■  Direction  and  distance  to  points  of 
interest 

3  Trail  elevation  change 

■  Trail  surface  characteristics 
0  Running  and  cross  slope 

■  Clear  tread  width 

Trail  Markers 

Trail  markers  identify  each  trail  along 
its  entire  route,  providing  signage  that 
helps  trail  users  navigate  the  entire 
length  of  trail.  Trail  markers  provide  an 
opportunity  to  create  a  distinct  visual 
identity  for  each  trail,  contributing  to 
wayfinding  and  a  sense  of  place.  Each 
marker  should  include  the  trail  logo,  a 
symbol  indicating  permitted  trail  use 
and  a  directional  indicator. 

Trail  Guides 

Although  not  a  part  of  trail  construc- 
tion, trail  guides  may  be  developed  to 
supplement  park  signage,  and  con- 
tribute to  greater  accessibility  for  all. 
Possible  topics  include  a  general  trail 
guide,  children's  guides,  guides  for 
historic  loops  and  ecology  guides. 


OTHER  ACCESS  ROUTES 

Outdoor  Recreation  Access  Routes  and 
Beach  Access  Routes  are  two  special 
categories  of  an  accessible  trail  system. 
The  first  is  a  continuous,  unobstructed 
path  designed  for  pedestrian  use,  con- 
necting accessible  elements  at  picnic 
areas,  campgrounds,  designated  trail- 
heads  and  designated  overlooks. 

Beach  Access  Routes  link  nearby  main 
trail  routes  to  the  water's  edge.  Since 
access  to  water  is  so  important  to 
human  enjoyment,  make  every  effort 
to  exceed  the  Access  Board's  minimum 
requirements.  For  example,  while 
recognizing  the  maintenance  issues, 
providing  a  means  to  safely  reach  (and 
retreat  from)  points  of  low  water  levels 
vastly  increases  enjoyment  of  tidal  areas 
or  rivers  and  reservoirs  with  fluctuating 
water  levels. 

In  general,  guidelines  for  outdoor  access 
routes  and  beach  access  routes  are  very 
similar  to,  but  slightly  more  restrictive 
than  accessible  trail  requirements.  The 
Access  Board  guidelines  should  be  con- 
sulted for  exceptions. 


TRAIL  EDGE  PROTECTION 

Edge  protection  has  two  purposes:  to 
protect  the  trail  and  adjacent  resources, 
and  to  protect  the  user.  Conditions  must 
be  examined  on  a  case-by-case  basis  to 
determine  whether  edge  protection  pro- 
vided for  one  purpose  does  not  in  fact 
create  a  hazard  for  another  user. 

Clearly  defined  edges  help  keep  users 
of  all  types  on  the  established  trail 
surface  and  help  protect  natural 
resources.  Properly  constructed  edges 
also  protect  trails  from  water  damage 
and  erosion.  Edge  protection  such  as  a 
3"  or  higher  curb  can  increase  trail 
safety  by  helping  a  person  using  a 
wheelchair  keep  on  track.  A  lower 
edge  might  not  be  obvious  or 
detectable  to  people  with  limited 
vision  who  use  canes.  Natural  objects 
such  as  logs  also  work  well. 

Since  vertical  objects  constitute  a 
potential  hazard  for  cyclists,  curbs  or 
railings  should  not  be  used  within  2'  of 
a  bikeway  or  paved  portion  of  a  multi- 
use  trail. 


430      INCLUSIVE    DESIGN    GUIDELINES 


DRAINAGE  CONTROL 

Drainage  control  measures  on  trails, 
such  as  waterbars  and  drain  channels, 
often  create  obstacles  to  accessibility. 
However,  two  methods  can  both  control 
drainage  and  aid  accessibility:  outsloping 
and  rolling  grade  dips. 

Outsloping  is  slightly  elevating  the 
uphill  edge  of  a  trail.  This  encourages 
water  to  flow  evenly  across  the  trail 
surface  and  reduces  the  potential  for 
erosion. 


Rolling  grade  dips  are  short  sections  of 
trail  that  channel  water  off  the  trail  sur- 
face (Figure  35).  Grade  dips  work  best 
on  trails  with  slow,  steady  grades  and 
are  best  placed  at  naturally  occurring 
drainage-ways.  Increasing  the  trail 
cross-slope  at  the  point  of  the  grade  dip 
provides  better  drainage.  Approaches  to 
grade  dips  should  be  about  4  to  6'  long 
to  eliminate  abrupt  grade  changes  that 
may  be  barriers  to  access. 


ROUND  BOTTOM 
OF  DRAINAGE  DP 


NORMAL 

OUTSLOPE         ROCK  DISSIPATOR 

3%  MAXIMUM 

EXTEND  CHANNEL 
PAST  TRAIL  EDGE 


INCREASE 
OUTSLOPE TO 
MAXIMUM  8% 
AT  DRAIN  POINT 


DRAIN  DIP 
30°ANGLE 
TO  TRAIL 


Figure  35.  A  rolling  grade  dip  can  control  drainage  and  aid  accessibility. 


TRAILS  IN  WET  AREAS 

Trail  users  of  all  abilities  generally  try  to 
avoid  wet  patches  on  trails  by  walking 
to  the  sides,  causing  destruction  of  adja- 
cent vegetation.  However,  relocating 
these  trails  to  higher  or  drier  ground 
may  not  be  the  answer  if  the  existing 
trail  location  provides  special  benefits  to 
users  or  if  rerouting  the  trail  would 
disturb  sensitive  habitat  areas.  Providing 
a  hardened  trail  surface  in  the  current 
trail  alignment,  designed  to  accommo- 
date the  water,  may  be  the  best  choice 
for  resource  protection,  maintenance 
and  visitor  enjoyment. 

Surface  Reinforcing 

Placing  flat  stones  or  cobbles  on  the 
trail  surface,  especially  in  combination 
with  geotextile  fabric,  is  an  aesthetically 
pleasing  way  to  provide  a  more  stable 
trail  surface  in  wet  areas.  If  carefully 
installed  with  narrow  joints  and  main- 
tained, this  technique  can  improve 
accessibility  while  retaining  a  natural 
appearance.  A  short  section  paved  with 


TRAIL  SYSTEMS       43 


permeable  concrete,  or  paving  with 
deep  grooves  to  allow  passage  of  water, 
would  be  even  more  accessible  for  peo- 
ple using  wheelchairs. 

Boardwalk  Bridge 

Trail  structures  such  as  bridges  help 
maintain  drainage  patterns.  To  remain 
accessible,  approaches  to  trail  structures 
need  to  be  at  grade,  and  raised  edges 
will  likely  be  required  (Figure  36). 

Drainage  Lens 

A  drainage  lens  can  help  manage  low- 
volume  water  flow  on  trails  caused  by 
ephemeral  springs  or  seeps  (Figure  37). 
Fill  the  area  beneath  the  trailbed  with 
progressively  smaller  quarry  rock,  then 
cap  it  with  fine  aggregate  or  suitable 
native  fill .  Sandwiching  the  rock  lens 
between  two  layers  of  geotextile 
material  provides  a  more  stable  base, 
and  prevents  rock  from  mixing  with 
surrounding  soils. 

TRAILS  ON  FLAT  GRADES 

Since  trails  exist  in  dynamic  environ- 
ments, it  is  not  always  possible  to  keep 
them  clean  and  dry,  especially  on 


primarily  level  terrain.  Without  proper 
drainage,  trails  on  level  ground  tend 
to  pond  and  collect  debris,  creating 
obstacles  for  all  users  and  eventually 
degrading  the  trail.  Elevating  the 
trailbed  or  providing  a  boardwalk  can 
provide  a  firm,  stable,  slip-resistant 
surface  that  is  free  of  ponding. 


5'  MINIMUM  CLEARANCE 

FOR  PEDESTRIAN  TRAIL: 

10-12'  MULTI-USE  TRAIL 


Above-Grade  Trail 

A  trail  that  is  raised  3"— 6"  above 
surrounding  grade,  with  drainage  swales 
on  each  side,  will  improve  access  for  all 
users  (Figure  38,  page  434). To  provide 
additional  subsurface  drainage,  use  a 
coarse  gravel  bed  to  elevate  the  trail  or 


RECYCLED  WOOD/ 
POLYMER  DECKING 
SET  PERPENDICULAR 
TO  PATH  OF  TRAVEL 


4X4  CURB 
ON  BLOCKING 


SUPPORT 
BEAM 


HELICAL  SCREW 
SUPPORT  SYSTEM 
OR  CONCRETE  PIERS 


Figure  36.  Boardwalk  bridges  improve  accessibility  in  sensitive  or  sandy  areas  and  encour- 
age people  to  stay  on  the  trail. 


432      INCLUSIVE    DESIGN    GUIDELINES 


RAISE  AND  LEVEL 

PEDESTRIAN 

TRAIL  AND  WIDEN 

AT  WET  AREA 


WATER 


12"  SHOULDER 


GEOTEXTILE  FABRIC 


~h 

TRAIL  WIDTH 

i/T 

,2%_MINIMUM 

j>K?-  °x    -  °  -  "  °-  °°^  '  ° 

^^^ 

12" SHOULDER 


STONE  EDGE- 


WATER 
FLOW/ 


SECTION 
LARGE  DRAIN  ROCK 


STONE  EDGE' 


Figure  37.  A  drainage  lens  helps  keep  trails  free  of  water  from  seeps  and  springs. 


provide  a  drainage  lens  to  facilitate 
water  movement.  An  elevated  trail 
offers  a  more  convenient  pathway  for 
users  during  wet  periods,  provides  the 
greatest  degree  of  accessibility,  and  may 
require  less  maintenance.  Variations  of 


this  technique  are  sometimes  called 
"turnpikes"  in  trail  construction  jargon. 

Boardwalks 

Boardwalks  provide  an  accessible  trail 
surface  and  are  often  the  most  appropri- 


ate solution  on  erosion-prone  soils,  such 
as  sand  or  other  loose,  uncompacted 
soil,  or  across  wetland  areas  (Figure 
36).  They  also  protect  natural  or  historic 
resources  by  encouraging  people  to  stay 
on  the  designated  trail. 

An  important  consideration  in  board- 
walk design  is  to  ensure  that  two  people 
using  wheelchairs  can  pass  each  other. 
Providing  pullouts  or  overlook  alcoves 
increases  accessibility  by  allowing  rest- 
ing or  observation  without  impeding 
the  movement  of  other  trail  users. 
Boardwalk  decking  installed  perpendi- 
cular to  the  direction  of  travel  is  best  for 
visitors  in  wheelchairs  or  pushing 
strollers.  In  most  cases,  a  raised  curb  at 
the  edge  will  be  required. 

TRAILS  ON  SANDY  SOILS 

It  is  difficult  to  maintain  a  stable  trail 
surface  in  areas  with  sandy  soils. 
Reinforcing  the  trail  base  or  providing 
trail  structures  can  improve  usability  for 
many  different  park  visitors. 

Subsurface  Geogrids 

Geogrids  or  geocells,  when  used  in 
combination  with  geotextiles,  provide  a 


TRAIL  SYSTEMS      433 


DRAINAGE  SWALE,- 
BOTH  SIDES 


IMPORTED  AGGREGATE 
TRAILBED  4-6"  DEEP 


GEOTEXTILE  FABRIC 


6"  MINIMUM  SHOULDER 


SHOULDER 


Figure  38.  Above-grade  trails,  often  in  combination  with  drainage  lenses,  are  designed  to 
be  firm,  stable  and  slip-resistant. 


relatively  unobtrusive  means  of  stabiliz- 
ing sandy  trails  (Figure  39). The  geogrid 
confinement  chambers  prevent  lateral 
displacement  of  sandy  soils,  distribute 
trail  tread  loads  over  a  greater  area,  and 
reduce  settling — all  of  which  help  keep 
trail  surfaces  intact,  in  place  and  dry 
The  geotextile  material  can  provide  sep- 
aration between  saturated  soil  and  the 
tread  fill  or  increase  containment  over  a 
sand  base.  Permeable  tread  fill  can 
improve  drainage;  however,  in  areas  of 
sensitive  natural  habitat,  imported  soils 
may  be  restricted. 


B^EatuGR/D0^ 


IMPORTED  AGGREGATE 
SURFACING  4-6"  DEEP 


Above- Grade  Trail  Structures 

Boardwalks  are  often  used  for  access 
across  sandy  soils.  Another  option  is 
textured  panels  with  drain  holes,  which 
are  installed  directly  on  the  leveled  sur- 
face without  substantial  subgrade  exca- 
vation. These  panels  meet  current 
accessibility  guidelines  and  can  be  relo- 
cated. They  may  require  additional 
maintenance,  such  as  sweeping  and 
readjustment  of  linked  panels  to  provide 
a  uniform  surface. 


GEOWEB  GRID  FILLED 
WITH  NATIVE  SOIL 


Figure  39.  Subsurface  geogrids  can  stabilize  sandy  soil. 


434      INCLUSIVE    DESIGN    GUIDELINES 


*  *- 

! 

OPEN  SPACE  PERFORMANCE  STANDARDS 


These  guidelines  apply  to  open  space 
elements  that  taken  together  create  an 
overall  system  within  a  city:  parks, 
connecting  green  corridors,  staging 
areas,  activity  nodes  and  small  neighbor- 
hood greens.  The  aim  is  to  enhance  a 
community's  use  of  trails,  greenways 
and  outdoor  spaces,  improve  how  those 
areas  complement  or  supplement  a 
city's  park  system  and  natural  areas,  and 
make  a  city  more  walkable.  See  Trail 
Systems  Design  Guidelines  for  more 
specific  details,  including  ADA  require- 
ments. 

Open  space  systems  must  meet  the 
needs  of  individual  people  in  their  daily 
lives;  guidelines  can  ensure  that  the 
open  space  system  actually  provides  the 
expected  benefits.  The  guidelines  will 
assist  in  designing  open  space  systems 
that  meet  individual  human,  biological, 
social  and  cultural  requirements. 


Figure  40.  An  open  space  system  connects  green  corridors,  gathering  areas,  trails  and  parks, 
as  well  as  amenities  such  as  commercial  areas  and  schools. 


OPEN    SPACE      435 


Open  space  elements  include: 

■  Parks.  Parks  provide  space  for  people 
to  come  together  across  cultural  and 
socio-economic  lines  to  enjoy  recre- 
ational activities,  appreciate  nature, 
relieve  stress,  learn  about  the  natural 
environment  and  feel  a  sense  of  iden- 
tity and  connectedness  to  nature  and 
their  community.  Park  design  should 
provide  activity  settings  that  take  into 
account  the  site's  physical,  social  and 
cultural  conditions.  (Also  see  the  Play 
Areas  Design  Guidelines,  page  417,  for 
more  detailed  information  about 
designing  areas  for  children.) 


!  Regional  Trails.  These  multi-use  facili- 
ties are  the  backbone  of  open  space 
connections  throughout  a  community. 
New  developments  should  be  required 
to  extend  or  connect  to  a  regional 
trail  system. The  goal  is  to  allow  a 
person  to  travel  or  commute  safely 
from  one  side  of  the  community  to 
the  other,  without  leaving  a  city's  open 
space  network.  (Also  see  Trail  Systems 
Design  Guidelines,  page  425,  for  more 
detailed  information  about  trails.) 

Green  Infrastructure.  Development 
sites  often  have  public  facilities  that 
should  be  incorporated  into  the  site 


design,  such  as  drainage  channels  and 
utility  corridors.  Public  infrastructure 
should  be  developed  for  multi-use, 
thus  adding  neighborhood  and 
community  connectivity. 

1  Greenways.  These  smaller-scale  linear 
corridors  are  pathways  within  or 
between  developments.  They  are 
generally  linear  in  nature  and  connect 
different  site  locations,  encouraging 
walking  or  biking  between  them. 
Greenways  should  terminate  at  a 
regional  trail,  a  park  or  a  major 
activity  node  such  as  a  town  center. 


Figure  41.  Utility  corridors  can  provide  multi-use  open  space,  strengthening  community  connectivity. 


436      INCLUSIVE    DESIGN    GUIDELINES 


i  Neighborhood  Greens.  These  small  open 
space  areas  (sometimes  called  pocket 
parks)  should  be  dispersed  throughout 
neighborhoods  and  within  close  prox- 
imity to  residential  units.  They  should 
provide  opportunities  for  passive  or 
small-scale  active  recreation  (for  exam- 
ple, play  equipment)  and  staging  for 
activities  within  the  green  way  system. 
(Also  see  the  sections  on  Plazas  and 
Gathering  Spaces  in  the  Cityscapes 
Design  Guidelines,  pages  463^-64,  for 
more  urban- style  open  space.) 


Open  Space  Framework 

These  general  site  design  guidelines  are 
for  open  space  amenities  within  green- 
field  and  infill  developments. 

1 .  Variety:  Provide  a  wide  variety  of 
usable  open  spaces  that  connect 
major  community  destinations  (such 
as  community  parks,  neighborhood 
parks,  pocket  parks  and  commercial 
plazas)  through  open  space  connec- 
tors (such  as  greenways,  trails,  etc.). 

2.  Location:  Every  residential  unit  in  a 
planned  new  development  should 
be  within  1  /4  mile  (or  5  minutes  or 
less  walking  distance)  of  a  park  or 
neighborhood  gathering  place. 


3.  Accessibility  and  Connectivity:  Access 
to  parks,  open  space  areas,  different 
land  use  types  and  community 
amenities  (schools,  playgrounds, 
community  buildings,  transit  stops, 
etc.)  should  be  enhanced  with  a  net- 
work of  open  space  connectors, 
thereby  enhancing  the  desirability 
of  using  alternative  methods  of 
transportation  (e.g.,  walking  and 
bicycling). These  connectors  should 
link  residential  units,  parks, 
commercial  areas,  schools  and  other 
areas  to  provide  a  comprehensive 
open  space  network. 

4.  Relationships:  The  location  and  config- 
uration of  regional  trails,  greenways 
and  neighborhood  gathering  places 
should  complement  existing  and 
proposed  schools,  libraries,  city  parks 
and  commercial  developments. 

5 .  Block  Size:  Provide  walkable  and 
bikeable  neighborhoods  by  limiting 
the  size  of  residential  blocks  and 
creating  a  network  of  multi-use 
non-vehicular  pathways  in  the  new 
development.  For  blocks  longer  than 
600',  intersperse  mid-block  pedes- 
trian pathways  to  create  smaller 
blocks.  Uninterrupted  blocks  or 
portions  of  blocks  generally  should 
be  no  longer  than  400'. 


6.  Multi-Use  Utility  Corridors:  Use 
major  utility  corridors  (e.g.,  storm 
water  drainage,  underground  and 
overhead  utilities,  etc.)  to  also  pro- 
vide usable  open  spaces  consistent 
with  their  utilitarian  function. 

7.  Sustainability:  Where  feasible,  main- 
tain and  respect  all  natural  features 
of  the  site,  including  the  natural 
drainage  of  the  land,  natural 
preserves  and  habitat  areas. 

8 .  Safety:  Enhance  safety  by  minimiz- 
ing at-grade  crossings  of  arterial 
roads  that  interrupt  major  pedes- 
trian-friendly pathways  connecting 
to  parks  and  schools.  When  open 
space  trails  intersect  with  roadways 
at  grade,  street  widths  and  pedes- 
trian crossing  distances  should  be 
kept  to  a  minimum.  Arrange  build- 
ings to  provide  for  visibility  and 
surveillance  opportunities.  Locate 
and  design  buildings  to  allow  open 
space  areas  to  be  viewed  from  inside 
residences  and  other  buildings.  This 
allows  open  space  areas  to  be 
watched  over  by  neighborhood 
residents  and  discourages  anti-social 
and  illegal  activities. 


OPEN    SPACE      437 


OPEN  SPACE  PATTERNS  FOR 
NEW  DEVELOPMENTS 

The  diagrams  at  right  illustrate  a 
systematic  process  for  creating  an  open 
space  framework  for  new  developments. 


Figure  42. 

a.  Identify  existing  natural  features  on 
development  sites,  preserve  significant 
features  and  create  new  naturalistic 
features  to  enhance  projects.  Provide  con- 
nections for  regional  trail  routes.  Connect 
the  open  space  network  on  individual 
developments  to  the  citywide  network. 

b.  Locate  at  least  one  major  non-vehicular, 
multi-use  corridor.  The  pedestrian  spine  may 
be  located  along  a  natural  feature  such  as  a 
natural  drainage  corridor.  Landscape  the 
pedestrian  corridor  to  provide  summer 
shade  and  create  a  sense  of  identity  and 
cohesion  to  the  entire  development. 

c.  Locate  major  built  amenities  (neighbor- 
hood commercial  areas,  schools  and 
community  parks)  along  the  regional  trail  or 
greenway  system.  The  trail  system  should 
also  connect  residential  areas  to  employment 
or  commercial  areas. 

d.  Locate  parks  such  that  all  individual 
residential  units  are  within  1  /4-mile 
walking  distance  of  a  city  park  or 
neighborhood  gathering  place. 

e.  Create  a  network  of  pedestrian  and  bike 
connectors,  such  as  trails  and  greenways, 
to  connect  all  the  built  and  open  space 
amenities.  All  residential  units  and 
commercial  areas  should  be  within 
1/8-mile  walking  distance  of  a  connector. 

f.  Organize  street  networks,  neighborhood 
blocks  and  lots  in  combination  with  open 
space  elements  to  tie  into  surrounding 
developments  and  link  with  natural 
amenities  of  the  site  (access  to  nature, 
views,  sun,  wind,  etc.) 


a.  Identify  roads,  trails  and  existing  natural  features. 


DETENTION 
L-  POND 


d.  Ensure  that  all  residential  units  have  open  space  access 
/        within  1/4-mile  walking  distance. 


438      INCLUSIVE    DESIGN    GUIDELINES 


b.  Provide  a  major  bicycle  and  pedestrian  corridor 
/      through  the  site. 


c.  Locate  major  amenities  along  the  pedestrian/ 
/       bicycle  corridor. 


/TS 


f.  Connect  the  new  development  to  surrounding  commercial  and 
employment  areas  as  well  as  other  develop 


OPEN    SPACE      439 


Parks 

"Placemaking"  is  an  approach  to  creating 
public  spaces  that  are  intentionally 
designed  for  social  interaction  and  com- 
munity identity,  and  results  in  parks  that 
are  not  just  public  places  but  community 
places.  Community  parks  should  not  all 
look  alike.  High-quality,  distinctive  parks 
can  be  designed  with  different  features, 
activities  and  identities  to  reflect  unique 
cultural,  historic  or  environmental  quali- 
ties of  an  area  or  community.  Facilities 
that  support  the  activities  should  be 
grouped  or  combined  to  create  activity 
settings  for  a  wide  range  of  experiences. 
In  other  words,  a  ball  field  must  be  more 
than  a  ball  field.  For  example,  any  large 
patch  of  grass  can  be  used  to  play  ball, 
but  to  be  a  complete  activity  setting — a 
place  for  the  entire  community — the 
field  should  be  designed  in  combination 
with  a  shade  structure,  picnic  area,  young 
children's  play  area,  a  gathering  and 
game-watching  area,  a  small  cafe  or 
coffee  bar,  as  well  as  supporting  rest- 
room,  drinking  fountains,  storage  and 
parking.  To  make  the  area  distinctive, 
one  or  more  of  these  elements  can  be 
designed  to  reflect  something  about  the 
community. 


