In Search of Program

First off, my apologies for the recent lack of submissions due to jury, but i have been doing some research and trying to sort things out. After last week's meeting, I am pretty stuck and confused as to which way to go program wise. I was originally leaning towards a singular building on the site (not sure which one) but turning it into a commemorative museum and recreation/park system to acknowledge the rich history of the area. Possibly a railroad museum, anthracite museum or maybe overall museum of industrialization. however, it was brought up that this may not be justified and proper for the site, nor be able to serve as a catalyst for the immediate area, or even city's turn around. Several things have been suggested by John Lisa and Andrew, such as a form of temporary architecture as communication between the opposite sides of the site and as a way to view the area due to its closed state. The main theme that seemed to appear, and seems the most relevant/interesting, is maintaining the site as a void, therefore preserving the memories of it in a literal sense, and allowing it to be remembered as the former industrial giant that it is.
A few case studies I have been looking at include the wrapping of the Reichstag by Christo. This project seems to have served as a metaphor symbolizing the rebirth of German government, or maybe even the 'wallpaper that covers the mistakes and cracks' of German history. It showed, or maybe just suggested that a structure this large, and of such importance, all of a sudden became more relevant and important to te society when it 'all of a sudden disappeared.'
This case study got me thinking back towards an art community of sorts. The site is massive, obviously, and will be a great challenge to deal with, but what if the layout of the site is continually changing at the hands of many different users. Possibly a large-scale art installation site? Larger installations will be easily fit into the site, and will also revert back to the covering up of the area. Installations can be constructed as, and integrated with, a temporary architecture, which will be constructed, thrive, and eventually move on, much like the railroad and its legacy. In this sense, the site can be concealed for a given length of time, users can traverse the land, separated from the railroad, and return to find a different layout than the last visit.
This can play into the shock and awe of a drastic alteration in the urban fabric, and be used as a way to bridge the gap created by the rail yard. Also, with the installations forming themselves around the site, the daily activities and operations can be continued, and the area tied together, while still increasing tourism and rehabilitation of the city.
Other suggestions, such as the semi-joke of a cemetary for veterans and housing for their families, seem a bit morbid for what is needed in the city, aside from the fact that these is a large cemetary immediatly adjacent to the Reading Yard.
More recent case studies include the previously mentioned Reichstag wrapping, the Trevi Fountain (with red water), The Sands Bethworks (master plan for the Bethlehem Steel, casino, retail and housing), Steamtown, Scranton, Massachusetts Museum of Contemporary Art, North Philadelphia (and its former greatness), etc.
As far as site investigation, I still havent gotten a call back for site access, so I am calling more potential sources tomorrow and going to Reading Friday to attempt to speak with someone in person. Until then, more case studies and research.

Abstract/case studies and design potential

The Preservation of Memories Through Adaptive Reuse Abstract

The memory we have of a certain space gives meaning to its form and architecture, and consequently a significant place in our minds. As we think of the past, we often remember the places we have been in light of the occurrences endured there, associating a place with an emotion and a particular event. Sights, sounds, actions and even smells can trigger these memories and carry us on a journey through time. These memories are innately a part of every design process. In this sense, the memories of a certain place are not fixed, but are linked together. These links can therefore form a type of architecture based on archetypes and memories leading to a variety of innovative designs. The memories of an architect and those of a user or community can be combined with needs and trends of the present to form such a space, which will in turn be adaptable for the future.
In the architecture of adaptive reuse, some historic aspects of a structure; for example the façade and exterior massing can be fixed and thus preserved, while the interiors are retrofitted for a new use. The memory of what the structure once was in its civic sense is therefore preserved, while the interior spaces provide it with the flexibility of present and future adaptation.
We think of memory as belonging to the realm of human mentality and therefore being subject to the affect and nostalgia of patrons, spectators and consumers, but it is through adaptive reuse and historic preservations that cities take on their own forms of memory, thus retaining an identity. The city is seen as a landscape and collection of objects and structures that represent the past through the constant building and rebuilding of its structures. The retention of these historic structures, sites and environments give clues as to how a city and its inhabitants functioned, were structured and moved about the streets living their everyday lives. In this aspect, the preservation of a city’s memory parallels that of a human’s. Using variations of common adaptive reuse techniques, as well as the Secretary of the Interior’s Standards for Preservation, inherited traditions, vernacular architecture and memories can be integrated into existing structures with modern technologies forming a variety innovative architectural programs, thus preserving the memories of a city.

Case studies include the transformtion of the Bankside Power Station into the Tate Modern by H&deM, the Nationale Nederlanden building by Frank Gehry, the Jewish Museum, Berlin by Daniel Libeskind, Museo di Castelvecchio in Verona by Carlo Scarpa, etc.

Design info:

The implementation of adaptive reuse in this situation is mainly site based. Heavy reliance is placed on the features of the site as well as the surrounding area including environment, vernacular architecture and most importantly local history, in order to extract design information. The former Reading Corporation had numerous facilities constructed throughout the tri-state area (PA, NJ, DE) during its empire, yet the focus remains on its home city of Reading, PA and the famed Reading Yard located between 7th and 9th Streets from Greenwich Street to the newer Warren Street Bypass. The empty lands and vacant structures left behind after the closing of the Reading Railroad tell of the history of the once great corporation and serve as reminders and historic / cultural reservoirs waiting to be tapped for the enhancement of the local identity.