Place-based  park  design  provides  activity 
settings  where  people  of  all  ages  and  abil- 
ities share  experiences  with  each  other 
and  their  environment. To  provide  users 
with  meaningful  or  special  experiences, 
each  setting  should  be  context-specific:  it 
should  take  into  consideration  the  site's 
physical,  social,  and  cultural  conditions. 
For  example,  the  ball  field  can  be 
combined  with  other  settings  such  as  a 
library,  farmer's  market,  or  water  play 
area  to  create  multiple  reasons  for  the 
community  to  gather.  This  type  of  design 
has  a  higher  probability  of  resulting  in 
"community"  places  that  are  equitable 
and  usable  by  a  wide  variety  of  people. 

GENERAL  PARK  SYSTEM  GUIDELINES 

1 .  Park  types  should  be  geographically 
dispersed  throughout  the  community. 

2 .  Every  residence  should  be  within  a 

1  /4  mile  (or  5  minutes  walking  dis- 
tance) of  a  park. 

3.  Every  park  should  be  connected  to 
every  other  park  by  a  "green"  circu- 
lation system  of  trails,  streets  and 
bikeways. 

4.  No  park  should  be  located  in  isola- 
tion from  other  community-serving 
facilities  or  residences.  Locating 
parks  near  adjacent  gathering  places 
will  help  activate  the  park,  support 


neighboring  facilities  and  generate 
customers  for  nearby  businesses. 

5 .  Facilities  or  activities  in  and  around 
the  park  should  provide  a  reason  for 
the  community  to  gather  and  interact. 
The  facilities  selected  for  a  particular 
park  should  reflect  a  set  of  activities 
specific  to  that  park  and  should  be 
grouped  into  settings  that  help  define 
the  park  and  create  an  identity.  Each 
park  should  have  unique  features  that 
are  appropriate  to  the  park  function 
and  neighborhood  context. 

GENERAL  PARK  DESIGN  CRITERIA 

The  following  design  criteria  will  help 
ensure  that  each  park  fits  its  context 
and  functions  effectively  in  connecting 
community  members  to  one  another 
and  their  environment. 

1 .  Every  park  should  be  designed  to  fit 
a  specific  site,  with  its  own  charac- 
ter, and  have  features  that  make  it  a 
destination. 

2 .  Parks  should  be  designed  around 
activity  settings.  The  number  and  type 
of  settings  will  be  determined  by  park 
location,  park  size,  park  function, 
adjacencies  and  community  need. 

3 .  Parks  should  be  designed  with  com- 
munity involvement.  In  the  case  of 
new  parks  in  new  neighborhoods, 
some  parks  will  be  designed  based 


440      INCLUSIVE    DESIGN    GUIDELINES 


Figure  43.  Placemaking  features  in  parks  should  reflect  the  culture,  values,  history  and  social 
needs  of  the  local  community  through  landmarks,  water  features,  art,  special  facilities  and 
layout.  For  example,  a  play  structure  made  to  look  like  large  mastodon  bones  is  designed  for 
an  area  where  these  prehistoric  animals  once  lived. 


on  overall  community  need  as 
determined  by  a  parks  and  recre- 
ation master  plan.  Some  neighbor- 
hood parks  or  mini-parks  will  be 
designed  after  the  neighborhood  is 
occupied,  so  the  community  can 
participate  in  their  development. 

4.  Placemaking  features  in  parks  should 
reflect  the  culture,  values,  history 
and  social  needs  of  the  local  commu- 
nity through  landmarks,  water  fea- 
tures, art,  special  facilities  and 
layout.  These  features  can  be  layered 
throughout  the  design  to  create 
meaning  and  community  connection. 

5 .  Design  should  also  build  on  existing 
environmental  conditions  or  re-create 
previous  environmental  features  that 
define  the  area.  The  result  will  be  a 
park  design  that  will  also  function  as  a 
teaching  tool  for  learning  about  the 
local  or  regional  environment  and 


may  offer  opportunities  for  environ- 
mental restoration  as  well. 

6.  Parks  should  use  high-quality, 
diverse  and  long-lasting  building 
materials,  and  have  a  variety  of 
well-considered  landscape  details. 

7.  Art  can  be  integral  and  functional  to 
the  setting  and  not  just  a  stand- 
alone element.  Benches,  bridges, 
lights,  signs,  water,  walls,  planters, 
and  shade  structures  can  all  be 
works  of  art. 

8.  Incorporate  materials  and  facility 
maintenance  standards  and  require- 
ments as  part  of  the  design  review 
process. 

9.  Incorporate  both  capital  and  opera- 
tions and  maintenance  costs  in  the 
design  process  so  that  a  complete 
financial  understanding  of  each 
design  evolves  as  design  decisions 
are  made. 


10.  Take  into  account  that  neighbor- 
hood needs  change  over  time;  build 
flexible  space  into  every  project  to 
allow  for  adaptation  as  the  commu- 
nity grows  and  changes. 

PARK  TYPE  STANDARDS  AND 
GUIDELINES 

Well-designed  park  systems  incorporate 
different  types  of  parks:  small,  medium 
and  large  neighborhood  parks;  commu- 
nity parks;  central  parks;  regional  parks; 
sports  parks;  and  destination  parks. 
(Neighborhood  greens  can  also  function 
as  parks — see  Neighborhood  Parks 
sections  below  for  more  details.) 

Small  Neighborhood  Parks 

Small  neighborhood  parks  range  from  2 
to  5  acres  in  size  and  emphasize  small 
group  settings,  with  a  minimal  number 
of  sports  activity  settings  (primarily 
informal) .  Balance  these  high-intensity 
activity  areas  (large  groups,  lots  of  noise 
and  energy)  with  low-intensity  settings 
(small  groups  and  quieter  activity) . 
Locate  the  high-activity  areas  to  mini- 
mize impacts  on  low-activity  areas  and 
adjacent  residences.  Include  a  minimum 
of  four  activity  settings  that  can  be  used 
by  all  age  groups.  Elements  should 


OPEN    SPACE       44 


JL 


J     L 


^   r 


1 .  Multi-use  field  (Bantam  soccer/  5.   Dry  creek  or 
softball)  bio-swale 

2.  Neighborhood  gathering  space  6.   Restroom 

3.  Small  group  picnic  area  7.  Parking 

4.  Natural  play  area 


Figure  44.  A  sample  layout  for  a  2-  to  5-acre  small  size  neighborhood  park  includes  an  informal  active  play  area. 


J    I 


~~i  r 


1  r 


1.  Soccer  (Bantam) 

2.  Soccer  (Regulation) 

3.  Neighborhood  gathering  space 

4.  Small  group  picnic  area 

5.  Small  play  area 


6.  Restroom 

7.  Basketball  court 

8.  Parking 


Figure  45.  A  sample  layout  for  a  5-  to  S-acre  medium  size  neighborhood  park  includes  formal  as  well  as  informal  play  areas. 


442       INCLUSIVE    DESIGN    GUIDELINES 


include  open  space  and  gardens,  small 
gathering  and  seating  areas,  picnic  tables 
(1  per  park  acre),  paths  and  walkways 
(connected  to  the  local  greenway  sys- 
tem), and  play  areas  (built  and  natural). 
They  can  also  include  areas  for  informal 
sport  activities  such  as  half-court  bas- 
ketball or  multi-use  turf  areas.  Shade 
structures  should  be  provided  if  there 
are  no  mature  trees,  and  restrooms  may 
also  be  included. 

Medium  Size  Neighborhood  Parks 

Medium  size  neighborhood  parks  are  5 
to  8  acres  with  an  emphasis  on  settings 
for  small  groups,  with  space  for  limited 
sports  activities.  They  should  follow  the 
same  general  guidelines  as  for  small 
parks,  but  include  a  minimum  of  six 
activity  settings  that  can  be  used  by  all 
age  groups.  They  should  provide  every- 
thing contained  in  a  small  park  plus  mul- 
tiple small  group  picnic  areas  and  sports 
options  such  as  baseball  and  softball 
practice  fields,  full-size  outdoor  basket- 
ball courts,  bantam  and  regulation  soc- 
cer fields,  multi-use  turf  areas, 
horseshoe /bocce  courts,  skate /BMX 
features,  and  water  play  areas. 
Supporting  facilities  such  as  restrooms 
and  parking  should  also  be  provided. 


Large  Size  Neighborhood  Parks 

Large  neighborhood  parks  are  usually  8 
to  20  acres.  Again,  follow  the  same  gen- 
eral guidelines  as  for  small  parks,  but 
include  a  minimum  of  eight  activity  set- 
tings. They  should  include  everything  in 
a  medium  park  plus  options  that  the 
community  can  determine,  such  as  sand 
volleyball  courts,  dog  parks,  water  fea- 
tures, and  large  group  picnic  and  large 
multi-use  turf  areas.  They  should  also 
provide  restrooms,  concessions  and 
parking. 

Community  Parks 

Community  parks  are  about  20  to  1 00 
acres  and  designed  to  accommodate  a 
wider  variety  and  higher  intensity  of 
recreational  uses  than  neighborhood 
parks.  They  should  be  adjacent  to 
schools,  nature  preserves,  or  other 
community-serving  institutions,  such  as 
libraries,  service  centers  or  commercial 
areas,  especially  areas  with  coffee  shops, 
cafes,  or  other  food  service.  They  may 
have  amenities  such  as  unique  natural 
features  or  special  use  facilities  (for 
example,  a  community  center  or  aquatic 
center,  cafe  and  major  food  concessions) 
or  publicly  accessible  natural  preserves. 
Because  of  its  greater  size,  the  commu- 
nity park  should  have  more  expansive 


open  space  areas.  Each  park  should  also 
be  accessible  via  both  the  greenway  sys- 
tem and  a  major  road.  Community 
parks  include  a  minimum  of  ten  activity 
settings.  In  addition  to  all  of  the  activi- 
ties at  neighborhood  parks,  community 
parks  can  include  lighted  baseball  and 
softball  practice  and  playing  fields  for 
youth  and  adults,  soccer  practice  and 
playing  fields  of  all  sizes,  amphitheater, 
community  marketplace,  disc-golf 
courses,  handball  courts,  tennis  courts, 
ponds  and  reflecting  pools,  community 
center,  aquatic  center  and  destination 
play  areas.  They  should  also  provide 
larger  restrooms,  concessions,  storage, 
and  parking. 

Sports  Park 

These  parks  should  be  a  minimum  of 
40  acres,  with  facilities  for  sports 
leagues  that  are  integrated  with  areas 
attractive  for  the  whole  family,  such  as 
picnic  and  play  areas.  These  high-activ- 
ity areas  should  be  located  to  minimize 
impacts  on  adjacent  residences.  The 
sports  park  may  be  adjacent  to  a  com- 
munity park,  with  a  road  separating  the 
two,  and  it  should  also  be  adjacent  to 
other  community-serving  institutions, 
such  as  service  centers  or  commercial 
areas.  Because  the  park  could  include 


OPEN  SPACE     443 


1.  Girls' Softball  fields 

2.  Restrooms/concessions 

3.  Group  picnic  area 

4.  Destination  play  area 

5.  Waterspray 


6.  Restroom 

7.  Outdoor  amphitheater 

8.  Lake 

9.  Community  center 
10.  Parking 


1 1 .  Soccer  (Regulation) 

12.  Basketball 

1 3.  Little  League  fields 

14.  Community  gathering  space 


Figure  46.  A  sample  layout  for  an  8-  to  20-acre  large  neighborhood  park  includes  a  minimum  of  eight  activity  settings. 


444      INCLUSIVE    DESIGN     GUIDELINES 


J 


1.  Multi-use  field 

2.  Tennis  courts 

3.  Community  center 

4.  Aquatics  center 


5.  Basketball  9.  Soccer  (Regulation)  13.  Parking 

6.  Bocceball  10.  Natural  play  area  14.  Open  space  with  greenway  connection 

7.  Destination  play  area  11.  Softball/Little  League  fields  15.  Adjacent  school  facility 

8.  Group  picnic  area  12.  Restroom/concessions/storage 


SCALE 
1 -acre 


Figure  47.  A  sample  layout  for  a  20-  to  100-acre  large  community  park  includes  settings  for  major  sports  activities  as  well  as  non-sport  activities. 


I 


OPEN    SPACE      445 


adult  beverage  service,  it  should  be 
located  away  from  incompatible  uses, 
such  as  schools  or  other  child-focused 
environments. 

Regional  Parks 

Regional  parks  support  multiple  juris- 
dictions. They  are  usually  developed 
around  a  highly  desirable  natural 
amenity  such  as  a  mountain,  forest,  lake, 
river  or  ocean  shore.  The  activities  at  the 
park  should  also  reflect  the  character  of 
that  natural  resource.  Regional  trails 
should  also  connect  to  the  regional  park. 


Central  Parks 

A  central  park  is  the  place  where  the 
community  celebrates,  honors  and  com- 
memorates its  city.  It  is  centrally 
located,  ideally  adjacent  to  government 
and  commercial  centers,  sized  to 
accommodate  civic  gatherings  and 
events. 


Regional  Trails 

Regional  trails  are  major  corridors  with 
few  interruptions.  They  should  span  an 
entire  city  and  connect  major  open 


space  amenities  and  locations  (e.g., 
rivers  and  creeks,  preserved  open 
spaces,  city  parks,  commercial  centers 
and  other  cities) .  They  provide  non-car, 
multi-use  environments  for  people  to 
walk,  hike,  jog,  bike,  roller  blade  and 
ride  horses,  while  also  creating  oppor- 
tunities for  people  to  relax  and  picnic. 
While  not  all  uses  can  be  accommo- 
dated on  every  regional  trail,  the 
emphasis  is  to  serve  a  variety  of  user 
groups  while  minimizing  user  conflicts. 

While  the  preferred  alignment  for 
regional  trails  is  along  the  perimeter 
of  parks  and  nature  preserves,  some 


.-^-^>~. — ^ -..-,~-  -■ -~r^-^ -~ 


Running/ 

Jogging 

Lane 


Varying 

Edge 

Condition 


Landscaped 
Green 


Multi-Use 
Pathway 


Landscaped 
Green 


Multi-Use 
Regional  Trail 

provide  opportunities  for  social  interaction  for  nearby  residents. 


Residential 
Open  Space 


446      INCLUSIVE    DESIGN     GUIDELINES 


Planting  Buffer  of  Shrubs 
Over  Grassy  Mounds 


7^ 


Running/ 
Jogging  Lane 


Other 

Edge 

Condition 


Landscaped 
Green 


Multi-Use 
Pathway 


?<- 


Elevated 

Landscaped 

Green 


Street  Right-of-Way 


Multi-Use  Regional  Trail 


Resting  Area  with  Shaded  Seating 
and  Explorative  Viewing 


Running/ 

Jogging 

Lane 


Varying 

Edge 

Condition 


Landscaped 
Green 


Multi-Use 
Pathway 


Landscaped 

Area  with 

Natural  Preserve 

Vegetation 


Natural 
Preserve 


Multi-Use  Regional  Trail 
Figure  49.  Trails  can  be  sited  to  take  advantage  of  natural  preserves. 


-,'- 


OPEN   SPACE     447 


portions  of  regional  trails  may  be  sited 
adjacent  to  streets  and /or  regional 
facilities  such  as  utility  corridors. 

1  Trails  should  relate  to  natural  features 
and  lands  set  aside  as  preserves.  They 
should  vary  in  width  and  follow  natu- 
ral topography  to  reinforce  their 
relationship  to  parkland  and  wildlife 
habitat. 

i  Trail  settings  should  be  comfortable, 
inviting  and  safe.  Shade  trees  should 
be  planted  generously  and  amenities 
such  as  benches  and  occasional  drink- 
ing fountains  should  be  incorporated 
along  the  corridor.  Signage,  lighting 
and  other  features  should  be  incorpo- 
rated into  the  design. 

Trails  should  be  visible  and  easily 
accessible  from  adjacent  land  uses  for 
security  and  to  create  activity. 

Frequent  connections  should  be  pro- 
vided to  the  trails,  either  through 
activity  nodes  and  neighborhood  gath- 
ering areas  along  the  trail,  or  through 
connecting  neighborhood  greenbelts. 
Connections  should  include  staging 


areas. 


■  Trails  can  be  programmed  with  annual 
walking,  running  and  biking  races  that 
increase  usage  and  visibility. 

Basic  Guidelines 

1 .  Create  unencumbered  hard-surface 
multi-use  pathways  for  movement 


of  pedestrians,  recreational  bicycles, 
people  in  wheel  chairs,  etc.,  and  a 
soft-surface  pathway  for  runners 
and  joggers.  Provide  shade  for  the 
trail  with  deciduous  trees,  generally 
on  both  sides  of  the  pathway. 

2.  Provide  a  wide  "green"  buffer  con- 
sisting of  trees,  shrubs,  ground - 
cover,  etc.,  between  the  multi-use 
pathway  and  edge  of  trail .  This 
buffer  may  also  accommodate  an 
equestrian  trail. 

3.  Consider  use  of  bio-swales  if  appro- 
priate. 

4.  Maintain  safety  and  security  of  the 
trail  by  providing  adequate  lighting 
and  allowing  visual  and  physical 
connections  between  the  trail  and 
adjacent  built  and  open  space  uses. 

5 .  Celebrate  key  entrances  to  trails  and 
trailheads  with  appropriate  signage, 
parking,  restrooms,  etc. 

6.  Provide  rest  areas  along  trails  every 
half-mile.  All  nodes  should  have  a 
seating  area  and  drinking  fountain. 
Rest  areas  should  have  other  ameni- 
ties, including  restrooms,  bike  racks, 
picnic  tables  and  trail  information. 

7.  Provide  separation  from  adjacent 
roadways  using  a  green  buffer, 
change  in  grade  or  landform. 

8.  Regional  trails  should  have  easy 
grades.  Minimum  running  slopes  for 


multi-use  trails  (no  more  than  1 :20 
or  5  percent)  provide  greater  acces- 
sibility for  persons  with  disabilities 
and  bicyclists.  Where  feasible,  cross 
slopes  should  be  kept  to  a  minimum 
(1 :50  or  2  percent),  unless  a  curve 
requires  super  elevations  for  safety 
or  to  ensure  proper  drainage. 


Green  Infrastructure 

Drainage  corridors,  detention  and 
retention  basins,  and  regional  utility 
corridors  can  function  as  multi- 
purpose "green  infrastructure." 

■  Ensure  that  infrastructure  and  utili- 
ties within  project  sites  are  integrated 
into  site  design  in  an  aesthetically 
pleasing  manner  (e.g.,  chain-link 
fences  without  landscaping  should  be 
avoided) . 

■  Use  required  infrastructure  facilities 
for  multiple  purposes  (e.g.,  a  power 
line  corridor  can  double  as  a  linear 
trail). 

■  Create  comfortable,  inviting  and  safe 
settings. 


448      INCLUSIVE    DESIGN     GUIDELINES 


Figure  50.  Utility  corridors  and  drainage  channels  can  become  elements  of  a  green 
infrastructure  network. 


Basic  Guidelines 

1 .  Provide  a  green  corridor  along  or 
within  utility  infrastructure  areas. 


2.  Create  unencumbered  pathways 
within  drainage  corridors  for  move- 
ment of  pedestrians,  people  who 
use  wheel  chairs  and  bicyclists. 


3.  Provide  a  green  buffer  consisting 
of  trees,  shrubs,  perennials  and 
groundcover  between  the  multi-use 
pathway  and  edges  of  the  green 

corridor.  Provide  shade  trees  along 
the  entire  length  and  on  both  sides 
of  the  pathway. 

4.  Maintain  safety  and  security  of  the 
trail  by  providing  adequate  lighting 
and  allowing  visual  and  physical 
connection  between  the  trail  and 
adjacent  built  and  open  space  uses. 

5 .  Ensure  that  all  retention  and 
drainage  basins  are  designed  by  an 
experienced  and  qualified  multi- 
disciplinary  team  of  biologists,  hydrol- 
ogists,  storm  water  engineers  and 
landscape  architects  to  ensure  that  the 
requirements  for  wildlife,  plant  life, 
hydrology  and  human  interaction  are 
effectively  addressed. 

6.  Ensure  that  newly  created  storm 
water  drainage  corridors  follow  the 
natural  drainage  slope  of  the  land. 
Avoid  drainage  corridors  at  the  edge 
of  new  developments  along  arterial 
roads. 

7.  Incorporate  existing  natural  features, 
such  as  vernal  pools,  woodlands, 
hillsides  and  other  natural  site 
features  in  new  developments. 
Where  possible,  new  trails  and 
other  connectors  should  enhance 
existing  natural  habitats. 


OPEN    SPACE      449 


Barrier  Fencing 

Height  Varies  Per 

Type  of  Drainage  Way 


y            y 

> 

y                    Varies  Der  Technical 

Arterial  or 

Landscaped   i 
Buffer 

Walkway 

f 

Landscaped 
Buffer 

Design  Requirements 
Drainage  Way 

.  Adjacent 

Collector  Street  1 

f 

f                                    Landscaped  Buffer                                  1 

Development 

Figure  51.  A  drainage  corridor  becomes  an  element  of  green  infrastructure  in  a  built  area. 


8 .  Use  maintenance  practices  that 
effectively  support  the  corridors  as 
habitat  for  local  wildlife. 

9.  Provide  interpretive  opportunities 
throughout  the  corridors  in  order 
to  provide  the  community  with  a 
greater  understanding  of  the  natural 
systems,  flood  management,  and 
technological  infrastructure  that 
support  their  daily  lives. 

10.  Encourage  creation  of  homeowner 
associations  or  volunteer  organiza- 
tions to  help  with  maintenance. 


450      INCLUSIVE    DESIGN     GUIDELINES 


Greenways 

Neighborhood  greenways  are  linear  sys- 
tems that  connect  residences  to  the 
regional  trail  and  park  system  and  to 
community-serving  facilities  such  as 
schools,  parks  and  village  greens.  They 
provide  car-free,  pedestrian-friendly 
environments  for  people  to  walk,  bike 
or  otherwise  travel  without  a  vehicle 
from  one  place  to  another,  as  well  as 
places  to  pause,  sit  and  relax. 


Provide  a  continuous  connection  to  a 
regional  trail,  park  or  other  destina- 
tion to  tie  into  the  overall  community 
open  space  system.  A  person  should 
be  able  to  walk  out  a  front  door  and 
easily  find  a  greenway  within  close 
proximity. 

Create  comfortable,  inviting  and  safe 
settings.  Trees  and  landscaping  should 
be  planted  generously  to  provide 
shade  and  a  pleasant  environment. 
Provide  amenities  such  as  benches, 
lighting  and  signage. 


/ 

Green  Buffer 

-+- 

Multi-Use 
Path 

H^ 

Natural  Drainage 

' 

Front  Porch  of 

,           Front  Porch  of 

Residential  Unit 

L 

andscaped  Corr 

dor 

i 

Residential  Unit 

Greenway 


Figure  52.  A  greenway  can  link  the  front  porches  of  residential  units. 


■  Greenways  should  be  visible  and  easily 
accessible  from  the  front  doors,  win- 
dows and  porches  of  adjacent  buildings 
for  security  and  to  create  activity. 

Basic  Guidelines 

1 .  Provide  generous  landscaped 
buffers.  Greater  widths  allow 
greenways  to  be  used  as  spaces  for 
social  interaction. 

2.  Create  unencumbered  multi-use 
pathways  for  movement  of  pedes- 
trians, bicyclists,  etc. 


3 .  Provide  a  green  buffer  consisting  of 
trees,  shrubs,  groundcover,  etc., 
between  the  multi-use  pathway  and 
greenway  edge.  Provide  shade  trees 
on  both  sides  of  the  pathway,  if 
possible. 

4.  Maintain  safety  and  security  of  the 
greenway  by  providing  adequate 
lighting  and  allowing  a  visual  and 
physical  connection  between  the 
greenway  and  adjacent  built  and 
open  space  uses. 


5.  Where  yards  face  greenways, 
provide  fencing  that  is  semi- 
transparent  to  allow  visual  access. 

6.  Encourage  creation  of  homeowner 
associations  or  volunteer  organiza- 
tions to  regularly  manage  and 
maintain  the  greenway. 

7.  Depending  on  the  location  of  the 
greenway,  program  the  open  space 
with  community  gardens,  art  and 
other  creative  uses. 

8.  Encourage  celebrations,  block 
parties  and  other  festivities  to  take 
place  on  greenways. 


OPEN   SPACE       45 


Residential 


Multi-Use 
Path 


l'~ 


Planting 
Area 


Settings  Area 
(Like  Multi-Use  Play  Turf  Area) 


T  Planting  f  Multi-Use    '" 


Area 


Path 


Residential 


Open  Space 
(Front  Yard  Only) 


Pocket  Park/Plaza 


Figure  53.  The  open  spaces  in  front  of  alley-loaded  residential  units  become  potential  outdoor  gathering  places. 


Open  Space 
(Front  Yard  Only) 


Neighborhood  Greens 

Neighborhood  greens  (also  called 
pocket  parks)  are  intimate  neighbor- 
hood-scale spaces,  about  1/4-acre  to  2 
acres  in  size,  that  supplement  the  tradi- 
tional city  park  system.  Bounded  by 
public  and  private  built  spaces  and 
streets,  they  provide  a  place  for  relax- 
ation and  play  areas  for  children.  These 
gathering  spaces  enhance  community 
life  and  create  a  unique  sense  of  place 
by  providing  small  park-like  spaces 
close  to  residential  units. 


Allow  for  multiple  activities  such  as 
playing,  relaxing,  etc. 

Provide  comfortable  spaces  through 
the  use  of  trees,  landscaping  and  hard- 
scape  elements. 

Ensure  that  spaces  are  visible  and 
easily  accessible  from  the  front  doors, 
windows  and  porches  of  adjacent 
buildings  and  from  adjacent  streets  to 
create  activity  and  enhance  security. 

Ensure  that  the  size  of  neighborhood 
gathering  places  in  individual  develop- 
ments reflects  the  character  of  housing 
(a  larger  or  more  complex  gathering 
place  may  be  more  appropriate  where 
there  is  a  higher  ratio  of  people  or 
homes  per  acre) . 


Basic  Guidelines 

1 .  Provide  a  minimum  of  three  set- 
tings: a  young  children's  play  equip- 
ment area  (for  children  2  to  5  years 
old),  a  gathering  place  for  parents 
and  children  to  meet,  picnic,  etc., 
and  a  multi-use  play  area,  preferably 
turf,  which  could  include  paved 
areas,  grassy  mounds,  water 
features,  etc.  Other  settings  could 
include  a  sand  play  area  with  a  water 
source  and  themed  gardens. 

2.  Profide  generous  widths  so  the 
gathering  place  can  provide  multi- 
use  paths,  natural  drainage  corridors 
and  landscaped  planting  strips  along 
the  setting  area. 


452       INCLUSIVE    DESIGN     GUIDELINES 


Park  Signage/ 
Entry  Element 


+ 


Settings  Area 


Pocket  Park/ 


Plaza 


Setback  from 
Street  Edge 


On-Street 
Parking 


i'- 


Travel 
Lane 


Figure  54.  A  neighborhood  street  can  be  designed  to  accommodate  outdoor  gathering  areas. 


3.  Provide  multi-use  paths  that  create 
unencumbered  movement  of  pedes- 
trians, bicyclists,  etc. 

4.  Provide  a  landscaped  area  between 
settings  and  the  multi-use  path  on  at 
least  one  side  of  the  pocket  park. 

5 .  Provide  a  setback  from  the  edge  of 
the  street  right-of-way  to  provide 
adequate  space  for  a  landscaped 
buffer. 

6 .  Encourage  a  sense  of  arrival  for  the 
park  at  its  key  entry  locations  through 
signage,  groves  of  trees,  etc.  Provide 
each  park  with  a  unique  sense  of 
identity  by  creative  use  of  materials, 
plantings,  art  and  water  features. 


7.  Provide  shade  on  the  multi-use 
paths  and  other  parts  of  the  park  by 
providing  deciduous  trees. 

8 .  Create  a  sense  of  enclosure  for  the 
park  through  the  use  of  trees,  verti- 
cal entry  features  and  the  mass  of 
adjacent  building  elements  fronting 
the  park. 

9.  Maintain  safety  and  security  of  the 
park  by  providing  adequate  lighting 
and  allowing  visual  and  physical 
connections  between  the  greenway 
and  adjacent  built  and  open  space 
uses. 

10.  Where  private  residential  open 
spaces  face  the  pocket  park,  provide 


fencing  that  is  semi-transparent  to 
allow  visual  access. 

1 1 .  Discourage  locating  the  backyards 
of  public  and  private  developments 
at  park  edges. 

12.  Provide  on-street  parking  along  at 
least  one  side  of  the  park. 

13.  Encourage  creation  of  homeowner 
associations  or  volunteer  organiza- 
tions to  regularly  manage  and  main- 
tain the  pocket  park. 

14.  Encourage  celebrations,  block 
parties  and  other  festivities  at 
pocket  parks. 


OPEN    SPACE      453 


CITYSCAPES 


Design  guidelines  for  urban  areas 
address  the  physical  aspects  of  buildings, 
sites,  landscaping  and  circulation.  They 
are  essential  for  improving  quality  of 
life,  economic  vitality  and  a  positive 
image  for  a  city.  Guidelines  should 
encourage  variety  and  creativity  and 
suggest  design  solutions  for  making 
great  places  and  great  spaces,  taking 
into  consideration  the  social,  cultural 
and  economic  fabric  of  the  community 
and  how  people  actually  use  spaces. 
Master  plans,  specific  plans  and  zoning 
ordinances  spell  out  permissible  land 
uses  and  the  quantitative  development 
measures  that  must  be  met.  Design 
guidelines  are  used  to  maintain  the 
integrity  of  areas  that  have  special  char- 
acter or  significance,  protect  public  and 
private  investment,  provide  design 
direction  to  designers  and  decision  mak- 
ers, conserve  existing  properties  by 
showing  how  they  can  be  altered,  and 
describe  how  new  developments  can  be 
designed  and  constructed  to  be  compat- 
ible with  the  existing  urban  character. 


Each  city  has  its  own  unique  character, 
so  no  single  set  of  guidelines  will  be 
appropriate.  The  following  guidelines 
have  proven  successful  in  urban  environ- 
ments and  can  lead  to  more  inclusive 
downtowns  and  cities. 

SITE  DESIGN  AND  LAYOUT 

Building  Edges 

Building  edges  help  define  street  and 
sidewalk  areas  as  active  public  spaces. 
Historically,  downtown  buildings  cover 
the  entire  lot  with  no  front,  side  or  rear 
setbacks. 

-  Parking  should  be  provided  within 
the  building,  below  grade,  or  at  a 
separate  parking  structure  so  as  to 
minimize  disruption  to  pedestrian 
circulation  areas. 

■  Locating  building  entrances  so  they 
open  onto  the  street  helps  maintain 
visual  surveillance  of  the  street  and 
sidewalk  areas  and  activates  the 
pedestrian  zone. 

-  When  feasible,  new  construction 
should  provide  appropriate  side  set- 


POTENTIAL 
ENTRY  OR 
ACCESS 
FEATURE 


Figure  55.  Side  setbacks  can  provide 
opportunities  for  entry  features,  patios 
and  service  access,  and  help  preserve 
natural  light. 


backs  to  adjacent  existing  buildings 
that  have  windows  facing  rear  and  side 
yards,  allowing  for  light,  air  and  usable 
space  between  the  buildings. 

Outdoor  Areas 

All  site  spaces  should  be  improved  for 
uses  and  activities  to  provide  more 
attractive  and  functional  spaces  that  help 
reduce  vandalism  and  increase  safety. 
Sites  should  be  designed  with  attention 


454      INCLUSIVE    DESIGN     GUIDELINES 


Figure  56.  Cut-away  corners  create  "defensible  space"  because  they  increase  visual  access 
for  pedestrians. 


to  visual  surveillance,  lighting  and  safe 
circulation.  The  rear  portions  of  many 
commercial  buildings  often  face  alley- 
ways that  are  dark,  underused  and 
uninviting — and  attract  trash. 


Use  controlled  access  points,  good 
lighting  and  cut-away  corners  to  pro- 
vide "defensible  space." 

Use  well-lighted  rear-yard  areas  and 
alleyways  for  service  access,  which 


will  preserve  pedestrian-friendly 
public  street  fronts  and  increase 
safety  in  those  areas. 

■  Where  appropriate,  provide  small 
outdoor  dining  areas,  patios  and  gar- 
dens on  the  public  sidewalk  immedi- 
ately adjacent  to  buildings  or  in 
rear-yard  areas. 

Building  Heights 

Building  heights  often  vary  in  different 
downtown  districts.  Tall  buildings  shape 
the  skyline  and  create  strong  visual 
landmarks.  Tall  buildings  on  corner  sites 
can  serve  as  anchors  for  the  block. 

■  The  tallest  buildings  should  be  con- 
centrated in  the  downtown  core,  with 
decreasing  size  and  intensity  as  one 
moves  away  from  the  downtown  core. 


Figure  57.  Small,  outdoor  dining  areas  add 
life  and  energy  to  pedestrian  areas. 


-^^^^\\\\\\\\\\\\\^\\\\x^ 


LL 


100 


^^^^^^^^^ 


^\ 


Figure  58.  Building  heights  should  decrease  as  one  moves  closer  to  a  natural  landmark, 
such  as  a  river,  or  away  from  the  downtown  core. 


CITYSCAPES      455 


Buildings  should  decrease  in  size  as 
one  moves  closer  to  a  natural  land- 
mark such  as  a  river. 

■  Maintaining  the  alignment  of  cornices, 
rooflines  and  building  lines  of  new 
buildings  with  existing  buildings  pre- 
serves architectural  continuity.  Match 
cornice  lines  and  step  back  upper 
floors  of  tall  buildings  that  are  above 
average  building  heights  in  the  area. 

■  Matching  heights  at  the  ends  of 
blocks  on  adjoining  corners  creates  a 
unified  architectural  character. 

■  In  the  odd-shaped  and  "leftover"  areas 
near  freeways,  all  types  of  building 
heights  can  be  appropriate.  Those 
areas  can  be  appropriate  for  a  wide 
variety  of  freeway-oriented  businesses. 

Parking  Lot  Placement  and  Design 

While  parking  is  an  obvious  need  in  a 
downtown  environment,  surface  parking 
lots  destroy  the  pedestrian  character  of  a 
downtown  and  preclude  retail  activity 
and  public  gathering  spaces  on  the 
street.  Too  often,  they  create  the  appear- 
ance of  a  vacant,  underused  and  unsafe 
downtown  that  deters  visitors  and  shop- 
pers. Lots  in  front  of  buildings  increase 
the  walking  distance  to  the  establish- 
ment and  discourage  foot  traffic. 


Figure  59.  Designing  seating  and  other 
amenities  near  parking  lot  screening  walls 
contributes  to  a  comfortable  pedestrian 
environment. 


Parking  lots  should  not  intrude  on 
the  urban  character  and  pedestrian 
quality  of  downtown. 

Large  expanses  of  paved  parking  lots 
should  be  sited  to  the  rear  of  build- 
ings away  from  major  pedestrian 
commercial  streets  with  access  from 
side  streets  and  alleyways. 

Use  perimeter  landscaping  to  screen 
cars  from  public  view  along  sidewalks 
and  soften  the  edges  of  expansive, 
paved  areas.  Decorative  fences  with 
narrow  landscape  buffers  and  trellis- 
type  structures  also  provide  an  attrac- 
tive barrier.  Use  semi-transparent 
screening  materials  with  appropriate 
planting  heights  to  maintain  visual 
access  for  safety. 


■  Design  parking  in  parking  garages 
below  or  above  street  level  or  com- 
mercial uses. 

■  Seating,  lighting,  trash  receptacles, 
telephones  and  other  pedestrian 
amenities  can  be  designed  into  screen- 
ing walls  and  landscape  areas  to  make 
a  more  comfortable  human-scale 
pedestrian  environment. 

BUILDING  DESIGN 

Building  guidelines  usually  address  only 
the  exterior  of  buildings  and  the  rela- 
tionship of  buildings  to  the  surrounding 
setting  and  the  street.  Building  design 
decisions  need  to  balance  many  factors, 
including  economic  constraints,  pro- 
grammatic needs,  functional  require- 
ments and  aesthetics.  For  most 
downtowns,  two  major  design  princi- 
ples should  be  considered:  contextual  fit 
and  pedestrian-friendly  streets. 

Contextual  Fit 

Contextual  fit  is  how  well  the  proposed 
building  fits  into  the  urban  setting.  That 
requires  building  designers  to  evaluate 
the  existing  buildings  on  the  block  and 
determine  the  major  reoccurring  design 
elements  that  contribute  to  the  charac- 
ter and  image  of  the  downtown.  These 
elements  can  include:  setbacks,  heights, 


•456      INCLUSIVE    DESIGN     GUIDELINES 


form,  rhythm  of  openings  and  horizon- 
tal building  lines,  color,  materials,  tex- 
ture, and  building  styles  and  design 
elements.  A  new  building  does  not  need 
to  match  every  other  building  in  order 
to  "fit."  Elements  of  the  new  building 
should  be  related  in  some  way  to 
achieve  a  harmonious  result. 

In  some  cases,  the  opposite  may  be 
appropriate:  for  example,  the  creation 
of  a  landmark  or  signature  building. 
These  buildings  stand  out  because  of 
their  unusual  and  innovative  design. 
However,  too  many  signature  buildings 
within  one  district  creates  visual  confu- 
sion. Landmark  buildings  may  be 
created  for  civic  uses,  such  as  museums, 
churches,  schools  and  major  recreation 
facilities,  or  in  areas  where  there  are 
relatively  fewer  older  buildings  that 
form  a  historical  context. 

Pedestrian-Friendly  Streets 

Building  design  can  contribute  to  creat- 
ing an  active,  urban  pedestrian  street 
life.  The  primary  concern  is  the  street 
level  that  is  visible  to  pedestrians — and 
those  in  cars  who  may  be  tempted  to 
get  out  of  their  cars.  The  types  of  design 
elements  that  contribute  to  this  include: 
street-level  activities,  building  to  the 


edge  of  sidewalks,  windows  and  open- 
ings at  the  ground  floor  level,  awnings 
and  canopies  over  window  displays  and 
entries,  pedestrian  amenities  along  the 
street  and  extensions  of  building  activi- 
ties into  the  sidewalks  (such  as  outdoor 
seating,  dining  and  sales  displays) . 

Proportion  of  Openings 

Building  openings,  windows,  doorways 
and  entries  contribute  to  consistent 
urban  character.  Often,  older  buildings 
have  narrower,  vertical  window  open- 
ings with  regular  spacing,  while  newer 
buildings  have  continuous  horizontal 
ribbons  of  windows  that  wrap  the  build- 
ing with  no  spacing  between  them. 

E  Building  widths  and  historic  propor- 
tions, as  well  as  the  spacing  of  build- 
ing openings  should  be  maintained  at 
least  at  the  lower  levels  of  buildings. 

■  Building  openings  at  the  pedestrian 
level  may  vary  and  incorporate  mod- 
ern styles  and  materials. 

Horizontal  Rhythms 

Older  buildings  often  have  a  distinct 
horizontal  rhythm  of  openings  along  the 
street  using  common  building  materials. 
Repetition  of  these  elements  creates  a 
continuous  band  along  a  block.  Usually, 


the  common  band  is  the  division 
between  the  storefronts  on  the  street 
level  and  upper  facades  of  buildings. 
Maintaining  a  strong  horizontal  band 
within  the  range  of  human  visual  per- 
ception creates  a  sense  of  enclosure, 
reinforcing  pedestrian  activity  at  the 
street  level  and  unifying  each  block. 
Individual  landmarks,  such  as  churches 
or  a  public  institution  can  gracefully 
interrupt  the  rhythm.  But  too  many 
interruptions  disrupt  the  overall  unity 
of  the  urban  streetscape. 

■  The  horizontal  rhythm  in  new  build- 
ings can  be  reinforced  by  using  a 
similar  alignment  of  windowsills, 
building  lines,  floor  lines,  cornices, 
rooflines  and  floor-to-floor  spacing. 

■  Cornice  lines,  floor  canopies  and 
awnings,  overhangs  and  windowsills 
help  maintain  a  clear  visual  division 
between  street  level  (ground  floor 
retail  uses)  and  upper  floors  (office  or 
residential  uses) . 

Building  Form 

In  many  downtowns,  buildings  in  the 
urban  center  are  rectangular  forms  over 
two  stories  covering  entire  lots.  This 
building  shape  creates  a  regular  rhythm 
of  building  mass  and  edge  along  com- 
mercial streets.  The  mass  is  articulated 


CITYSCAPES      457 


with  building  details,  commercial  win- 
dow displays  and  entries  at  street  level. 
In  recent  years,  buildings  have  increased 
in  size  and  scale,  with  taller  buildings 
covering  larger  areas,  including  entire 
blocks. 

■  Newer  buildings  can  maintain  a 
pedestrian  scale  through  window 
openings,  ornamentation,  cornice 
lines,  signage,  awnings  and  canopies, 
and  articulated  wall  surfaces  that  are 
sized  to  be  proportional  to  the 
human  body. 

■  Avoid  uninviting  and  unattractive 
blank  walls  on  the  ground  floor  of 
street  frontages.  Commercial  and 
office  building  frontages  should 
feature  display  windows  and  entries. 

■  High-quality  materials  and  architec- 
tural ornamentation  at  the  street 
level  of  buildings  accent  buildings  and 
provide  visual  interest. 

r  If  the  form  and  mass  of  existing  build- 
ings are  rectangular,  avoid  adding 
curving,  undulating  or  diagonal  build- 
ing forms. 

Building  Styles 

Downtowns  usually  have  buildings  rep- 
resenting several  historical  periods  and 
many  different  architectural  styles.  New 
buildings  don't  need  to  replicate  one 
specific  architectural  style,  if  the  overall 
design  objective  of  creating  an  urban, 


pedestrian-friendly  setting  is  met. 
Buildings  should  draw  on  the  materials 
and  details  reminiscent  of  the  styles  that 
are  already  present  in  order  to  support 
continuity  in  downtown  architecture. 
Evaluating  site  context,  architectural 
styles  and  the  character  of  adjacent 
buildings  can  help  determine  the  appro- 
priate style  for  a  new  building.  The 
architectural  styles  described  in  the  table 
on  the  following  page  are  represented  in 
many  downtowns  across  America. 

Roof  Forms 

Roof  shapes  should  reflect  the  urban 
character  of  a  downtown.  Taller  build- 
ings also  contribute  to  an  attractive  and 
interesting  skyline.  While  flat  roofs  with 
parapets  are  typical  of  urban  commer- 
cial buildings,  some  buildings  have 
unique  elements  such  as  towers,  spires 
and  special  cornice  designs. 

■  Special  roof  shapes  on  corner  locations 
can  help  accent  corners  of  blocks. 

E  Articulated  and  varied  roof  shapes  on 
taller  office  and  residential  towers 
add  interest  and  serve  as  reference 
points.  Stepped  building  setbacks, 
unique  rooftops  and  varying  building 
materials  also  contribute  to  light  pen- 
etration and  interest. 

a  Pitched  roofs,  especially  on  one-story 
buildings  are  more  typically  suburban 


styles  and  not  appropriate  for  down- 
towns. Other  inappropriate  roofs 
may  include  slope  shapes  on  one- 
story  buildings,  gable-end,  single 
pitch  (shed),  false  mansard  and 
curving  roofs. 

TRANSPORTATION  AND  CIRCULATION 

Streets 

A  major  difference  between  urban  and 
suburban  streets  is  the  quality  of  the 
pedestrian  environment.  Downtown 
streets  should  accommodate  the  move- 
ment of  people  and  goods  by  all  modes 
of  travel  (foot,  car,  bus,  bicycle  and 
light  rail);  provide  orientation,  safety 
and  comfort;  encourage  a  sense  of 
community  and  place;  foster  a  sense 
of  neighborly  ownership  and  responsi- 
bility; avoid  disturbing  nuisances;  and 
enhance  the  economic  value  of  adjacent 
properties.  Urban  streets  should  also  be 
designed  to  support  social  interaction 
and  enhance  the  pedestrian  experience 
between  buildings  and  travel  lanes. 
They  should  be  well-landscaped  corri- 
dors for  both  vehicles  and  pedestrians. 

Pedestri  an-Ori  en  ted  Streets 

These  streets  encourage  walking  and 
shopping  at  the  street  level  and  provide 
pedestrian  connections  within  the 


458      INCLUSIVE    DESIGN    GUIDELINES 


BUILDING  STYLES:  Commercial  Buildings  &  Warehouses 


Revival 

From  the  early  1 800s  to 
the  early  1 900s,  buildings 
are  typically  of  brick, 
stucco  or  stone  in  a  style 
recalling  the  past.  Among 
the  major  styles  are:  Greek 
Revival  (bold,  simple  mold- 
ings, symmetrical  windows, 
low-pitched  roofs,  heavy 
cornices,  columns  and  wide 
friezes);  Gothic  Revival 
(arched  windows,  steep 
rooftops  and  decorative 
ornamentation  reminiscent 
of  medieval  times);  Second 
Empire  (simple,  symmetri- 
cal blocks,  heavy  window 
molds,  bays);  and  Italianate 
(flat  roofs,  corniced  eaves, 
Corinthian  columns  and 
pilasters).  By  the  late 
1800s  and  early  1900s, 
styles  include  Queen  Anne 
(balconies,  projecting  bays, 
terra  cotta  patterned  brick- 
work, stone,  corner  turrets, 
towers,  dormers);  Richard- 
sonian  Romanesque 
(monochromatic,  red  brick 
and  terra  cotta,  rusticated 
stone,  horizontal  lines, 
classical  decorative  fea- 
tures); and  Neoclassicism 
(Beaux  Arts  styles)  which 
again  revives  Greek,  Roman 
and  classical  styles. 


Chicago  School 

The  development  of  steel- 
frame  construction 
heralds  the  first  skyscrap- 
ers. Louis  Sullivan's 
Carson,  Pirie,  Scott  and 
Company  Building  in 
Chicago  exemplifies  the 
principles  of  combining 
form  with  function. 
Modular  construction  is 
openly  expressed  in  the 
upper  stories  while  intri- 
cate ornament,  in  terra 
cotta,  animates  the  lower 
exterior. 


Carson,  Pirie,  Scott 
and  Company  Building, 
Chicago,  Illinois 


Art  Deco/Art  Moderne 

The  1925  Exposition 
Internationale  des  Arts 
Decoratifs  and  Industriels 
Modernes  in  Paris  marks 
the  onset  of  Art  Deco/ 
Art  Moderne.  These  twin, 
progressive  movements 
anticipate  the  future  but 
also  revive  the  past:  Art 
Deco  is  notable  for  its 
revivals  of  Egyptian  and 
Mayan  motifs;  Art  Moderne 
incorporates  Bauhaus  and 
other  modern  styles  and 
anticipates  the  International 
Style.  Both  the  Machine 
Age  and  the  Jazz  Age  show 
their  influences  in  such 
building  details  as  rounded 
corners  and  zigzags. 
Building  decoration  con- 
sists mainly  of  low-relief 
geometric  designs,  often  in 
vivid  colors  in  the  form  of 
straight  lines,  zigzags, 
chevrons  and  stylized  floral 
motifs.  Materials  include 
tiles,  terra  cotta  and  glass. 


Kansas  City  Union  Station, 
Missouri 

1800 


1900 


Department  store, 
Pasadena,  California 


1925 


International  Style 

Modern  structural  princi- 
ples and  materials  such 
as  concrete,  glass  and 
steel  drive  the 
International  Style. 
Nonessential  decoration  is 
eliminated  and  the  skele- 
ton frame  of  construction 
is  revealed.  Ribbon  win- 
dows are  a  hallmark,  as 
are  corner  windows.  High- 
rise  buildings  are 
designed  as  one  large 
office  placed  on  top  of 
another.  By  the  late 
1960s  the  International 
Style  evolves  into  a  style 
of  economic  efficiency 
and  functionality.  Built 
almost  strictly  of  glass 
and  steel,  buildings  are 
devoid  of  all  ornamenta- 
tion, usually  in  the  form 
of  a  simple  box  with 
ribbon  windows. 


Office  building, 

Los  Angeles,  California 


Postmodern 

From  the  late  1 970s 
through  the  present, 
Postmodernism  emerged 
in  American  architecture 
as  a  reaction  to 
International  Style's  lack 
of  ornamentation. 
Postmodernist  buildings 
use  an  eclectic  array  of 
details  from  historical 
architectural  periods. 
Oversize  design  elements 
from  the  past  are  quoted, 
and  columns,  cornices 
and  oversized  parapets 
become  common  features. 
While  the  facades  are 
often  ornate,  the  interiors 
remain  simply  large  floor 
plates. 


Tourist-oriented 
businesses  along 
International  Drive, 
Orlando,  Florida 


ALL  PHOTOSTHIS  PAGE: 
THOMAS  W.  PARAD1S 


1950 


1975 


CITYSCAPES      459 


Figure  60.  Bulb-outs  at  corners  slow  traffic  and  help  pedestrians  cross  streets  safely. 
Decorative  crosswalks  extend  the  sidewalk  experience  into  the  street. 


downtown  and  surrounding  neighbor- 
hoods. They  are  typically  two-way 
streets  with  wide,  well-maintained  side- 
walks and  pedestrian  amenities.  Traffic 
should  flow  slowly. 

■  Bulb-outs  at  corners  slow  traffic  and 
encourage  safe  pedestrian  street 
crossing. 

a  Enhance  street  activity  by  creating 
"active  street  edges"  with  windows 
and  entrances  opening  onto  the 
street,  outdoor  retail  activity,  street 
cafes  and  restaurants. 

■  Invite  pedestrians  to  pause  by  provid- 
ing street  furniture  such  as  fountains, 
benches  and  art. 


■  Use  decorative  crosswalks  to  extend 
the  sidewalk  experience  into  the  street. 

■  Streets  can  be  made  into  "places" 
through  strong  spatial  definition  and 
distinctive  design.  To  maintain  a 
human  scale,  street  width  should  be 
sized  in  proportion  to  the  height  of 
buildings — wider  streets  with  taller 
buildings  and  narrower  streets  with 
smaller  buildings. 

Improve  interface  between  buildings 
and  sidewalks  with  awnings  and  out- 
door displays. 

Pedestrian  and  Vehicle  Streets 

These  streets  are  boulevards  and 
avenues  that  move  both  pedestrians  and 


vehicles  into  and  around  downtown. 
They  can  also  provide  major  pedestrian 
connections  to  surrounding  neighbor- 
hoods, districts,  parks  and  open  space. 

■  Create  an  appropriate  width  of  side- 
walk and  buffering  from  traffic.  A 
continuous  row  of  trees  close  to  the 
edge  of  the  sidewalk  offers  a  sense  of 
safety  and  comfort  to  pedestrians. 

■  Provide  convenient  connections  to 
public  transit. 

■  Orient  land  uses  to  the  street  to 
increase  pedestrian  activities  and  create 
visually  interesting  sites  for  car  users. 

Vehicle-Oriented  Boulevards 

Designed  to  move  vehicles  through  the 
downtown,  these  streets  should  never- 
theless project  a  distinctive  urban  char- 
acter. They  provide  vehicle  connections 
to  parking  and  adjoining  uses.  They  can 
also  be  improved  with  street  trees  and 
landscaping. 

■  Simplify  street  circulation  and  access 
and  improve  traffic  flow  by  consoli- 
dating driveways  and  parking  entries 
whenever  possible  and  by  using 
shared  entry  and  exit  points. 

■  Reduce  the  number  of  signs  on 
buildings  and  the  site,  creating  a 
more  attractive  and  consistent  image 
along  the  boulevard;  reduce  clutter. 


460      INCLUSIVE    DESIGN    GUIDELINES 


■  Install  landscaping  and  trees  along  side- 
walks— between  the  on-street  parking 
and  moving  lanes  and  the  building 
edge — to  help  define  the  pedestrian 
zone  and  create  a  safer  pedestrian 
walkway  along  the  boulevard. 

■  Use  attractive  street  lighting  and 
pedestrian  amenities  along  the  street 
(such  as  benches,  trash  cans,  news- 
paper boxes,  etc.)  with  a  similar 
design  to  create  a  coherent  and 
consistent  character. 

Pedestrian  Circulation 

Pedestrians  need  the  same  type  of 
continuous  travel  corridors  linking 
major  destinations  as  do  vehicles.  Good 
pedestrian  circulation  serves  local  land 
uses  by  providing  access  to  commercial 
and  residential  buildings,  transit  and 
transit  facilities,  open  space  and  public 
outdoor  activity  space.  The  system 
requires  attention  to  safety,  as  well  as 
comfort  and  ease  of  access.  Adjacent 
buildings  also  form  the  pedestrian 
environment,  so  providing  strong 
spatial  definition  through  building 
fronts  and  tree  canopies  adds  to  a 
distinct  urban  character  and  helps  create 
a  "sense  of  place"  that  also  enhances 
property  values. 

s  Divide  sidewalks  into  functional  zones. 
The  minimum  sidewalk  width  should 


Figure  61.  Pedestrian-oriented  streets  can  accomodate  one  lane  of  traffic  with  parking 
areas  that  can  be  used  for  outdoor  events  on  the  weekends  and  evenings,  such  as  farmers 
markets  and  community  festivals. 


be  12'.  Widths  of  15'— 20'  along  major 
commercial  streets  are  preferred  so 
two  people  walking  together  can  pass 
others  without  making  abrupt  changes 
in  direction.  Wider  sidewalks  can 
accommodate  intensive  pedestrian 
traffic  along  with  retail  uses.  For 
example,  areas  of  the  sidewalk  should 
accommodate  persons  walking,  win- 
dow shopping,  bicycle  parking  and 
street  furniture,  as  well  as  outdoor  eat- 
ing and  displays. 


Mid-block  pedestrian  crosswalks  can 
be  added  where  blocks  are  too  long  to 
reasonably  expect  pedestrians  to  use 
corner  sidewalks.  They  should  only  be 
added  where  traffic  speed  and  sight 
lines  allow  for  safe  crossings. 

Decorative  paving  treatments  can 
help  separate  the  pedestrian  zone 
from  the  street  travelways  at  inter- 
section crossings. 


CITYSCAPES       461 


Wherever  possible,  new  projects  and 
renovations  of  existing  sites  should 
close  the  gaps  between  pedestrian 
connections  by  providing  sidewalk 
improvements  along  major  arterial 
streets. 

■  Bulb-outs  at  street  corners  help  reduce 
pedestrian  travel  time  and  increase 
safety.  They  also  provide  additional 
space  for  street  furniture,  landscaping 
and  signage. 

Street  furniture,  utility  poles,  trees 
and  signage  should  be  positioned  to 
not  obstruct  movement  from  a  street 
parking  space  to  a  building  entry  or 
prevent  car  doors  from  opening  at  the 
sidewalk  edge. 

In  general,  sidewalks  and  bike  ways 
should  be  separate  unless  they  are 
designed  as  a  multi-use  path  separated 
from  the  street. 

■  Create  universal  access  pathways  on 
both  sides  of  the  street,  at  least  5' 
wide.  Provide  a  2'3"  wide  detectable 
warning  strip  of  yellow  truncated 
domes  between  the  ADA  pathway 
and  the  rest  of  the  roadway  and 
before  all  street  crosswalks  and  mid- 
block  crossings. 

In  some  historic  districts,  there  may  be 
no  sidewalks.  The  pedestrian  pathway 
then  needs  to  be  clearly  marked  so 
bicyclists  and  vehicles  remain  separated. 
Pathways  should  be  a  minimum  of  15' 
to  20'  wide. 


On-Street  Parking 

On-street  parking  helps  create  an  active 
street  life,  offering  additional  parking 
and  access  to  commercial  and  residen- 
tial uses  and  a  buffer  zone  between  the 
pedestrian  sidewalk  and  travel  lanes  in 
the  street.  It  also  decreases  the  capacity 
of  adjacent  travel  lanes  by  up  to  30  per- 
cent, depending  on  the  number  and 
width  of  travel  lanes  and  the  frequency 
of  parking. 

Through  traffic  and  local  access 
requirements  should  be  balanced  when 
deciding  where  to  provide  on-street 
parking. 

On  slower,  pedestrian-oriented 
streets,  angled  on-street  parking  can 
increase  the  number  of  parking 
spaces  while  maintaining  a  functional 
level  of  vehicle  circulation.  On  major 
arterials,  parallel  parking  will  likely 
work  better. 

On-street  parking  areas  on  pedes- 
trian-oriented streets  can  also  serve 
as  outdoor  eating  and  retail  display 
areas  during  special  events  or  special 
evening  hours. 

Entire  pedestrian-oriented  streets  can 
be  blocked  off  to  vehicles  for  special 
events,  such  as  farmers  markets  or 
street  fairs. 


Bicycles 

Bicyclists  also  need  continuous  travel 
corridors  providing  connections  to 
major  commercial  and  residential  desti- 
nations, transit,  open  space  and  parks. 
Bicycle  circulation  can  be  provided 
through  bike  lanes  and  bike  paths.  A 
lane  is  a  portion  of  a  roadway  desig- 
nated for  exclusive  or  preferential  bicy- 
cle use.  A  path  is  generally  separated 
from  the  roadway  and  may  be  shared 
with  pedestrians. 

Provide  secure  bicycle  parking  on 
development  sites  and  at  transit  stops. 
Bicycle  parking  can  also  be  on  side- 
walks or  on  the  street  instead  of  auto 
parking. 

Bike  lanes  should  be  well-signed  and 
well-maintained.  Pavement  conditions 
should  ensure  a  smooth,  clean  travel- 
way  by  eliminating  height  differences 
between  gutter  pans  and  asphalt  and 
between  driveway  curb  cuts  and  the 
travel  lane. 

Bike  lanes  should  be  one-way  in  the 
same  direction  of  travel  as  vehicles. 
One-way  streets  can  allow  for  opposite 
direction  lanes  separated  from  vehicle 
traffic  by  a  barrier  or  other  separation. 

Bike  lanes  should  avoid  streets  with 
diagonal  parking. 


462      INCLUSIVE    DESIGN    GUIDELINES 


Gateways 

Gateways  tell  visitors  they  have  entered 
the  downtown.  They  serve  as  landmarks 
and  should  be  visible  to  vehicular,  bicy- 
cle and  pedestrian  traffic.  They  should 
be  designed  to  create  a  high-quality 
visual  experience;  they  can  provide  an 
opportunity  for  architectural  features, 
monuments,  public  art,  signage  and 
landscaping. 

Gateways  should  be  located  at  major 
access  routes. 

Signage  should  be  civic;  no  commer- 
cial or  tenant  names  should  be  printed. 

Illuminate  gateways  at  night  and 
ensure  that  they  are  visible  to  passing 
vehicles. 

LANDSCAPING 

Street  Trees 

Street  trees  are  one  of  the  least  expen- 
sive ways  to  create  a  more  pedestrian- 
oriented  street.  Trees  also  improve  air 
quality,  reduce  water  runoff  and 
improve  property  values.  A  continuous 
canopy  of  trees  defines  the  pedestrian 
space  along  sidewalks,  provides  shade 
and  generally  improves  a  street's 
appearance. 

Select  urban  street  trees  carefully 
according  to  geography  and  climate. 


Provide  large,  wide  canopy  trees  about 
10—25'  apart  along  the  street. 

Provide  adequate  growing  conditions. 

Select  trees  that  are  easy  to  maintain, 
with  roots  that  minimize  sidewalk 
damage. 

Consider  using  structural  soil. 
Designed  to  be  load-bearing  for  use 
under  pavements,  structural  soil  allows 
deep  root  penetration. 

Prune  trees  to  maintain  a  clear  space 
between  the  lower  branches  and  the 
sidewalk  to  provide  clear  views  of 
building  signage,  maintain  street-level 
displays  and  activities  and  provide 
accessible  routes. 

Use  special  treatments  such  as  a 
double  row  of  trees  to  differentiate 
areas  of  emphasis. 

Landscape  Elements 

Planters,  shrubs,  ground  cover  and  water 
elements  create  soft,  colorful  pedestrian 
settings  that  contrast  with  the  hard  physi- 
cal elements  of  an  urban  environment. 

Select  plant  materials  with  low  water 
consumption  to  lower  costs. 

E  Use  relatively  high-maintenance 
annuals  and  perennials  selectively  and 
only  as  landscape  accents. 


Hardscape  Elements 

Well-designed  and  lighted  pedestrian 
kiosks,  benches,  bus  shelters,  newspaper 
racks,  trash  cans  and  cafe  tables  increase 
opportunities  for  people  to  socialize  and 
spend  time  outdoors  along  public 
streets.  However,  large  front  lawns  and 
landscaped  front  setbacks  are  not  in 
keeping  with  a  high-intensity  urban 
character. 

Consider  adding  small  entry  plazas, 
seating  alcove  areas  and  other 
pedestrian  amenities  in  the  design 
of  buildings. 

Fit  the  pattern  and  texture  of  ground 
paving  materials  into  the  existing 
context. 

Ensure  that  hardscape  materials  are 
high-quality,  functional  and  able  to 
endure  weather  conditions  and 
vandals. 

Provide  public  art  such  as  wall  murals 
and  sculptures  where  appropriate. 
These  elements  can  also  serve  as  inter- 
pretive elements  that  describe  the 
history  of  the  area. 

GATHERING  SPACES 

Public  gathering  spaces  add  to  the  social 
quality  of  the  downtown.  Parks,  plazas 
and  promenades  can  preserve  historic 
character  and  increase  the  amount  of 
usable  open  space. 


CITYSCAPES      463 


Pocket  Parks /Plazas 

Pocket  parks  and  plazas  provide  a  valu- 
able gathering  and  relaxing  area  for 
residents  and  visitors,  and  some  respite 
to  the  continuous  built  environment. 
Each  park  should  have  a  distinct  iden- 
tity, compatible  with  the  character  of 
the  surrounding  neighborhoods. 

Replace  asphalt  or  concrete  with 
decorative  paving. 

Add  shrubs  and  flowering  plants  to 
enhance  visual  appeal. 

Add  trees  along  edges  for  shade  and  a 
sense  of  enclosure. 

Provide  a  grove  of  trees  along  one 
edge  that  will  serve  as  an  identifying 
vertical  marker. 

■  Provide  seating  and  recreational 
amenities. 

Maintain  existing  entries  to  buildings 
from  the  park. 

■  Consider  the  use  of  water  features  to 
enhance  serenity. 


Figure  62.  Pocket  parks  between  buildings  provide  valuable  gathering  areas  and  respite 
from  the  continuous  built  environment. 


Public  Promenades 

Promenades  provide  a  unique,  flexible 
open  space  that  can  be  used  for  multiple 
purposes.  They  can  provide  a  spillover 
space  for  adjacent  cafes  and  restaurants, 
on-street  parking  during  office  hours, 
an  exhibition  area  for  public  art,  open 


space  for  farmers  markets  and  other 
neighborhood  events. 

Replace  asphalt  with  decorative 
paving. 

Provide  a  IS'— 20'  wide  single,  slow 
moving  auto  travel  lane. 

Provide  an  8'  ADA  accessible  pathway 


along  one  edge  of  the  street  and 
create  angled  parking  (30—90 
degrees)  on  the  other  side. 

Provide  a  double  row  of  trees  in  the 
middle  of  the  right  of  way  for  shade. 

Include  shade  trellis  canopies,  seating 
and  complementary  directional 
signage. 


464      INCLUSIVE    DESIGN     GUIDELINES 


Transit  Plazas 

Light  rail  stations  and  key  bus  transfer 
points  can  be  important  neighborhood 
activity  areas.  A  well-articulated  transit 
plaza  around  the  station  can  enhance 
civic  character  and  sense  of  place. 

■  Provide  additional  amenities  to  tran- 
sit users,  including  shade  structures 
that  provide  weather  protection, 
better  seating  and  rows  of  trees.  The 
hardscape  elements  should  continue 
the  character  of  the  streetscape 
elements  in  the  area. 

■  Plant  double  rows  of  trees  to  provide 
a  sense  of  enclosure. 

■  Integrate  an  open  space  plaza  with 
any  adjacent  alleys  by  using  the  same 
paving  material  and  pattern. 

■  Ensure  that  all  building  edges 
fronting  the  plaza  help  activate  the 
plaza. 

■  Improve  wayfinding  strategies  with 
maps  that  highlight  key  activity  nodes 
around  the  station  and  tell  the  story 
of  the  area. 

■  Activate  plazas  with  temporary  food 
facilities  or  stalls. 

■  Activate  plazas  with  cafes,  convenience 
stores,  small  retail  stores  and  commer- 
cial space  with  well-articulated, 
pedestrian-friendly  storefronts  and 
display  windows. 


SIGNAGE 

Building  Identification  Signs 

Signs  should  be  designed  as  an  integral 
part  of  the  project  site  and  building 
architecture.  Merchants  can  create  their 
own  unique  signs  that  represent  their 
businesses.  Attractive,  artistic  and  well- 
coordinated  signage  creates  an  identity 
and  a  positive  shopping  experience. 

ffi  Place  signs  in  relation  to  building  ele- 
ments and  avoid  obscuring  windows, 
cornices  or  decorative  details. 

■  Ensure  that  sign  materials  comple- 
ment building  facades  and  relate  to 
other  shop  signs  in  a  single  storefront 
in  design,  size,  color,  lettering  style 
and  placement.  Chain  stores  may 
need  to  adapt  their  graphics  to  meet 
local  guidelines. 

■  Maintain  a  minimum  clearance  above 
the  public  right-of-way  for  signs  that 
project  from  a  building. 

■  Firmly  anchor  signs  that  project  from 
the  building  to  the  building  facade  with 
attractive,  non-corrosive  hardware. 

■  Use  darker  letters  against  a  lighter 
background. 

■  Avoid  signs  that  protrude  above 
rooflines,  eaves  or  parapets — they  can 
detract  from  the  architectural  quality 
of  the  building. 


Flush-Mounted  Signs 

Flush-mounted  signs  are  signboards  or 
individual  die-cut  letters  placed  on  the 
face  of  a  building,  usually  in  a  recess 
or  horizontal  molded  band  on  the 
building. 

B  Size  signs  to  fit  within  the  propor- 
tions of  the  building  facade  so  they 
do  not  crown  the  top  of  a  building 
wall  or  parapet. 

■  On  a  historic  storefront,  locate  signs 
along  a  first  floor  cornice  line,  above 
the  awning  or  transom  windows. 

*  Center  signs  within  storefront  bays; 
avoid  extending  them  beyond  the 
limits  of  the  storefront  or  over  ele- 
ments such  as  columns,  pilasters  or 
transoms. 

■  Encourage  die-cut  letter  signs  made 
from  materials  consistent  with  the 
downtown  and  mounted  directly  on 
the  building. 

Hanging  or  "Blade" Signs 

Hanging  signs  mounted  on  the  building, 
perpendicular  to  the  sidewalk  are  effec- 
tive because  they  are  near  pedestrian 
eye  level. 

■  Maintain  a  minimum  clearance  above 
the  sidewalk. 


CITYSCAPES      465 


Window  Signs 

Ensure  that  window  signs  do  not 
exceed  20  percent  of  the  total 
window  area. 

Use  high-quality  materials  such  as 
paint  or  gold  leaf,  or  etch  into  glass. 

Icon  or  Graphic  Signs 

Use  icons  to  illustrate  the  nature  of 
the  business.  They  are  creative,  easy 
to  read  and  well  suited  to  pedestrian 
and  vehicular  traffic. 

Provide  graphic  imagery  with  attrac- 
tive and  informative  text. 

Lighted  Signs 

For  internally  lit  signs,  use  black  or 
dark  colored  backgrounds  with  light 
lettering  to  make  distant  reading 
easier. 

L  Contain  light  within  the  frame  of 
externally  lit  signs  to  accentuate  the 
message  and  reduce  glare  and  light 
pollution. 

Orient  and  shield  spotlights  so  the 
light  source  is  not  visible,  focusing 
attention  on  the  sign  and  thus  prevent- 
ing light  pollution. 

Neon  and  Bare  Bulb  Signs 

^  Consider  use  of  neon  and  bare  bulb 
signs  in  entertainment  areas  such  as 
restaurants,  dance  clubs  and  bars. 


Use  pictorial  images  related  to  the 
business. 


Awning  Signs 

Painting  signs  on  the  valence  of  an 
awning  is  an  inexpensive  and  simple 
signage  method  that  can  be  distinctive. 

Limit  text  on  awnings  to  no  more 
than  1 0  square  feet  to  maintain 
legibility. 

H  Limit  signage  on  a  sloping  surface  to 
small  graphic  symbols  or  logos  to 
prevent  the  information  from  becom- 
ing too  cluttered. 

Directional  Signage  for  Parking  Lots 

Limit  directional  signs  marking  entries 
and  exits  to  no  more  than  one  com- 
mercial image,  logo  or  message.  These 
signs  should  be  subservient  to  text 
identifying  "customer  parking." 

Limit  each  driveway  to  no  more  than 
one  directional  sign  near  sidewalks. 

Banner  Signs 

Temporary  banner  signs  for  special 
events  add  color  and  create  a  festive 
atmosphere. 

■  Attach  signs  to  light  standards  or 
project  them  from  building  facades. 


■  Locate  banners  at  least  8'  from  grade 
or  within  1 '  of  the  edge  of  the  curb 
when  projected  vertically. 

Remove  signs  after  the  event,  or  when 
they  show  signs  of  fading  or  wear. 

Inappropriate  Signs 

While  every  downtown  will  be  differ- 
ent, there  are  some  types  of  signs  that 
are  generally  not  appropriate  for  a 
pedestrian-friendly  urban  environment. 

Building  signs  that  advertise  products 
and  vendors  rather  than  businesses 
and  services 

Flashing,  animated,  blinking,  fluores- 
cent, rotating,  reflecting  and  revolving 
signs 

Changeable  copy  signs,  other  than  on  a 
movie  marquee 

Chalkboards  or  blackboards,  other 
than  for  a  restaurant  or  cafe 

Portable  signs,  such  as  A-frame  types. 

Freestanding  commercial  signs,  such  as 
for  parking 

Off- site  and  general  advertising  signs 
and  billboards 

J  Advertising  on  the  sloping  surface  of 
an  awning,  other  than  graphic  symbols 
or  logos 

Signs  on  vacant  or  closed  buildings, 
other  than  real  estate  notices 


466      INCLUSIVE    DESIGN    GUIDELINES 


-  Temporary  signs  and  promotional 
decorations,  other  than  seasonal 
(which  should  be  removed  promptly) 

■  Signs  on  privately  owned  benches 
■--'  Private  signs  on  public  property 

DESIGN  DETAILS 

Awnings  and  Canopies 

Canopies,  arcades,  awnings  and  over- 
hangs provide  shade  and  weather  protec- 
tion and  enhance  the  street  level 
pedestrian  environment.  They  also  help 
articulate  building  facades,  creating 
variety  and  interest.  They  come  in  many 
shapes,  styles  and  colors.  In  general,  they 
should  fit  in  with  the  historic  character 
of  the  building  and  be  well  maintained. 

■  Locate  these  elements  over  window 
displays  and  entries  to  fit  within  indi- 
vidual bays  rather  than  extending 
beyond  a  single  bay  to  enhance  archi- 
tectural styles.  Poorly  placed  awnings 
can  cover  historical  ornaments  and 
transoms. 

■  Use  retractable  awnings  in  darker 
areas  or  north-facing  facades  of 
historical  storefronts. 

While  a  variety  of  brightly  colored 
and  striped  awnings  are  available, 
remember  that  canvas  will  fade  over 
time.  Uncolored  or  light  canvas  in 
darker  areas  allows  daylight  to  filter 
through. 


Figure  63.  Awnings  should  be  of  high-quality  material  with  short  identifying  text  and  logos. 


Second-floor  and  upper-floor 
awnings  that  complement  the  ground 
floor  create  a  consistent  design  image 
for  the  building. 

Use  glass  canopies,  especially  in 
darker  areas. 

Limit  use  of  vinyl,  plastic  and  alu- 
minum. These  materials  look  flimsy 
and  out  of  place.  Fixed  awnings  or 
canopies  that  simulate  mansard  roof 
shapes  often  detract  from  the  urban 
design  vocabulary. 


Use  of  Color 

Color  is  a  sensitive  subject  in  guidelines. 
Using  only  pre-approved  colors  can  lead 
to  a  dull  streetscape  that  lacks  distinc- 
tion and  interest.  In  general,  the  princi- 
ple is  to  be  a  good  neighbor;  coordinate 
with  other  buildings  on  the  block. 

1   Ensure  that  color  selection  takes  the 
orientation  of  buildings  into  account. 
Colors  on  south-  and  west-facing 


CITYSCAPES     467 


facades  often  appear  warmer  than 
colors  on  north  and  east  sides  due  to 
sun  exposure. 

■  Use  subtle  colors  on  large  building 
surfaces  to  create  a  more  pleasant 
street  environment. 

■  Avoid  a  multitude  of  strong,  vivid 
colors. 

1  Choose  paint  colors  in  relation  to  the 
materials  used  in  the  building  design, 
such  as  brick,  stone,  tiles  and  terra 
cotta. 

■  Use  contrasting  accent  colors  for 
architectural  details,  awnings  and 
entrances. 

Building  Materials 

Building  materials  add  to  the  overall 
character  of  the  downtown,  especially 
on  the  ground  floor  where  most 
people  come  into  contact  with  the 
building's  edge.  While  structural  con- 
struction materials  vary,  the  public  face 
and  finish  materials  of  buildings  should 
be  consistent.  For  example,  some 
downtowns  traditionally  use  brick, 
others  use  stone.  Materials  such  as 
terra  cotta,  glass,  ceramic  tiles, 
masonry,  corrugated  metal  and  steel 
are  also  used. 

■  Avoid  use  of  materials  such  as  artificial 
stone,  mirrored  or  opaque  glass, 


untreated  wood,  diagonal  wood, 
rough- sawn  wood  and  horizontal  wood 
siding  on  large  building  surfaces. 

■  Use  wood  and  other  nontraditional 
materials  to  identify  special  uses  and 
activities  within  a  building.  For  exam- 
ple, Japanese  restaurants  traditionally 
use  wood  and  stucco  materials. 

B  Use  high-quality  facing  materials  to 
add  to  the  richness  of  the  pedestrian 
experience. 

Avoid  mirrored  glass  on  the  ground 
level  (especially  on  pedestrian- 
oriented  streets) .  It  creates  an 
unfriendly  environment  and  limits 
visual  access.  Translucent  surfaces  at 
the  street  level  (windows,  doors  and 
entry  features)  create  a  welcoming 
and  safe  environment. 

Areas  for  Service,  Loading  and 
Mechanical  Equipment 

While  service  areas,  loading  docks, 
delivery  areas  and  mechanical  equip- 
ment are  all  necessary  functional  ele- 
ments of  a  downtown,  they  often  detract 
from  the  pedestrian  experience  and  the 
visual  urban  environment. 

■  Give  functional  areas  the  same  design 
attention  as  more  public  spaces.  The 
materials  and  finishes  do  not  need  to 
be  the  highest  quality,  but  elements 
should  be  carefully  placed  and 
screened  to  reduce  visual  blight. 


■  Whenever  possible,  locate  loading 
areas  to  be  accessible  from  alleyways, 
side  streets,  back  parking  lots  and 
interior  parking  garages  rather  than 
from  the  front  of  buildings. 

■  Erect  substantial  and  attractive  fences 
or  walls  to  screen  dumpsters  and 
mechanical  equipment  such  as  HVAC, 
meters,  transformers,  pipes  and  ducts. 

In  some  downtowns,  historic  loading 
docks  are  no  longer  used  as  loading 
docks  and  can  instead  become  public 
areas  such  as  outdoor  cafes,  entry 
porches  and  small  plazas. 

■  Use  permeable  railings  such  as  metal 
and  wire,  rather  than  solid  boundary 
walls,  and  avoid  use  of  cyclone  fences. 

■  Adapt  loading  docks  with  ramps, 
railings  and  markings  to  provide 
accessibility. 

LIGHTING 

The  color,  amount,  intensity  and  types 
of  lighting  have  a  dramatic  effect  on  the 
mood  and  urban  character  of  a  site,  as 
well  as  on  pedestrian  safety. 

Building  Lighting 

■  Integrate  lighting  into  the  design  of 
wall  features  and  facade  design. 
Relate  building  lighting  to  the  style 
and  character  of  lighting  in  the  area. 


468      INCLUSIVE    DESIGN    GUIDELINES 


Match  lighting  with  the  history  of  the 
area. 

Use  modern  or  historic  styles  to  fit 
the  urban  character  and  image  of  the 
downtown. 

Maintain  the  same  type,  color  and 
family  of  fixture  styles  for  all  lamps 
used  in  both  building  and  parking 
areas. 

Use  special  lighting  for  building  fea- 
tures, entries,  building  towers  and 
architectural  ornaments  or  pilasters. 

Light  pedestrian  areas  with  pole  or 
bollard  type  fixtures  (typically  not 
more  than  16'  high  or  3'  for  bollards) 
in  scale  with  pedestrians. 

Ensure  lighting  fixtures  do  not  pro- 
duce excessive  glare  or  trespass  into 
residential  areas.  On-site  lighting 
should  be  designed,  installed  and 
maintained  to  direct  light  onto  the 
property. 

Attach  appropriate  shields  on  street 
lighting  fixtures  to  minimize  glare 
and  night  sky  pollution. 

Use  a  minimum  of  different  types  of 
lamps  and  fixtures  to  reduce  mainte- 
nance costs  and  provide  a  consistent 
character  to  a  site.  Double-head 
fixtures  can  illuminate  both  sidewalks 
and  travel  lanes. 

Use  building-mounted  downlights  to 
illuminate  building  service  areas 
without  causing  glare  and  spillover. 


h  Illuminate  building  entries  and  other 
areas  with  high  levels  of  pedestrian 
activity.  Allow  interior  light  to  illumi- 
nate through  glass  entry  facades  and 
display  windows. 

■  Use  neon  and  other  specialized 
lighting  to  enhance  downtown 
commercial  streets,  restaurants  and 
entertainment  venues. 

n  Use  decorative  up-lighting  to 
enhance  landscape  features  and  build- 
ing architecture  as  long  as  it  does  not 
compete  with  street  lighting. 

■  Use  specialty  lighting  in  trees  particu- 
larly in  outdoor  patio  areas  to  create  a 
livery  and  festive  setting. 

Street  Lighting 

1 J  Maintain  a  consistent  appearance  of 
all  decorative  street  lighting  fixtures, 
street  poles  and  bases. 

H  Use  modern  or  historic  styles  to  fit 
the  urban  character  and  image  of  the 
downtown. 

■  Design  special  styles  of  fixtures  and 
poles  to  mark  special  streets. 

■  Ensure  that  fixtures  provide  light  for 
both  pedestrians  and  vehicles. 

a  Place  light  standards  symmetrically 
along  opposite  sides  of  a  street  to 
produce  a  pleasing,  well-lit  street. 

;   Add  midblock  lighting  to  enhance 
illumination  on  long  streets. 


ALTERATIONS  AND  NEW  ADDITIONS 

Changes  to  existing  buildings  are  part  of 
the  evolution  of  a  downtown.  New  addi- 
tions and  alterations  should  respect  the 
original  period  and  style  of  the  building. 
But  creating  a  false  original  can  lessen 
the  impact  of  true  historical  buildings. 
All  additions  do  not  need  to  replicate 
the  historic  original,  especially  if  the 
original  building  is  of  marginal  historic 
value. 

■  Encourage  restoration  of  original 
building  facades. 

D  Preserve  historic  materials  and 
features. 

a  Avoid  additions  to  historic  building 
facades. 

-!  Use  building  finishes  on  new 
additions  that  are  similar  in  material, 
quality,  color  and  dimension  to  those 
used  on  existing  structures. 

Make  the  scale  of  additions  compatible 
with  the  original  building. 


CITYSCAPES      469 


REFERENCES 


The  Americans  with  Disabilities  Act  Accessibility  Guidelines  Tech  Sheet  Series  (1994—95),  by 
Ron  Mace  (Raleigh,  NC:  Barrier  Free  Environments). 

A  Case  Study  Method Jor  Landscape  Architecture,  by  Mark  Francis  (Landscape  Journal  19,  2: 
15-29),  2001. 

Childhood's  Domain:  Plaj  and  Place  in  Child  Development,  by  Robin  C.  Moore  (Berkeley: 
MIG  Communications),  1990. 

The  City  in  History:  Its  Origins,  Its  Transformations,  and  Its  Prospects,  by  Lewis  Mumford, 
(New  York:  Harcourt,  Brace  &  World)  1961. 

The  Death  and  Life  of  Great  American  Cities,  by  Jane  Jacobs  (New  York:  Modern  Library), 
1993. 

Great  Streets,  by  Alan  Jacobs  (Cambridge,  MA:  MIT  Press),  2003. 

Housing  As  If  People  Mattered:  Site  Design  Guidelines  for  Medium-Density  Family  Housing,  by 
Clare  Cooper  Marcus  with  Wendy  Sarkissian  (Berkeley:  University  of  California  Press, 
Reprint  Edition),  1988. 

Livable  Streets,  by  Donald  Appleyard,  (Berkeley:  University  of  California  Press),  1981. 

Natural  Learning.The  Life  History  of  an  Environmental  Schoolyard,  by  Robin  C.  Moore  and 
Herb  H.Wong  (Berkeley:  MIG  Communications),  1997. 

People  Places:  Design  Guidelines  for  Urban  Open  Space,  by  Clare  Cooper  Marcus  with  Carolyn 
Francis  (eds.)  (Hoboken,  NJ:  John  Wiley  &  Sons,  Second  Revised  Edition),  1998. 

Play  for  All  Guidelines:  Planning,  Design  and  Management  of  Outdoor  Play  Settings  for  All 
Children,  edited  by  Robin  C.  Moore,  Susan  M.  Goltsman  and  Daniel  S.  Iacofano 
(Berkeley:  MIG  Communications,  Second  Edition),  1992. 


47  I 


The  Social  Life  of  Small  Urban  Spaces,  by  William  H.Whyte  (Washington,  D.C.:The 
Conservation  Foundation),  1980. 

A  Theory  of  Good  City  Form,  by  Kevin  Lynch  (Cambridge,  MA:  MIT  Press),  1981 . 

Universal  Access  to  Outdoor  Recreation: A  Design  Guide,  by  PLAE,  Inc.,  in  conjunction  with 
other  public  and  private  partners  (Berkeley:  MIG  Communications),  1993. 

Urban  Open  Space,  by  Mark  Francis  (Washington,  D.C.:  Island  Press),  2003. 


472       REFERENCES 


CONTRIBUTORS 


SUSAN  M.  GOLTSMAN,  FASLA 

Susan  is  a  founding  principal  of  Moore,  Iacofano,  Goltsman  (MIG),  Inc.,  who  specializes  in 
planning  and  designing  environments  for  children,  youth  and  families,  as  well  as  community 
outreach  and  education.  Her  projects  range  from  schools  and  community  parks  to  zoos  and 
museums.  She  applies  social  science  to  design,  creating  environments  that  respond  to  the 
community  organization,  user  needs,  the  functions  of  the  facility  and  the  context.  Susan  has 
served  on  regulatory  committees  of  the  U.S.  Architectural  and  Transportation  Barriers 
Compliance  Board  (ATBCB),  developing  accessibility  guidelines  for  recreation  and  outdoor 
environments.  She  also  served  on  national  committees  to  adapt  the  Uniform  Federal 
Accessibility  Standards  to  children's  environments  and  create  guidelines  for  play  areas.  She  has 
taught  at  Stanford  University  and  served  as  an  advisor  to  UC  Davis,  UC  Berkeley  Extension,  San 
Francisco  State  University,  the  San  Francisco  Exploratorium  and  the  Adaptive  Environments 
Center.  Susan  is  the  author  of  several  books,  including  Play  Jor  All  Guidelines,  a  groundbreaking 
presentation  of  universal  design  and  accessibility  in  children's  play  environments.  Her  projects 
have  won  awards  from  the  American  Zoo  and  Aquarium  Association,  the  Center  for  Universal 
Design,  the  American  Institute  of  Architects,  the  American  Planning  Association,  the  American 
Society  of  Landscape  Architects,  The  National  Endowment  for  the  Arts  and  the  California  Park 
and  Recreation  Society.  Susan  holds  a  Bachelor  of  Fine  Arts  from  Parson's  School  of  Design  and 
the  New  School  of  Social  Research  in  New  York,  a  Master  of  Science  in  Environmental 
Psychology  from  the  University  of  Surrey,  England,  and  a  Master  of  Landscape  Architecture 
from  North  Carolina  State  University. 

DANIEL  IACOFANO,  PhD,  FAICP,  ASLA 

Daniel  is  a  founding  principal  of  MIG,  and  internationally  recognized  as  an  innovator  in  strategic 
planning,  urban  planning,  transportation  planning,  watershed  and  river  planning,  and  public 
participation  and  outreach.  He  has  consulted  with  over  100  cities,  agencies,  educational  institu- 
tions and  private  companies  to  develop  strategic  plans  and  has  led  hundreds  of  successful  urban 
planning  and  design  programs  with  communities,  business  leaders  and  staff  to  support  land  use, 
urban  design,  economic  revitalization  and  transportation  projects.  Daniel  is  a  highly  skilled 
facilitator  and  consensus  builder  and  is  often  asked  to  lead  difficult  and  complex  negotiations 


473 


involving  major  planning  and  development  projects.  His  publications  include  Play  For  All 
Guidelines,  Public  Involvement  as  an  Organizational  Development  Process  and  Meeting  of  the  Minds, 
which  shares  his  innovative  approach  to  meeting  facilitation.  His  projects  have  won  many  awards 
from  professional  associations  and  organizations,  including  the  National  League  of  Cities,  the 
International  Downtown  Association,  the  American  Planning  Association,  the  American  Society 
of  Landscape  Architects  and  the  Association  of  Environmental  Professionals.  Daniel  received 
a  Bachelor  of  Urban  Planning  from  the  University  of  Cincinnati,  a  Master  of  Science  in 
Environmental  Psychology  from  the  University  of  Surrey,  England,  and  a  PhD  in  Environmental 
Planning  from  the  University  of  California,  Berkeley. 

ANDREW  ALTMAN 

Andy  is  the  former  Chief  Executive  Officer  of  the  Anacostia  Waterfront  Corporation,  a 
public /private  partnership  to  help  plan  the  future  of  this  Washington,  D.C.,  area.  Previously,  he 
was  the  Director  of  the  Washington,  D.C.,  Office  of  Planning,  which  based  a  complete  revision 
of  the  city's  comprehensive  plan  on  a  new  vision,  called  "A  Vision  for  Growing  an  Inclusive 
City."  Andy  served  as  the  Director  of  City  Planning  for  the  City  of  Oakland,  California,  and  the 
plan  he  developed  there  received  the  California  Chapter  American  Planning  Association  Award 
for  Best  Comprehensive  Plan.  He  was  previously  the  special  assistant  to  the  administrator  of  the 
Community  Redevelopment  Agency  in  Los  Angeles  and  a  special  assistant  to  Los  Angeles  Mayor 
Tom  Bradley.  He  has  been  awarded  various  fellowships,  including  the  Loeb  Fellowship  of  the 
Harvard  University  Graduate  School  of  Design,  and  has  served  at  the  Massachusetts  Institute  of 
Technology  as  a  visiting  lecturer  on  city  planning.  He  is  currently  with  Lubert-Adler  in  New 
York  City.  Andy  holds  a  Master  Degree  in  City  Planning  from  MIT  and  a  Bachelor  of  Arts  in 
Geography  from  Temple  University. 

ROSEMARY  DUDLEY 

Rosemary  brings  together  the  skills  and  perspectives  of  an  urban  designer,  analyst  and  commu- 
nity builder.  She  began  her  career  with  an  Albuquerque -based  design-build  firm.  Her  experience 
in  domestic  and  international  sustainable  community  planning  and  revitalizing  urban  neighbor- 
hoods led  to  work  in  economic  revitalization,  historic  preservation,  environmental  restoration 
and  transit-oriented  development.  Rosemary  has  worked  on  planning  projects  for  the  cities  of 


474      CONTRIBUTORS 


Denver,  Anchorage  and  Spokane,  and  for  the  American  River  in  Sacramento.  Rosemary  received 
a  Bachelor  of  Arts  in  Architecture  from  the  University  of  California  at  Berkeley  and  a  Masters  of 
City  Planning  from  the  Massachusetts  Institute  of  Technology. 

STANTON  JONES 

Stan  is  head  of  the  Department  of  Landscape  Architecture  at  the  University  of  Oregon, 
specializing  in  landscape  technologies,  urban  and  community  design,  and  design  studios.  His 
focus  is  equity  and  justice  within  the  urban  environment — how  public  spaces  and  management 
processes  can  be  configured  to  increase  "meaningfulness"  and  sense  of  ownership  in  an 
inequitably  served,  multicultural  society.  Stan  received  a  B.S.  degree  from  the  University  of 
Miami,  Ohio,  a  B.S.  in  Landscape  Architecture  from  the  University  of  California,  Davis,  and 
dual  Masters  in  Landscape  Architecture  and  City  Planning  from  the  University  of  California, 
Berkeley. 

JOAN  LEON 

Joan  has  a  long  history  of  involvement  with  the  Independent  Living  Movement  and  is  cur- 
rently Director  of  Financing  for  the  Ed  Roberts  Campus.  Joan  previously  served  as  president 
of  the  World  Institute  of  Disability,  which  she  co-founded  with  Ed  Roberts  and  Judy 
Heumann.  From  1977  to  1983  Joan  was  the  Assistant  Director  of  the  California  Department 
of  Rehabilitation  and  prior  to  that  she  was  Assistant  to  the  Director  for  the  Center  for 
Independent  Living.  She  has  also  worked  as  a  journalist  and  editor.  In  1995,  Joan  co-chaired 
the  group  of  community  leaders  that  developed  the  concept  of  the  Ed  Roberts  Campus, 
becoming  Finance  Director  in  1997. 

MUKUL  MALHOTRA 

Mukul's  professional  emphasis  in  the  U.S.  is  designing  livable  communities  through  innovative 
land  use  planning  and  pedestrian-friendly  streetscapes.  He  was  a  senior  architect  in  New  Delhi, 
India,  managing  the  design  processes  for  institutional  and  industrial  buildings.  He  received 
awards  in  the  National  Architectural  Competition  for  the  design  of  the  Shri  Shirdi  Saibaba 
Mandir  Complex  Development  in  Bombay  and  in  the  Low-Cost  Housing  Design  Ideas 


CONTRIBUTORS      475 


Competition  in  New  Delhi.  Mukul  received  a  diploma  in  Architecture  from  the  Sushant  School 
of  Art  and  Architecture  in  Gurgaon,  India,  and  a  Master  of  Urban  Design  from  the  University  of 
California,  Berkeley. 

SALLY  McINTYRE 

Sally  is  director  of  Parks  and  Recreation  Planning  for  MIG  and  a  principal  of  the  firm.  She 
focuses  on  parks  and  recreation  master  plans,  recreation  programming,  facility  design,  strategic 
planning  and  communications.  Her  extensive  experience  emphasizes  involving  diverse  commu- 
nity members  in  creating  livable  neighborhoods,  from  seniors  to  children  to  people  with  disabil- 
ities. Sally  co-authored  the  Vision  Insight  Planning  (VIP)  for  the  California  Parks  and  Recreation 
Society,  a  groundbreaking  strategic  plan  for  the  advancement  of  the  parks  and  recreation  profes- 
sion. Her  work  on  open  space  issues  involves  creating  design  guidelines  and  open  space  system 
standards  for  high-density  neighborhoods,  specific  area  plans  and  regional  plans.  Sally  received  a 
Bachelor  of  Arts  degree  from  San  Francisco  State  University  in  1982. 

SUSAN  McKAY 

Susan's  practice  focuses  on  collaborative  design  and  planning  efforts  for  school  site  and  park 
design  with  an  emphasis  on  incorporating  art  into  public  projects.  She  has  broad  experience  in 
landscape  architecture,  leading  projects  through  conceptual  design  to  implementation.  While  at 
The  Architects  Collaborative,  Inc.,  she  was  the  project  designer  for  many  projects,  including  the 
Bechtel  Building  Poetry  Garden  in  San  Francisco.  She  received  a  BA  degree  in  Art  from  the 
University  of  California, Berkeley  and  is  a  licensed  landscape  architect. 

ROBIN  MOORE 

Robin  is  a  founding  principal  of  MIG  and  an  internationally  recognized  authority  on  the  ecologi- 
cal design  of  children's  play  and  learning  environments,  participatory  design  programming,  and 
user  needs  in  public  open  space  design.  He  is  professor  of  Landscape  Architecture,  College  of 
Design  at  North  Carolina  State  University,  Raleigh.  Robin  has  consulted  extensively  worldwide, 
serving  as  a  consultant  on  urban  parks  for  the  Chilean  government  and  directing  the  Argentine 


476      CONTRIBUTORS 


segment  of  the  UNESCO  study:  Growing  Up  in  Cities.  He  has  won  numerous  awards  for  his 
contributions  to  the  field  of  design  and  has  written  many  books  on  the  topic,  including  Natural 
Learning,  Plants  Jor  Play,  Childhood's  Domain:  Play  and  Place  in  Child  Development  and  Playjor 
All  Guidelines.  He  was  chair  of  the  Environmental  Design  Research  Association  and  president  of 
the  International  Association  for  the  Child's  Right  to  Play.  Robin  holds  degrees  in  architecture 
from  London  University  and  in  city  and  regional  planning  from  the  Massachusetts  Institute  of 
Technology. 

BART  NEY 

Bart  specializes  in  community  participation  in  transportation  and  infrastructure  planning.  As 
MIG's  Public  Information  Officer,  he  directed  the  California  Department  of  Transportation 
(Caltrans)  public  outreach  program  for  the  Alfred  Zampa  (Carquinez)  Bridge  and  for  the  recon- 
struction of  the  San  Francisco  Bay  Bridge,  connecting  the  East  Bay  and  San  Francisco.  Bart 
received  a  BS  degree  in  Urban  Planning  and  Real  Estate  Development  from  the  University  of 
Southern  California. 

COCO  RAYNES 

Coco  is  an  internationally  known  expert  in  environmental  graphics,  architectural  and  industrial 
design  and  universal  design.  Her  firm,  Coco  Raynes  Associates,  Inc.,  produces  programs  for 
public  spaces,  airports,  universities,  hospitals,  transportation  facilities,  parks,  museums,  hotels, 
restaurants  and  visitor  centers.  The  firm's  unique  accessibility  solutions  include  tactile  maps  on 
glass  and  the  Raynes  Rail,  a  Braille  and  multilingual  audio  handrail  system.  Coco's  work  has 
been  honored  by  the  Industrial  Designers  Society  of  America,  the  Society  for  Environmental 
Graphic  Design,  the  United  States  Access  Board,  the  Art  Directors  Club  of  Boston  and  the 
American  Institute  of  Graphic  Arts. 

CHERYL  SULLIVAN 

Cheryl's  work  often  emphasizes  using  plants  and  natural  formations  to  engage  the  user  with  sur- 
rounding spaces.  Her  landscape  architecture  and  land  planning  experience  includes  urban  design 


CONTRIBUTORS      4-7  7 


and  streetscapes,  park  and  bikeway  master  plans,  commercial  and  residential  developments,  and 
riparian  systems.  Cheryl's  award-winning  projects  include  Central  Park  in  Davis,  California,  and 
the  Putah  Creek  Corridor  Conceptual  Master  Plan.  Cheryl  received  a  degree  in  Landscape 
Architecture  from  the  University  of  California,  Davis.  One  of  her  first  projects  was  the  Davis 
Central  Park. 

LAWRENCE  WIGHT,  ASLA 

Larry  creates  outdoor  environments  for  people  of  all  abilities,  from  recreation  facility  assess- 
ment, trails  and  open  space  planning,  to  design  guidelines  and  detailed  design  of  award-winning 
children's  play  and  learning  environments.  His  experience  includes  natural  resource  assessment, 
National  Historic  Landmark  issues,  environmental  planning  studies  and  impact  analysis,  and 
watershed  management.  Larry  received  a  Bachelor  of  Landscape  Architecture  from  the 
University  of  Oregon  and  a  Master  of  Landscape  Architecture  from  the  University  of  California, 
Berkeley.  He  is  MIG's  Director  of  Design  and  a  past  president  of  the  Northern  California 
Chapter  of  the  American  Society  of  Landscape  Architects. 


478      CONTRIBUTORS 


INDEX 


Note:  Illustrations  are  indicated  by  boldface  type. 

access,  11,22-23,24,25 

See  also  accessibility  issues;  transit-oriented 
development;  transportation 
accessibility  issues 

autistic  access,  147 

bridges,  305,  306,  311 

children's  zoos,  147,  414,  415-16 

downtowns,  63,  222,  224,  247,  267,  464 

mixed-use  facilities,  63,  64,  68,  71,  179, 
184,185,  186-87 

museums,  41 1—1 2 

parks,  159,  164,  165,  166 

play  areas,  418,  419,  420,421,  422 

plazas,  423 

regional  open  spaces,  283,  284,  285,  287, 
293,  375 

school  exteriors,  30,  399,  400,  409-10 

school  interiors,  399,  405,  407,  408,  409 

special  schools,  82,  92—93 

trail  systems,  425,  426,  427,  431-33 

visually  impaired,  98-99,  100,  101,  102, 
103, 106-7 

See  also  inclusive  design  project  guidelines; 
specific  projects  by  name 
acoustics,  398 
activity  areas 

dependency  courts,  394—95 

Hamill  Family  Play  Zoo  and  Play  Gardens, 
130-4-7 

landscaping,  420 


St.  Coletta  of  Greater  Washington,  D.C., 

82-83,  86-93 
Tule  Elk  Park  Child  Development  Center, 

62,  63,  64,  68-72 
See  also  Chase  Palm  Park;  gathering  places; 
play  area  guidelines 
ADA  (Americans  with  Disabilities  Act), 
98-99,  123-24 
See  also  accessibility  issues 
ADA  Accessibility  Guidelines,  425 
adventure  play.  See  Hamill  Family  Play  Zoo 

and  Play  Gardens 
affordable  housing.  See  housing 
Alfred  Zampa  Bridge.  See  Carquinez  Bridge 

Retrofit  and  Replacement 
Altman,  Andrew,  xii— xv,  474 
American  Association  of  State  Highway  and 
Transportation  Officials  (AASHTO), 
427 
Americans  with  Disabilities  Act  (ADA), 
98-99,  123-24 
See  also  accessibility  issues 
Anacostia  Waterfront,  1 0 
animal  habitats,  421 
art 

Carquinez  Bridge  Retrofit  and 

Replacement,  306,  308-9 
Chase  Palm  Park,  163,  169-70 
Davis  Central  Park,  204-5 
Ed  Roberts  Campus  (ERC),  30 
Edelman  Children's  Court,  46 
Edison  School  /Pacific  Park,  181,  187,  188, 
191 


events,  367 

galleries,  364 

Musees  des  Beaux  Arts  (Valenciennes  and 
Calais,  France),  96-109 

R  Street  Corridor,  259-60,  261 

St.  Coletta  of  Greater  Washington,  D.C., 
83-84,  88 

Tule  Elk  Park  Child  Development  Center, 
64,  70,  72,  73 
Art  Deco  (building  style),  459 
Art  Moderne  (building  style),  459 
Art  Walk  Sector  (Sacramento,  California 

R  Street  Corridor),  258-61 
assembly  areas  (schools),  408 
audio  commentary,  99,  102—3 
auditoriums,  408 
autism,  147 
automobiles.  See  cars 
awning  signs,  466 
awnings,  467—4-68 

Backyard,  145-47 

banner  signs,  466 

barriers,  409 

BART  (Bay  Area  Rapid  Transit)  ,21-22, 
29-30 

Bay  Area.  See  Berkeley,  California;  Carquinez 
Bridge  Retrofit  and  Replacement;  Ed 
Roberts  Campus  (ERC);  Emeryville, 
California;  Oakland,  California;  Presidio 
Trails  and  Bikeways  Master  Plan;  San 
Jose,  California;  Tule  Elk  Park  Child 
Development  Center 


479 


Bay  Area  Economics,  230 

Bay  Area  Outreach  &  Research  Program 

(BORP),  19 
Bay  Area  RapidTransit  (BART),  21 ,  22, 

29-30 
Beach  Access  Routes,  430 
Beaux  Arts  (building  style),  459 
Berkeley,  California,  15,  23,  26,  238,  243, 

260 
bicycles 

Carquinez  Bridge  Retrofit  and 

Replacement,  305-6,  308 
Davis  Commons,  217,  218,  223-24 
Ed  Roberts  Campus  (ERC),  29,  30 
lane  markings,  428 
parking,  423-24 
plazas,  423-24 
Presidio  Trails  and  Bikeways  Master  Plan, 

277,278,279,280-81,  288 
R  Street  Corridor,  229-30 
safety  measures,  427—28 
Spokane  Plan  for  a  New  Downtown,  345 
urban  environments,  462 
See  also  shared  roadway  concept 
bikeways,  427-28 

blind  people.  See  accessibility  issues;  Ed 
Roberts  Campus  (ERC);  Musees  des 
Beaux  Arts  (Valenciennes  and  Calais, 
France) 
boardwalks,  432,  433 
BORP  (Bay  Area  Outreach  &  Research 

Program),  19 
boulevards,  460—61 

See  also  cars;  pedestrian  issues;  streets; 
traffic 
Braille,  98-99,  102,  103 

See  also  accessibility  issues;  signage; 
wayfinding 


bridges.  See  Carquinez  Bridge  Retrofit  and 
Replacement;  Monroe  Street  Bridge 
(Spokane,  Washington) 
Brookfield,  Illinois.  See  Hamill  Family  Play 

Zoo  and  Play  Gardens 
Brookfield  Zoo.  See  Hamill  Family  Play  Zoo 

and  Play  Gardens 
Brookfield  Zoo  Southeast  Section  Planning 

Team(SES),  118-19 
Brossard,  Alan,  62,  65,  75 
brownfield  remediation,  246 
buildings 

construction  materials,  468 
contextual  fit,  456-57 
design  elements,  456—58 
edges,  454 
exteriors,  388-89 
form,  457-58 
heights,  455-56 
lighting  for  exterior,  468—69 
roof  forms,  458 
signage,  465—67 
styles,  458,459 
urban  environment,  468—69 
urban  styles  chart,  459 
See  also  historic  building  renovation 
Business  Improvement  District  (Spokane), 
325 

CADA  (Capitol  Area  Development  Authority, 

Sacramento),  230,  235—36 
cafeterias,  408-9 

California  Department  of  Rehabilitation,  17 
California  Department  of  Transportation 

(Caltrans).  See  Carquinez  Bridge 

Retrofit  and  Replacement 
Caltrans  (California  Department  of 

Transportation).  See  Carquinez  Bridge 

Retrofit  and  Replacement 


Canada  Island  (Spokane),  356 

canopies,  467 

Capitol  Area  Development  Authority 

(CADA),  230,  235-37 
Carquinez  Bridge  Community  Advisory 

Committee  (CBCAC),  301-2 
Carquinez  Bridge  Retrofit  and  Replacement, 
294-311 

accessibility  features,  305—6,  311 

art,  306,  308-9 

background,  295-96,  298-99 

bypasses,  305 

community  outreach,  299-304,  306,  307, 
308-9, 310 

design  features,  305—9 

design  goals,  298-99 

design  process,  299—304 

historic  aspects,  309 

history,  296,  298,  304,  310 

lighting,  306,  308,311 

on  /off  ramp  alignments,  305 

opening  celebration,  304,  310,  311 

pedestrian  issues,  305—6,  31 1 

streets,  305 

user  feedback,  309—1 1 

user  groups,  299 
cars,  229-30 

See  also  parking;  sidewalks;  traffic 
catalytic  sites,  321,  329-32,  356 
CBCAC  (Carquinez  Bridge  Community 

Advisory  Committee),  301—2 
Center  for  Accessible  Technology  (CforAT), 

19,33 
Center  for  Independent  Living  (CIL),  19 
central  parks,  446 

See  also  Davis  Central  Park 
Central  Steam  Plant  (Spokane),  349 
CforAT  (Center  for  Accessible  Technology), 

19,  33 
Chalk  Art  Festival  (Spokane),  367 


480       INDEX 


charettes,  25 

See  also  community  participation  (in  design 
process) 
Chase  Palm  Park,  154-71 

accessibility  issues,  159,  164,  165,  166 

art,  163,  169-70 

construction  completion,  156 

construction  cost,  156 

credits,  156 

design  features  and  settings,  1 59—66 

design  goals,  156 

design  process,  158 

as  event  center,  156 

history,  155—56 

lighthouse,  166—67 

management  issues,  168—70 

mural,  163 

nautilus,  154, 157,  161 

ocean  pathway,  159—60 

operational  issues,  168—70 

particulars,  156 

play  village,  160,  161,  163,  165 

programs  and  activities,  158 

shipwreck  playground,  158,  164—65 

size,  156 

starfish,  160,  162 

theme,  156,  157,  158,  159-60,  162,  168 

tide  pool  experience,  154,  160,  161 

user  feedback,  170—71 

user  groups,  156 

water  elements,  156,  159,  160,  161,  164, 
169 

whales,  159-60,  161,168 

wooden  pole  forest,  165—66,  168 

See  also  open  space  guidelines 
Chicago  School  (building  style),  459 
children.  See  Chase  Palm  Park;  children's  zoo 
guidelines;  Davis  Central  Park;  Edelman 
Children's  Court;  Edison  School /Pacific 
Park;  play  area  guidelines;  school 


(K-12)  guidelines ;Tule  Elk  Park  Child 

Development  Center 
Children's  Institute  International,  35 
children's  zoo  guidelines,  413—16 
approaches,  414 
circulation  and  pathways,  415 
design  parameters,  41 3 
entrances,  414 

indoor  activity  settings,  415—16 
indoor /outdoor  relationships,  413—14 
outdoor  activity  settings,  415—16 
sun  /shade  balance  aspects,  416 
way  finding,  4-14 — 1 5 
See  also  Hamill  Family  Play  Zoo  and  Play 

Gardens 
Chronicle  Building  (Spokane),  348 
CIL  (Center  for  Independent  Living),  19 
circulation 

children's  zoos,  415 
dependency  courts,  390 
pedestrian,  461—62 
plazas,  423 
schools  (K-12),  400 
See  also  traffic 
cityscape  guidelines,  454—69 
design  details,  467—68 
gathering  spaces,  463—65 
landscaping,  463 
lighting,  468-69 
overview,  454 
signage,  465—67 
site  design  and  layout,  454—58 
transportation  and  circulation,  458, 

460-63 
See  also  Davenport  District  Strategic  Action 

Plan;  Downtown  Spokane  Zoning 

Ordinance  &  Design  Guidelines; 

R  Street  Corridor;  Spokane  Plan  for  a 

New  Downtown 


classrooms,  404—8 
computers,  406 
flooring  and  surfaces,  405 
lighting,  405 
safety  equipment,  409 
special  subject  area,  406—8 
visual  cues,  405 
windows,  405—6 
See  also  Edison  School/ Pacific  Park;  school 

(K— 12)  guidelines;  St.  Coletta  of 

Greater  Washington,  D.C. 
color 

Edelman  Children's  Court,  47 
Edison  School  /Pacific  Park,  190,  191 
R  Street  Corridor,  266 
St.  Coletta  of  Greater  Washington,  D.C, 

84 
urban,  467-68 
communications  links  (interior),  398 
community  centers.  See  Davenport  District 

Strategic  Action  Plan;  Davis  Central 

Park;  Davis  Commons;  Edison 

School/Pacific  Park;Tule  Elk  Park  Child 

Development  Center 
community  parks,  443,  445 

See  also  Chase  Palm  Park;  Davis  Central 

Park;  Edison  School /Pacific  Park 
community  participation  (in  design  process) 
Carquinez  Bridge  Retrofit  and 

Replacement,  299-304 
Chase  Palm  Park,  158 
Davenport  District  Strategic  Action  Plan, 

325-26 
Davis  Central  Park,  200-201 
Davis  Commons,  217—18 
Ed  Roberts  Campus  (ERC),  25-26 
Edelman  Children's  Court,  38 — 43 
Edison  School/ Pacific  Park,  181 ,  184-86 
The  Great  Spokane  River  Gorge  Strategic 

Master  Plan,  326 


INDEX      481 


Hamill  Family  Play  Zoo  and  Play  Gardens, 

118-19,  121-22 
Musees  des  Beaux  Arts  (Valenciennes  and 

Calais,  France),  98-100,  104-5 
North  Bank  Development  Plan,  325 
Presidio  Trails  and  Bike  ways  Master  Plan, 

283-85 
R  Street  Corridor,  235-37 
Riverfront  Park  Master  Plan,  325 
Spokane  Plan  for  a  New  Downtown, 

321-25 
St.  Coletta  of  Greater  Washington,  D.C., 

78-79 
Tule  Elk  Park  Child  Development  Center, 
67-68 
Computer  Technologies  Program  (CTP),  19 
computers,  406 

connectivity  (downtown/neighborhood),  321 
See  also  housing;  neighborhoods;  North 
Bank  Development  Plan;  Riverfront 
Park  Master  Plan;  Spokane  Plan  for  a 
New  Downtown 
context  sensitivity,  6 

See  also  specific  project  examples 
contextual  fit  (buildings),  456—57 
Contra  Costa  County,  California.  See 
Carquinez  Bridge  Retrofit  and 
Replacement 
cooking  areas  (classroom),  407 
corridors  (exterior).  See  R  Street  Corridor; 

streets;  traffic;  transportation 
corridors  (interior),  390 
courtrooms.  See  hearing  rooms 
courts.  See  Edelman  Children's  Court 
courtyards,  29 
creeklets,  163—64 
Crockett,  California.  See  Carquinez  Bridge 

Retrofit  and  Replacement 
CTP  (Computer Technologies  Program),  19 
cultural  meaning,  11-12 


cut-away  corners,  455 
cyclists.  See  bicycles 

Dardik,  Calib,  1 6 

Davenport  District  Arts  Board  (DDAB),  325, 

366,  367, 380 
Davenport  District  Strategic  Action  Plan, 
360-68 

American  West  Bank,  367 

art  galleries,  364 

arts  events  and  programs,  367 

background,  338 

Davenport  Hotel,  362,  363 

design  guidelines,  367 

design  process,  325—26 

Fox  Theater,  363 

housing,  367 

management  issues,  379—80 

marketing  and  communications  strategies, 
367 

Met  Theater,  360,  362 

Montvale  Hotel,  365 

Odd  Fellows  Hall,  363 

operational  issues,  379—80 

organizations,  325 

performance  measures,  368 

preferred  business  categories,  362—63 

private  investment  and  development,  360, 
362-63 

regulations  and  incentives,  367—68 

restaurants  and  entertainment,  364 

Spokane  Transit  Authority  Plaza,  366 

See  also  cityscape  guidelines 
Davis,  California.  See  Davis  Central  Park; 

Davis  Commons 
Davis  Central  Park,  192-209 

art,  204-5 

carousel,  205—6 

children's  play  areas,  205—6,  208 

collaborative  nature,  200—201 


design  features,  201—8 

design  process,  200—201 

farmers  market,  195,  196,  197 

functions  and  purposes,  197—99 

garden,  206,  207 

grove,  194,  206 

history,  193-95 

landscaping,  194, 198,  202,  204,  206,  207 

management  issues,  208—9 

multi-use  aspects,  199,  200-201 

operational  issues,  208—9 

user  feedback,  209 

user  groups,  200 

See  also  cityscape  guidelines;  open  space 
guidelines 
Davis  Commons 

accessibility  features,  222,  224 

background,  211—12 

design  process,  215,  217—18 

history,  211-12 

housing,  212,  217 

landscaping,  213,  215,  218,  219-23,  225 

management  issues,  225—26 

mixed-use  aspects,  212,  214,  217,  226—27 

operational  issues,  225—26 

parking,  217,  218,  223,  224-25,  226 

site  plan,  216,  217 

traffic,  218,  223-24 

user  feedback,  226—27 

See  also  cityscape  guidelines 
Davis  Education  Association,  205 
DDAB  (Davenport  District  Arts  Board),  366, 

367, 380, 383 
decentralization,  xi 
defensible  space,  455 
Demonstration  Lawn,  146 
Department  of  Rehabilitation  for  the  State  of 

California,  17 
dependency  court  guidelines,  388—98 

acoustics,  398 


482      INDEX 


amenities,  397 
building  appearance,  389 
circulation,  390 
communications  links,  398 
corridors,  390 
eating  areas  (public),  397 
entrances,  392,  394 
hearing  rooms,  392—93 
inclusive  design  guidelines,  388—98 
interview  rooms  (family),  396 
lighting,  398 
lobby,  389,  390 
shelter  care,  393—96 
ventilation,  398 

See  also  Edelman  Children's  Court 
design  charettes,  25 

See  also  community  participation  (in  design 
process) 
design  guidelines.  See  design  guidelines  and 
process  under  each  specific  project 
name;  inclusive  design  project 
guidelines 
developers,  12 
directional  signs,  466 

See  also  signage;  wayfinding 
directories,  105—106 
See  also  wayfinding 
Disability  Rights  Education  and  Defense 

Fund(DREDF),  19,  33 
downtown /neighborhood  connectivity,  321 
See  also  R  Street  Corridor;  Riverfront  Park 
Master  Plan;  Spokane  Plan  for  a  New 
Downtown 
Downtown  Seattle  Association,  8 
Downtown  Spokane  Partnership  (DSP), 
322-323, 325, 340-41, 380,  381-82, 
383 
Downtown  Spokane  Ventures  Association, 
339 


Downtown  Spokane  Zoning  Ordinance  & 

Design  Guidelines,  322,  346 
Downtown  Vision  Workshop,  324 
Downtowns,  321,  324 

See  also  cityscape  guidelines;  Davis 

Commons;  Downtown  Spokane  Zoning 

Ordinance  &  Design  Guidelines; 

R  Street  Corridor;  Riverfront  Park 

Master  Plan;  Spokane  Plan  for  a  New 

Downtown 
drainage  control,  431 
DREDF  (Disability  Rights  Education  and 

Defense  Fund,  19,  33 
DSP  (Downtown  Spokane  Partnership), 

322-323, 325, 340-41, 380,  381-82, 

383 
Dudley,  Rosemary,  474-^1-75 

Earth  Play  Garden,  147 

East  End  District  (Spokane),  333—34 

East  Havermale  Island  (Spokane),  355 

ecological  requirements,  4—5 

Economic  Development  Council  (Spokane), 

338-39 
economic  development  fundamentals,  10 
Ed  Roberts,  15-17,  16 
Ed  Roberts  Campus  (ERC),  14-33 

community  participation,  25 

design  charettes,  25 

design  process,  22—25,  32 

early  iterations,  25 

entrances,  23,  24—25 

floor  plan  entrance  detail,  28 

funding,  25—26 

inclusive  design  features  and  settings, 
29-32 

international  aspects,  21 

landscape  buffer,  31 

lobby,  21,  29 

location,  21 


model,  26 
opening,  19 

partner  organizations,  19,  21 
plaza,  20,  26,  27,  29 
purpose,  21 
requirements,  19 
site  plan,  27 

transit  access  orientation,  21—22,  29—30 
University  of  California,  Berkeley,  2 1 
user  design  input,  22—25,  32 
user  feedback,  32—33 
user  groups,  19 
EDC  (Economic  Development  Council) 

(Spokane),  338-339 
Edelman  Children's  Court,  34 — 59 

as  catalyst  for  functional  change,  55,  57 

challenges,  36 

child-friendly  design  principles,  38—39 

design  mission,  36 

design  process,  38—43 

entrance /lobby,  43—47 

exteriors,  43,  48 

family  visiting  rooms,  49—50 

function,  35—36 

hearing  room  design  iterations,  40—41 

hearing  rooms,  50—51 

interview  rooms,  49 

management  issues,  55,  57 

mediation  rooms,  49 

operational  issues,  55,  57 

outdoor  area,  56—57 

Shelter  Care  area,  51 ,  52—53,  54,  55 

user  feedback,  57—59 

user  groups,  36,  39  (table) 

user  groups  and  survey  methods  (chart), 

39 
waiting  areas,  36,  37,  48-49,  51 ,  52-53, 

54 
wayfinding,  47^-8 
See  also  dependency  court  guidelines 


INDEX      483 


edged  walkways,  409 

Edison  School /Pacific  Park,  172—91 

accessibility  features,  179,  184,  185, 
186-87 

art,  180,  181,  188,  191 

buildings,  174,  175,  181,  185,  187-88, 
190-91 

collaborative  nature,  181,  184-86,  191 

community  center,  1 74 

design  features,  1 86—89 

design  goals,  175—79 

design  process,  181,1 84-86 

environment,  177 

functions  and  purposes,  173,  175 

interiors,  177,  179,  184,  187-88 

landscaping,  176,  180,  182-83,  184,  186 

library,  174 

management  issues,  189—90 

master  plan,  177 

mixed-use  aspects,  177-79,  188-89,  191 

operational  issues,  1 89—90 

population  served,  175 

school  facilities,  175 

user  feedback,  1 9 1 

user  groups,  179 

See  also  open  space  guidelines;  school 
(K— 12)  guidelines 
education,  9,11 

See  also  Edison  School /Pacific  Park; 
Musees  des  Beaux  Arts  (Valenciennes 
and  Calais,  France);  Tule  Elk  Park  Child 
Development  Center 
Edwards,  Mike,  381-82 
Emeryville,  California,  251 
enclosures,  419 

See  also  activity  areas;  landscaping;  play 
area  guidelines 
entrances 

children's  zoos,  414 

Davis  Commons,  222—23 


dependency  courts,  388-89,  392,  394 
Ed  Roberts  Campus  (ERC),  23,  24-25 
Edelman  Children's  Court,  43 — 47 
The  Great  Spokane  River  Gorge  Strategic 

Master  Plan,  378 
Hamill  Family  Play  Zoo  and  Play  Gardens, 

12, 124-26, 125,127 
Musees  des  Beaux  Arts  (Valenciennes  and 

Calais,  France),  102 
play  areas,  418 
plazas,  423 

Riverfront  Park  Master  Plan,  353 
Envision  Spokane  (  community  newsletter), 

324 
equitable  impacts,  6—7 

See  also  specific  project  examples 
ERC.  See  Ed  Roberts  Campus  (ERC) 
Explore!  A  Child's  Nature.  See  Hamill  Family 

Play  Zoo  and  Play  Gardens 
exterior  environments.  See  connectivity 

(downtown  /  neighborhood) ;  entrances ; 
landscaping;  parks;  specific  projects  by 
name;  trail  system  guidelines 

fareless  public  transit  zone,  8 
FCI  Cleveland  Bridge,  296 
Federal  Access  Board  (Regulatory 

Negotiation  Committee  1999),  425 
Federation  du  Nord  de  la  France  des  Societes 

d'Amis  des  Musees,  100 
fences,  419 
flooring  and  surfaces 

Chase  Palm  Park,  159-60 

classrooms,  405 

Hamill  Family  Play  Zoo  and  Play  Gardens, 
415 

hardscape,  463 

markings,  41 1 

play  areas,  422 


trails,  426-27 

See  also  accessibility  issues;  wayfinding 
Flour  Mill  buildings  (Spokane),  359-360 
flush-mounted  signs,  465 
FOF  (Friends  of  the  Falls,  Spokane),  326, 

371,  380 
France.  See  Musees  des  Beaux  Arts 

(Valenciennes  and  Calais,  France) 
Friends  of  the  Davenport,  325 
Friends  of  the  Falls  (FOF),  326,  371,  380 
Fruitvale  Transit  Village,  7 
functionality,  5—6,  7 

See  also  specific  project  examples 
furniture 

dependency  courts,  391,  392,  395,  396 

exterior,  410 

school  classrooms,  404,  405,  406,  407, 
408,409 

Gallagher  Building  (Spokane),  333 
gardens,  401-2,  420 

See  also  Davis  Central  Park;  Davis 

Commons;  landscaping;  Riverfront  Park 
Master  Plan;  Tule  Elk  Park  Child 
Development  Center 
gateways,  463 
gathering  places 

Davis  Central  Park,  192-209 
Davis  Commons,  210—27 
Edison  School /Pacific  Park,  172-91 
fundamental  principles  and  aspects,  1 2 
play  areas,  422 
schools,  402-3 
urban,  463—65 

See  also  performance  places;  plaza  guide- 
lines; promenades 
Glendale,  California.  See  Edison 

School  /Pacific  Park 
Goltsman,  Susan  M.,  473 


484      INDEX 


Gothic  Revival  (building  style),  459 

graphic  signs,  466 

Graves,  Michael,  78,  84 

The  Great  Spokane  River  Gorge  Loop  Trail, 

374,  375 
The  Great  Spokane  River  Gorge 
Strategic  Master  Plan,  368-78 

bicycle  features,  375 

Centennial  Trail,  375 

Confluence  Area  Visitor  Arrival  Point,  372 

connectivity  with  neighborhoods,  371 

description,  368 

design  process,  326 

economic  development,  377,  378 

entrances,  378 

environmental  impact  aspects,  377 

Green  Infrastructure  Zones,  378 

habitat  preservation  and  restoration,  377, 
378 

High  Bridge  Park,  371 

history,  368 

interpretive  facilities  and  program, 
371-72,  373 

Lower  Falls,  371 

management  issues,  380—81 

Monroe  Street  Bridge,  343^-5,  371 ,  375 

Native  Americans,  371,  372,  383 

neighborhoods,  368,  371 

North  Point  Overlook,  372 

operational  issues,  380—81 

organizations,  326 

Peaceful  Valley  neighborhood,  368,  383 

pedestrian  features,  375 

recreation  aspects,  375—76,  383—84 

signage,  371—72,  373 

Spokane  Park  Board,  368 

transportation  improvement,  373—74 

wayfinding,  371—72,  373 


West  Central  neighborhood,  371 

See  also  open  space  guidelines;  trail  system 

guidelines 
Greek  Revival  (building  style),  459 
green  infrastructure,  436,  448—50 
Green  Infrastructure  Zones,  378 
green  streets  network  (Spokane),  341,  342, 

343 
greenways,  436,  450—51 
ground  covering,  422 

See  also  flooring  and  surfaces;  landscaping 

guidelines.  See  design  guidelines  under 

each  specific  project  name;  inclusive 

design  project  guidelines 
gymnasiums  (school),  408 

habitat  protection,  11—12,  377 
Hamill  Family  Play  Zoo  and  Play  Gardens, 
110-53 

autistic  access,  147 

Backyard  section,  145—47 

design  goals,  118—19 

design  process,  119—22 

design  requirements,  122—24 

entrances,  124—26 

greenhouse  gardens,  1 37—39 

indoor  pedestrian  settings,  126 

management  issues,  148—49 

master  plans,  114,  115 

mission,  111 

operational  issues,  148—49 

Parent  Resource  Areas,  1 39^-0 

Play  Partners,  146,  148,  149 

prototyping  program  for  developing, 
121-22 

quiet  alcoves,  140 

settings  charts,  120 

signage,  124 

size,  1 1 2 


special  communication  tools,  147 

user  feedback,  111,  151—53 

user  groups,  1 18 

wayfinding,  1 26—29 

Zoo-At-Home,  135-37 

Zoo  Play  Gardens,  140 

Zoo-Within-A-Zoo,  130-34 

See  also  children's  zoo  guidelines 
hanging  or  "blade"  signs,  465 
hard  court  areas,  403 
hardscape  elements,  463 
Hattie  Weber  Museum,  199 
hearing  rooms,  40-41,  42^-3,  50-51 , 

392-93 
High  Bridge  Park  (Spokane),  371 
high-density  residential,  8—9 

See  also  housing 
high-speed  connectivity  hot  zone,  338 
historic  building  renovation 

American  Legion  Building  (Spokane),  346 

Davenport  Hotel  (Spokane),  362 

Fox  Theater  (Spokane),  363 

Holley-Mason  Hardware  Building 
(Spokane),  348 

Lewis  &  Clark  High  School  (Spokane), 
346,  347 

Montvale  Hotel  (Spokane),  365,  382-83 

Odd  Fellows  Hall  (Spokane),  363 

Old  Spokane  Flour  Mill  (Spokane),  359, 
360 

West  Central  neighborhood  (Spokane), 
371 
historic  character  enhancement,  238,  246—52 

See  also  historic  building  renovation 
Historic  Industrial  Sector  (Sacramento, 

California,  R  Street  Corridor),  247—52 
historic  preservation,  321 

See  also  Davenport  District  Strategic  Action 
Plan;  historic  building  renovation; 


INDEX      -485 


R  Street  Corridor;  Riverfront  Park 
Master  Plan 
history  (leading  to  inclusive  design 

principles),  1—4 
home  economics  classrooms,  406—7 
horizontal  rhythms  (building  design 

element),  457 
"hot  zones"  (Spokane),  338 
housing 

builder  fees,  8 

Davis  Commons,  212,  214,  216,  217 

downtown  connectivity,  321 

Fruitvale  Transit  Village,  7 

fundamentals,  10 

Oakland,  California,  7 

principles,  10 

R  Street  Corridor,  234,  240-241 ,  247, 

252,253,262 
Seattle,  Washington,  8 
Spokane  Plan  for  a  New  Downtown,  327, 

328,332,333,340-4-1,  351-53 
University  of  California  in  San  Francisco 

project,  9—10 
Vancouver,  BC,  Canada,  8—9 
Howard  Street  Corridor  (Spokane),  351,  353 

Iacofano,  Daniel,  473—74 

icon  signs,  466 

identities  (for  districts),  321 

IMAX  theater  (Spokane),  355,  356 

inappropriate  signs,  466—67 

inclusive  city 

context  sensitivity  and,  6 

definition  of,  xi 

design  project  guidelines  for,  12—13 

ecological  requirements  of,  4—5 

economic  imperative  of,  xii 

entrepreneurial  models  for,  xiii 

equitable  impacts  in,  6—7 

framework  for,  xiv 


functionality  and,  5—6 

need  for,  xi 

planning  considerations  for,  4—7 

policy  framework  for,  10—12 

project  design  criteria,  5—7 

urban  exclusivity  and  segregation  reality, 
xi— xii 

See  also  specific  projects  by  name 
inclusive  design,  10-13,  116-18,  387 

See  also  community  participation  (in  design 
process);  inclusive  design  project  guide- 
lines 
inclusive  design  project  guidelines,  1 2—1 3, 
385-469 

children's  zoos,  41 3— 16 

cityscapes,  454—69 

dependency  courts,  388—98 

museums,  41 1  —  1 2 

open  spaces,  435—53 

play  areas,  417—22 

plazas,  423-24 

schools  (K-l 2),  399-410 

trail  systems,  425—34 

See  also  specific  projects 
Independent  Living  Movement,  15,  16—19 
industrial  area  conversions 

Berkeley,  California,  238,  243,  260 

Emeryville,  California,  251 

encouragement  policies,  246 

Portland,  Oregon,  239,  240,  241,  246 

R  Street  Corridor,  232-35,  237,  238,  245, 
247,  248 

San  Jose,  California,  242,  264 
industrial  areas,  228,  232—35 

See  also  industrial  area  conversions 
industrial  building  renovation,  333 

See  also  historic  building  renovation;  indus- 
trial area  conversions 
International  (building  style),  459 
Interstate  Highway  system,  2,  9 


interview  rooms,  396 

Jacobs,  Jane,  3 

Japanese  Garden  (Spokane),  355 

Jones,  Stanton,  475 

Jordan,  Susan,  163 

Juarez,  Lynn,  62 

Juvenile  Dependency  Court  for  the  County 

of  Los  Angeles.  See  Edelman  Children's 

Court 

"Kid's  Council,"  121 

kindergarten  and  pre-school  areas,  404 

See  also  play  area  guidelines 
kiosks,  351 
Krumholz,  Norman,  x 

lab  stations  (classroom),  407 
land  forms,  420 

See  also  landscaping 
landscaping,  31,  409,  410,  423,  463-65 
See  also  gardens;  gathering  places;  parks; 

public  open  space 
large  size  neighborhood  parks,  443,  444 
Leon,  Joan,  475 

library/media  centers  (schools),  409 
The  Death  and  Life  of  Great  American  Cities 

(Jacobs),  3 
light  rail,  233-34 
lighted  signs,  466 
lighting,  45,  398,  410,  468,  469 
Lions  Club  International  District,  1 00 
lobbies,  43-^-5,  388-89 
Long  Beach,  California,  9 
Los  Angeles  County,  California.  See  Edelman 

Children's  Court;  Edison  School/Pacific 

Park 
Lower  Falls  (Spokane),  371 
Lynch,  Kevin,  1,  3,  6,  387 


486 


Malhotra,  Mukul,  475-76 

Market  Green  sector  (Sacramento,  California 

R  Street  Corridor),  262—65 
Mclntyre,  Sally,  476 
McKay,  Susan,  476 

medium  size  neighborhood  parks,  442,  443 
Met  Theater  (Spokane),  360,  362 
Michael  Graves,  architect,  78 
MIG,  Inc. 

Carquinez  Bridge  Retrofit  and 

Replacement,  296 
Chase  Palm  Park,  156 
Davis  Central  Park,  194 
Ed  Roberts  Campus  (ERC),  16 
Edelman  Children's  Court,  36 
Edison  School  /Pacific  Park,  174 
Hamill  Family  Play  Zoo  and  Play  Gardens, 

112 
Presidio  Trails  and  Bikeways  Master  Plan, 

274 
R  Street  Corridor,  230 
Spokane,  Washington  projects,  314 
St.  Coletta  of  Greater  Washington,  D.C., 

78 
Tule  Elk  Park  Child  Development  Center, 
62 
mixed-use  facilities,  177 

See  also  pedestrian  issues;  specific  projects 
Mixed-Use  Transit  Hub  Sector  (Sacramento, 
California  R  Street  Corridor),  240, 
241-4-6,  247-48,  252-56,  257 
"mixed -use  urban  village,"  327 
mobility,  1 1 

See  also  accessibility  issues 
Mobius  at  Michael  Anderson  Plaza 

(Spokane),  359 
Mobius  Children's  Museum  (Spokane),  331 
Monroe  Street  Bridge  (Spokane),  343, 
343-345,  371,375 


Monterey  Park,  California.  See  Edelman 

Children's  Court 
Montvale  Hotel  (Spokane),  365,  382-83 
Moore,  Rex,  212 
Moore,  Robin,  476-77 
multi-use.  See  mixed-use  facilities;  specific 

projects 
Mumford,  Lewis,  3 
Musee  des  Beaux  Arts  (Valenciennes,  France) 

design  features  and  settings,  105—6 

design  process,  104—5 

directory,  106 

map,  105 

purpose,  104 

signage,  105,  107 

staircases  and  floor  markings,  107 
Musee  des  Beaux  Arts  et  de  la  Dentelle 
(Calais,  France),  100-103 

audio  commentary,  102—3 

descriptive  information,  103 

design  process,  100 

entrance,  102 

inclusive  design  features,  102—3 

plan,  101 

wayfinding,  102 
Musees  des  Beaux  Arts  (Valenciennes  and 
Calais,  France),  96-109 

design  goals,  98—99 

operational  issues,  107 

user  feedback,  107—9 

user  groups,  99 
"Museum  at  Your  Fingertips"  program, 

96-109 
museum  guidelines,  411—12 

See  also  Musee  des  Beaux  Arts 
music  rooms  (school),  406 

National  Environmental  Policy  Act  (NEPA), 

283,285 
National  Park  Service  (NPS),  280 


National  Park  Service /Presidio  Trust,  274 
Native  Americans,  371,  372,  383 
navigational  aids,  41 1 

See  also  accessibility  issues;  signage; 
wayfinding 
NEC  Foundation  of  America,  26 
neighborhood/downtown  connectivity,  321 

See  also  North  Bank  Development  Plan; 
Riverfront  Park  Master  Plan;  Spokane 
Plan  for  a  New  Downtown 
neighborhood  greens,  437,  452—53 
neighborhood  unification,  238^40 
neighborhoods,  10 

See  also  housing 
Neoclassicism  (building  style),  459 
NEPA  (National  Environmental  Policy  Act), 

283,285 
New  Urbanism,  ?>—\ 
Ney,  Bart,  477 

North  Bank  Development  Plan  (Spokane), 
356-60 

concept  diagram,  358 

design  process,  325 

Flour  Mill  buildings,  359-360 

management  issues,  379 

Mobius  at  Michael  Anderson  Plaza,  359 

operational  issues,  379 

outdoor  attractions,  359—60 

overview,  322 

purposes,  356 

Science  Technology  Center,  356,  359 

site  design,  357 
North  Bank  District  (Spokane),  334 

See  also  North  Bank  Development  Plan 
North  Point  Overlook  (Spokane),  372 
NPS  (National  Park  Service),  280 

Oakland,  California,  7 

Odd  Fellows  Hall  (Spokane),  363 

Old  Spokane  Flour  Mill  (Spokane),  360 


INDEX     487 


Olmsted  Brothers,  316,  368 

on-street  parking,  462 

open  areas.  See  gathering  places;  open  space 

guidelines;  parks 
open  space  guidelines,  435—53 

accessibility,  437 

block  size,  437 

connectivity,  437 

corridors,  437 

elements,  436—37 

framework,  437—38 

green  infrastructure,  436,  448—50 

greenways,  436,  450—51 

location,  437 

multi-use  corridors,  437 

neighborhood  greens,  437,  452—53 

overview,  435 

parks,  436,  440^-6 

pattern  for  framework  creation,  process, 
438-39 

regional  trails,  436 

relationships,  437 

safety,  437 

sustainability,  437 

variety,  437 
opening  proportions  (buildings),  457 
The  Organization  Alan  (Whyte),  2 
outdoor  areas.  See  children's  zoo  guidelines; 
gathering  places;  landscaping;  open 
space  guidelines;  parks;  trail  system 
guidelines 
outdoor  classrooms  (schools),  401—2 
outdoor  eating  areas  (schools),  402 
Outdoor  Recreation  Access  Routes,  430 
outsloping,  43 1 
overlooks,  429 

Pacific  Park.  See  Edison  School  /Pacific  Park 

palette.  See  color 

Parent  Resource  Areas,  1 39-40 


parking 

bicycles,  423-24 

buildings,  454 

lot  placement  and  design,  456 

on-street,  462 

plazas,  423-24 

schools  (K-l  2),  400 

signage,  466 

urban,  456,  462 
parks 

Chase  Palm  Park,  154-71 

Davis  Central  Park,  192-209 

Davis  Commons,  210—27 

Edison  School/ Pacific  Park,  172-91 

general  design  criteria,  440-41 

general  system  guidelines,  440 

park  types,  441—46 

See  also  Hamill  Family  Play  Zoo  and  Play 
Gardens;  open  space  guidelines;  Tule  Elk 
Park  Child  Development  Center 
pathways,  415,418-19 

See  also  The  Great  Spokane  River  Gorge 
Strategic  Master  Plan;  Presidio  Trails 
and  Bikeways  Master  Plan 
Paulsen  Building  (Spokane),  348 
Peaceful  Valley  neighborhood,  383 
Pearl  District  (Portland,  Oregon),  230 
pedestals,  412 
pedestrian  issues 

accessibility,  222,  230,  247,  249,  259 

bridges,  305,  308 

circulation,  223,  264,  373-74,  461-62 

landscaping,  219 

links,  333 

mixed-use  streets,  264,  265 

pedestrian-friendly  streets,  24-1 — 45,  255, 
256,257,258,259,457 

reclamation  of  neighborhood  streets, 
229-30 

safety,  419,460 


street  orientation,  458,  460 

trails,  425-27 

transit-oriented  development,  240,  260 

See  also  bicycles;  mixed-use  facilities; 
Presidio  Trails  and  Bikeways  Master 
Plan;  shared  roadway  concept 
people  with  disabilities.  See  accessibility 
issues;  ADA  (Americans  with 
Disabilities  Act);  Ed  Roberts  Campus 
(ERC);  Independent  Living  Movement; 
Musees  des  Beaux  Arts  (Valenciennes 
and  Calais,  France) 
people  with  visual  impairment.  See  accessibil- 
ity issues;  Ed  Roberts  Campus  (ERC); 
Musees  des  Beaux  Arts  (Valenciennes 
and  Calais,  France) 
performance  places,  422 

See  also  gathering  places 
physical  planning  models,  3,  4 
Pioneer  Courthouse  Square  (Portland, 

Oregon),  8 
play  area  guidelines,  417—22 

accessibility  issues,  418,  419,  420, 421, 
422 

animal  habitats,  421 

child  design  participation,  418 

entrances,  418 

equipment,  419—20 

fences  and  enclosures,  419 

gardens,  420 

gathering  areas,  422 

ground  covering  and  safety  surfacing,  422 

loose  parts,  422 

multipurpose,  420 

overview,  417 

pathways,  418-19 

performance  places,  422 

public  participation  in  design,  417—18 

sand  play,  421—22 

settings,  418 


488      INDEX 


signage,  419 
social  accessibility,  418 
storage,  422 
topography,  420 
vegetation,  420 
water  play,  42 1 
wheeled  toys,  418,  422 
See  also  Chase  Palm  Park;  children's  zoo 
guidelines;  Davis  Central  Park;  Edelman 
Children's  Court;  Edison  School /Pacific 
Park;  Hamill  Family  Play  Zoo  and  Play 
Gardens;  Tule  Elk  Park  Child 
Development  Center 
play  equipment,  419—20 
Play  Partners,  116,  117,  146,  148,  149 
playgrounds.  See  parks;  play  area  guidelines 
plaza  guidelines,  423—24,  464 

See  also  gathering  places 
pocket  parks,  464 
policy  framework,  10—12 
See  also  specific  projects 
Portland,  Oregon,  8,  230,  239,  240,  241, 

246 
Postmodern  (building  style),  459 
pre-school  and  kindergarten  areas,  404 

See  also  play  area  guidelines 
preservation  (of  historic  sites.)  See  Davenport 
District  Strategic  Action  Plan;  The  Great 
Spokane  River  Gorge  Strategic  Master 
Plan;  historic  building  renovation; 
Riverfront  Park  Master  Plan 
Presidio  Trails  and  Bikeways  Master  Plan, 
272-93 
accessibility,  283,  284,  285,  286,  287,  293 
aerial  view,  276—77 
background,  274-75,  277 
bikeways,  279,  288 
design  features,  285—89 
design  goals,  277,  288 
design  process,  283,  285 


historic  aspects,  274,  291—93 
location,  273-74,  275,  286 
overlooks,  274,  280,  286,  288,  292-93 
site  plans,  278,  279 
trailheads,  288 
trails,  278,  286-87 
user  feedback,  291—93 
user  groups,  280—81 

See  also  open  space  guidelines;  trail  system 
guidelines 
Presidio  Trust,  280-81 
promenades,  464 
public  open  space,  9,  1 16 

See  also  Davis  Commons;  gathering  places; 
The  Great  Spokane  River  Gorge 
Strategic  Master  Plan;  landscaping; 
mixed  use  facilities;  open  space  guide- 
lines; parks;  plaza  guidelines;  Presidio 
Trails  and  Bikeways  Master  Plan; 
promenades 
public  realm,  11-12,  240-46,  247 
public  transit,  8 

See  also  transit-oriented  development 

Queen  Anne  (building  style),  459 
Quiet  Alcoves,  139-140 

R  Street  Corridor,  228-71 
accessibility,  267 
Art  Walk  sector,  259-61 
bicycles,  245 

corridor  sector  design  concept,  247 
design  goals,  238 — 46 
design  palette,  266 
design  process,  235—37 
Design  Strategy  Framework,  237 
historic  character  enhancement,  238 
historic  industrial  sector,  247—52 
historical  significance,  232—33 
infrastructure  development,  268 


location,  230,  231 

management  issues,  268—269 

Market  Green  sector,  262—65 

mixed-use  aspects,  240,  24-1 — 43,  245^1-6, 
247,  248 

multi-use  nature,  232,  233—35 

neighborhood  unification,  238^-0 

operational  issues,  268—269 

pedestrian  issues,  240-45,  249,  251 

program  management,  269 

project  goals,  232—35 

public  agency /private  business 
cooperation,  268 

public  realm  reclamation,  240—46 

size,  230 

street  maintenance,  268 

streetscape  elements,  266—67 

traffic,  241-4-2,  245 

transit  hub  sector,  252—56,  253,  254,  255, 
257 

transit-oriented  development  encourage- 
ment, 240 

universal  design  elements,  267 

user  feedback,  269—270 

user  groups,  235 

See  also  cityscape  guidelines 
R  Street  Urban  Design  and  Development 

Plan.  See  R  Street  Corridor 
Raimo,  Sharon,  80,  95 
Raynes,  Coco,  477 
Raynes  Rail,  99,  102 
recreation,  9 

See  also  Chase  Palm  Park;  Davis  Central 
Park;  Presidio  Trails  and  Bikeways  Master 
Plan;  Spokane,  Washington  projects; Tule 
Elk  Park  Child  Development  Center 
regional  parks,  446 
regional  trails,  446-^1-8 
reinforcement  (surface),  431—32 
residences.  See  housing;  neighborhoods 


INDEX     489 


restrooms,  395—96 
Revival  (building  style),  459 
Richardsonian  Romanesque  (building  style), 

459 
river  crossings,  343—45 
River  Park  Square,  317,  318,  329,  331 
Riverfront  Park  district  (Spokane),  335—36 
Riverfront  Park  Master  Plan,  350-56 

Canada  Island,  356 

design  process,  325 

East  Haver  male  Island,  355 

entries,  353 

gondola,  350 

Howard  Street  Corridor,  351,  353 

MAX  building,  355 

Japanese  Garden,  355 

kiosks,  351 

management  issues,  379 

operational  issues,  379 

Pavilion  area,  354—55 

purposes,  350 

signage,  353 

site,  351 

south  entry  to  park,  352 

Spokane  Falls  Skyride,  350 

wayfinding,  351,  353 

See  also  cityscape  guidelines;  open  space 
guidelines 
Riverside  Neighborhood  Council  (Spokane), 

325 
River  view  Condominiums  (Spokane),  333 
road  sharing  concept,  285 

See  also  bicycles;  pedestrian  issues 
rolling  grade  dips,  43 1 
roof  forms,  458 
Rotary  Riverfront  Fountain  (Spokane),  353 

Sacramento,  California.  See  R  Street 
Corridor 


Sacramento  Regional  Transit,  233 
sacred  spaces,  424 
safety  equipment,  408 
safety  surfacing,  422 

San  Francisco,  California.  See  Presidio  Trails 
and  Bikeways  Master  Plan;Tule  Elk  Park 
Child  Development  Center 
San  Francisco  Bay  Area.  See  Berkeley, 

California;  Carquinez  Bridge  Retrofit 
and  Replacement;  Ed  Roberts  Campus 
(ERC);  Emeryville,  California; 
Oakland,  California;  Presidio  Trails  and 
Bikeways  Master  Plan;  San  Jose, 
California;  Tule  Elk  Park  Child 
Development  Center 
San  Jose,  California,  242,  264 
sand  features,  421—22 
Santa  Barbara,  California,  154—71 
Santa  Barbara  Parks  and  Recreation 

Department,  158 
San  tana  Row  (San  Jose,  California),  242,  264 
Saranac  Hotel  (Spokane),  334 
Save  Open  Space  (SOS),  195 
school  (K-12)  guidelines,  399-4-10 
accessibility  issues,  399 
assembly  areas,  408 
auditoriums,  408 
cafeterias,  408-09 
circulation  (building),  400 
exterior  environment,  399 
garden  outdoor  classrooms,  401—2 
interior  settings,  404—9 
landscape  elements,  409—10 
libraries /media  centers,  409 
outdoor  environments,  400^1-04 
overview,  399 
parking,  400 
science  labs,  407—8 


site  access,  399 

See  also  Edison  School /Pacific  Park; 
St.  Coletta  of  Greater  Washington, 
D.C.;Tule  Elk  Park  Child  Development 
Center 
schoolyard  settings,  400-404,  409-10 
classroom  patios,  400-401 
eating  areas,  402 

garden  outdoor  classrooms,  401—2 
gathering  areas,  402—3 
hard  court  areas,  403 
kindergarten  and  pre-school  areas,  404 
multi-purpose  outdoor  classrooms,  401 
natural  area  outdoor  classrooms,  402 
turf  fields,  40 3-4- 
Science Technology  Center  (Spokane),  356, 

359 
sculpture.  See  art 
seating,  423 

See  also  furniture;  waiting  areas 
Seattle,  Washington,  8 
Second  Empire  (building  style),  459 
service  equipment,  468 
shared  roadway  concept,  254,  255,  258,  263, 
264, 265,  460 
See  also  accessibility  issues;  bicycles;  pedes- 
trian issues 
Shelter  Care,  393-96 
sidewalks,  230 

See  also  accessibility  issues;  bicycles;  pedes- 
trian issues;  wayfinding 
signage 

banners,  366 

children's  zoos,  414 

The  Great  Spokane  River  Gorge  Strategic 

Master  Plan,  371-72,373 
Hamill  Family  Play  Zoo  and  Play  Gardens, 

112,119,124,  128,129,139 
lighted,  466 


490      INDEX 


museums,  41 1—12 

play  areas,  419 

Presidio  Trails  and  Bikeways  Master  Plan, 
286, 290 

Riverfront  Park  Master  Plan  (Spokane), 
353 

schools  (K-l  2),  399 

trail  systems,  429—30 

urban,  465—67 

visually  impaired,  107 

See  also  wayfinding 
Sky  West  magazine,  338 
slopes,  426 

small  neighborhood  parks,  441—43 
social  planning  model,  3 
SOS  (Save  Open  Space),  195 
South  Side  district  (Spokane),  334—35 
spatial  organization,  41 1 
Special  Districts  (Spokane),  336—38 
Spokane,  Washington  projects,  312—84 

achievements,  319 

background,  318—19 

City  of  Spokane,  380 

colors,  378 

component  plans  and  projects,  314 

Davenport  District  Strategic  Action  Plan, 
360-68 

design  features,  326—50 

design  process,  322—26 

Downtown  Spokane  Zoning  Ordinance  & 
Design  Guidelines,  322 

goals,  320-22 

The  Great  Spokane  River  Gorge  Strategic 
Master  Plan,  368-78 

history,  313-17 

investment  amount,  3 1 4 

management  issues,  379—81 

operational  issues,  379—81 

palette,  378 

Riverfront  Park  Master  Plan,  350-56 


specific  area  plans,  321—22 
Spokane  Plan  for  a  New  Downtown, 

326-50 
statistics,  319 
user  feedback,  381-84 
user  groups,  322 

See  also  specific  component  projects 
Spokane  Plan  for  a  New  Downtown,  326—50 
action  strategies  and  elements,  326—27 
bicycles,  345 

community  outreach  award,  325 
community  participation,  323—25 
design  process,  322—25 
districts,  329-36,  330 
Downtown  Core  district,  329—32 
East  End  district,  333-34 
economic  development,  338—39 
green  streets  network,  342 
historic  preservation,  346 — 48 
"hot  zones,"  338 
housing,  340-41 
land  use,  327,  328 
management  issues,  379 
neighborhood  economic  development, 

348, 350 
North  Bank  district,  334 
operational  issues,  379 
organizations,  338—39 
overview,  321—22 
pedestrian  circulation,  343 
river  crossings,  343-45 
Riverfront  Park  district,  335—36 
South  Side  district,  334-35 
Special  Districts,  336—38 
technology  zone,  338 
Terabyte  Triangle,  338 
transportation  and  circulation,  341—46 
vision  statement,  326 
West  End  district,  333 
See  also  cityscape  guidelines 


Spokane  River  Gorge  Coalition  (SRGC), 

380-81 
Spokane  Transit  Authority  (STA)  Plaza,  366 
sports  parks,  443,  446 
sprawl,  xii,  2—3 
SRGC  (Spokane  River  Gorge  Coalition), 

380-81 
St.  Coletta  of  Greater  Washington,  D.C., 
76-95 

accessibility  features,  82,  92—93 

art,  83,88,95 

building  elevations,  91 

campus  overview,  89 

classroom  environments,  80,  81,  82,  84, 
86,87 

community  involvement  activities,  88 

community  relations,  77—81 

construction  completion,  78 

construction  cost,  78 

curriculum,  80-81,  87-88 

design  process,  81—82 

exterior  view,  85 

functional  purposes,  79—81 

history,  77-80 

inclusive  design  features,  81,  82—93 

management  issues,  93 

mission  statement,  77 

multi-functional  nature,  82—83 

operational  issues,  93 

original  vision,  78 

outdoor  environment,  84,  85,  86,  87—93, 
94 

site  elements,  83—84 

statistics,  79 

student  activities,  78,  79,  93 

transit  aspect,  79 

user  feedback,  95 

user  groups,  81 

village  green,  86 

See  also  school  (K— 1 2)  guidelines 


INDEX       49 


street  trees,  463 

streets,  457,  458,  460-61 ,  469 

See  also  bicycles;  parking;  pedestrian  issues; 
traffic;  transit-oriented  development 
subsurface  grids,  433—34 
suburbs,  2—3 
Sullivan,  Cheryl,  478 
surface  reinforcing,  431—32 
surfaces,  431—34 

See  also  flooring  and  surfaces 
sustainable  design,  30—32 

tactile  program,  97—98 

Tauscher,  Ellen,  22 

tax  service,  1 0 

"Technology  and  Universal  Design 

Assessment  of  the  Ed  Roberts  Campus 
(ERC)"  (NEC  Foundation  of  America), 
26 
teen  centers,  203-4 

Terabyte  Triangle  (Spokane,  Washington),  338 
A  Theory  of  Good  City  Form  (Lynch),  1 ,  3 
Through  the  Looking  Glass  (TLG),  19,  33 
Time  magazine,  338 

TLG  (Through  the  Looking  Glass),  19,  33 
topography,  420,  427-28 

See  also  landscaping 
traffic,  240^5 
trail  edge  protection,  430 
trail  guides,  430 
trail  markers,  430 
trail  systems  guidelines,  425—34 

above-grade  trails,  432—33,  435 

accessibility  issues,  425 

bikeways,  427-28 

drainage  control,  431 

grades,  427-28 

multi-use,  426^1-27 

obstacles,  427 

other  access  routes,  430 


overlooks,  429 

parking,  429 

pedestrian,  425—26 

sandy  soils,  433—34 

slopes,  426 

surfaces,  426^1-27 

trail  edge  protection,  430 

trailheads,  428-29 

wayfinding,  429—30 

wet  areas,  431—32 

See  alsoThe  Great  Spokane  River  Gorge 
Strategic  Master  Plan;  North  Bank 
Development  Plan;  Presidio  Trails  and 
Bikeways  Master  Plan;  Riverfront  Park 
Master  Plan 
trailheads,  428-29 
transit.  See  public  transit 
transit-oriented  development,  21—22,  240 
transit  plazas,  465 

transportation,  341-4-6,  373-74,458, 
460-63 

See  also  public  transit;  transit-oriented 
development;  transit  plazas 
trees,  463 

See  also  green  streets  network  (Spokane, 
Washington);  green  ways;  landscaping 
Tribal  Cultural  Center,  372,  373 
Tule  Elk  Park  Child  Development  Center, 
60-75 

accessibility  features,  63,  64,  68,  71 

amphitheater,  69 

art,  64,  70,  72,  73 

construction  area,  70 

construction  completion,  62 

construction  cost,  62 

credits,  62 

design  process,  67—68 

dining  area,  72 

function  and  purposes,  61 ,  63,  64 — 67 

garden  areas,  63,  66,  69—70,  69 


indoor/outdoor  transition  patios,  68 
management  issues,  72,  74 
multipurpose  nature,  64,  65—67,  69,  72, 

74 
operational  issues,  72,  74 
original  vision  for,  61 
particulars,  62 

play  areas,  62,  64,  68,  70-71 ,  72 
site  plan,  62 
size,  62 

user  feedback,  75 
See  also  school  (K— 12)  guidelines 
turf  fields,  403^4- 

UC  Berkeley  (University  of  California, 

Berkeley),  15,  17,21 
UC  Davis  (University  of  California,  Davis), 

212 
UC  Davis  Office  of  Development,  2 1 2 
UCSF  (University  of  California,  San 

Francisco),  9—10 
Universal  Design  Tool,  26 
University  of  California,  Berkeley  (UC 

Berkeley),  15,  17,  21 
University  of  California,  Davis  (UC  Davis), 

212 
University  of  California,  San  Francisco 

(UCSF),  9-10 
urban  building  materials,  468 
urban  color  usage,  467—68 
urban  outdoor  areas,  454—55 
urban  renaissance,  xi 
Urban  Renewal,  3 
urban  transportation,  458,  460—61 
See  also  transit- oriented  development; 

transportation 
U.S.  Department  of  Transportation,  21 
U.S.  House  of  Representatives  Committee 

on  Education  and  the  Workforce,  22 


492       INDEX 


U.S.  House  of  Representatives  Committee 

on  Transportation  and  Infrastructure,  22 
user  survey  methodologies,  39  (chart) 

Vallejo,  California.  See  Carquinez  Bridge 

Retrofit  and  Replacement 
values,  xii 

Vancouver,  BC,  Canada,  8—9 
ventilation,  398 

"Vision  for  Growing  an  Inclusive  City,"  1 0 
visiting  rooms,  395 
visual  cues,  405 

waiting  areas,  37,  38,  390-92 

walking.  See  accessibility  issues;  bicycles; 

pedestrian  issues;  wayfinding 
warehouses.  See  industrial  area  conversions 
Washington,  D.C.,  10 
water  features,  416,  421 
wayfinding 

children's  zoos,  414,  415 

directories,  105 

Ed  Roberts  Campus  (ERC),  29 

Edelman  Children's  Court,  47 — 48 

The  Great  Spokane  River  Gorge  Strategic 

Master  Plan,  371-72,373 
Hamill  Family  Play  Zoo  and  Play  Gardens, 

126-29 
Howard  Street  corridor  (Spokane, 
Washington),  351,  353 


kiosks,  351 

museums,  41 1—1 2 

Presidio  Trails  and  Bikeways  Master  Plan, 
277,286,288 

trail  systems,  429—30 

trailheads,  428-29 

visually  impaired,  102 

See  also  accessibility  issues;  signage 
West  End,  333 
wheel  channel,  30 
Whirlwind  Wheelchair  International  (WWI), 

19,32-33 
Whyte,  William,  2 

WID  (World  Institute  on  Disability),  19 
Wight,  Lawrence,  478 
Williams,  Anthony  A. ,  xiii 
windows,  classroom,  405—6 
World  Institute  on  Disability  (WID),  19 
WWI  (Whirlwind  Wheelchair  International), 
19,32-33 

Zampa,  Alfred,  302,  304 

See  also  Carquinez  Bridge  Retrofit  and 

Replacement 
zoning  laws,  2 
Zoo  Play  Gardens,  140 
Zoos.  See  children's  zoo  guidelines;  Hamill 

Family  Play  Zoo  and  Play  Gardens 


INDEX     493 


out  the  editor 


Susan  Goltsman  (FASLA)  is 
internationally  renowned  for 
applying  social  science  to 
design,  creating  unique 
environments  that  respond 
to  the  community,  the 
organization,  user  group 
needs,  building  function  and 
site  context.  Her  projects 
>m  the  American  Zoo  and 
Aquarium  Association,  the  Center  for  Universal 
Design,  the  American  Institute  of  Architects,  the 
American  Planning  Association,  the  American 
Society  of  Landscape  Architects,  The  National 
Endowment  for  the  Arts  and  the  California  Park  and 
Recreation  Society.  Susan  has  taught  at  numerous 
universities  and  colleges  and  is  the  author  of  many 
other  books  and  articles. 


aniel  lacofano  (PhD,  FAICP, 
iSLA)  is  recognized  interna- 
onally  as  an  innovator  in 
ommunity-based  urban 
lanning  and  design, 
orking  with  hundreds  of 
ities  and  agencies  to 
nplement  land  use,  urban 
design,  economic  revitaliza- 
tion  and  transportation  projects.  His  projects  have 
won  many  awards  from  the  National  League  of 
Cities,  the  International  Downtown  Association,  the 
American  Planning  Association,  the  American 
Society  of  Landscape  Architects  and  the  Association 
of  Environmental  Professionals.  His  publications 
include  Play  For  All  Guidelines,  Public  Involvement 
as  an  Organizational  Development  Process,  and 
Meeting  of  the  Minds,  which  shares  his  innovative 
approach  to  meeting  facilitation  and  consensus 
building. 


.     * 


MIG  Communications 

300   HEARST  AVE.,    BERKELEY,   CA   94710 
510.845.7549     I     www.migcom.com 


Mil 


utions    for 


OLTSI 


neighborhoods    and     urban 


ANIEL  IACOFANO 


ft 


"Every  once  in  a  while,  a  truly  'big  idea'  comes  along — this  book  articulates  with  passion  and 
persuasion  the  notion  of  the  inclusive  city.  It  advocates  a  downtown  that  truly  becomes  the  heart 
and  soul  of  the  entire  community. " 

Dave  Feehan,  President,  International  Downtown  Association 

"In  this  book  and  in  their  work,  Daniel  and  Susan  redefine  the  term  'planning.'  The  inclusive  city, 
built  on  openness  to  new  ideas,  people  and  thought,  is  the  platform  upon  which  our  new  society 
will  be  built. " 

Michael  M.  Edwards,  President,  Pittsburgh  Downtown  Partnership 

"Downtowns  across  the  country  are  making  a  comeback.  However,  if  cities  are  to  succeed  in 
the  21st  century,  we  must  address  the  challenges  and  disparities  within  our  communities.  This 
exciting  vision  of  what  our  cities  can  be  is  a  'must  read'  for  all  those  who  help  shape  the  future 
of  their  cities. " 

Beverly  O'Neill,  Mayor,  City  of  Long  Beach 

"The  powerful  message  here  is  that  places  created  using  the  book's  design  criteria  invite  every- 
one to  participate  in  the  environment.  The  participatory  inclusive  design  process  embodies  social 
justice,  ensuring  that  the  people  who  use  a  space  help  create  it... and  in  the  process  they 
empower  themselves." 

Elaine  Ostroff,  Honorary  AIA  and  Founding  Director 
of  the  Adaptive  Environments  Center 


ISBN-13:       978-0-944661-31-4 


9  780944"661314 


"It  is  rare  to  see  projects  entirely  designed  with  the  community — rather  than  for  the  community. 
This  exciting  series  of  projects  and  places  will  challenge  how  we  approach  design  and  planning 
in  the  future. " 

Fred  Kent,  President,  Project  for  Public  Spaces 

"This  book  provides  a  desperately  needed  framework  to  provoke  us,  teach  us  and  stimulate  our 

work:  the  building  blocks,  principles  and  guidelines  that  can  inspire  us.  It  is  a  toolbox  to  bridge 

the  gap  between  theory  and  action." 

Andrew  Altman,  former  CEO,  the  Anacostia  Development 
Corporation,  Washington,  D.C. 


Printed  in  China