View Full Version : Chestnut Hill Art Museum ~ University Project
Project - University
Location – Chestnut Hill, Philadelphia PA, USA (see .kmz file below)
Type of Project - Cultural
Design Parameters – See Below
Design Approach – To be posted ASAP
Drawings - Attached, more as req'd
Tools/Programs- SketchUP, Photoshop, AutoCAD
Problem Statement:
“A wealthy art collector and patron has offered to donate his renown art collection and a considerable endowment to build and maintain a small gallery to be named in his honor. His collection, although not large, is world renown for the quality of its painting, drawings, photography, sculptures, and decorative art objects. The donor envisions his new museum as a resource for the community and the many nearby institutions of learning, as well as a fitting memorial to his lifelong enthusiasm and vision. It is important to him that the building’s design aspires to the same ideals of beauty and craftsmanship that inspire the art in his collection.”
You are being asked to design a small building to house this permanent collection. Unlike the church project issued last term, this building will not have one dominating space, but a series of spaces which you must compose according to such criteria as proportion, procession, massing, etc… Which you will articulate and explore with your initial concept sketches. The buildings relationship to the art it houses and how the visitor will experience the collection are important issues for you to investigate.
The programmatic components have been kept simple and include the following:
- An easily recognizable entrance to the museum with orientation and security functions.
- A sculpture hall that is part of the entrance hall and circulation function and is the start of the progression of gallery spaces. This space could be an expansive one with natural lighting appropriate for viewing the larger pieces of sculpture
- Large galleries to house the painting and decorative objects. Natural lighting, while desirable, must be controlled and filtered; ceiling lighting is best. These rooms should have high ceilings to accommodate large paintings and to maximize wall space. The configuration of these rooms must be considered to provide the best viewing for the works houses.
- Small galleries to house smaller paintings, watercolors and varies types of decorative objects. The number of rooms is the students’ choice, but considers that each room may have specialized requirements for housing and viewing the works of art. For some rooms natural lighting may be undesirable, while others windows may be fine. These rooms should provide different, more intimate experiences that contrast with the more expansive painting galleries and sculpture hall.
- Office suite, not open to the general public, to provide private offices and meeting space for the curatorial staff. This suite of rooms could be on the same floor as the galleries or an upper mezzanine or basement.
- Support spaces and circulation. Vertical circulation can be kept minimal, as all galleries should be on one level.
The Site:
The site is approximately 5 acres of gently sloping land in the prestigious Chestnut Hill section of Philadelphia overlooking the Whitemarsh Valley. It is a distinctive early suburban neighborhood of large stone houses, a prosperous commercial district, and private schools and colleges. The rectangular parcel fronts Germantown Avenue with Bell Mills Road at the southeast. Both vehicular and pedestrian access should be off of Germantown Ave. For the purpose of this problem, the existing Woodmere Art Museum, now in an old mansion on this site, does not exist. This design problem requires that you take advantage of the opportunities offered by this site for creating a dignified setting for a museum building of great beauty. Site elements – orientation, paving, landscaping – should contribute to the mood you are trying to achieve in your overall design. Consider the possibility of varying the outside spaces inspired by the various landscape traditions – the picturesque lawn, formal garden, entrance court, etc…
The Building:
The design goal for this museum requires that the building be a symbol of an appropriate place for the conservation and exhibition of a specific art collector. It should offer a distinctive exterior image and a memorial interior spatial experience. Both must positively augment the experience of viewing the varied artworks. Careful attention must be given to lighting, both natural and artificial. Consider the silhouette and massing of the building in relationship to the existing context and your proposed landscaping. Your choice of building material and the scale and richness of the wall treatment will say much about the character of this museum. Consider the spatial sequence of entry and viewing. The scale, shape and surface pattern of the rooms could vary on what they contain.
Program Area:
Gallery Level (on one level)
Vestibule
Entrance/Sculpture Hall 900sf
Superintendent’s Office 100sf
3 Galleries 1500sf/each (4500sf Total)
Mezzanine or Lower Level
Staff Office Suite 500sf
Library/Conf. Room 300sf
Storage, loading, working 3000sf
Rest Rooms 200sf
Coat Room 100sf
Mechanical 500sf
Stairs & Elevators
Outside Space or Terrace
Parking for 30 Cars
Loading Area for Small Trucks and 8 Cars
Board 03 (Text written on board below)
Outer Skin: The facade cloaks the inner envolope of the building (Machine), providing ever-changing motion to an otherwise static cube. A thin copper skin is attached to light steel framing. The surface of the copper skin has been pushed & pulled, creating a constant play on material, light, shadow, and motion. At the entrance, the membrane appears to pull itself up, inviting the visitor to investigate what's held on the inside.
Light Baffles: Four large light scoops bring natural light into the gallery and lobby spaces. In the art galleries, the light is diffused and controlled by individual, inner baffles that can be raised and lowered to control the amount & angle of the light. Gentle natural light is then allowed to wash over the artwork for optimum viewing while still protecting the light sensitive artwork.
Exterior Housing: Cast in place concrete makes up the exterior housing of the museum. The concrete adds a contrast to the smoothness, lightness & shininess of the outer copper skin and provides a sense of mass in the landscape. The vernacular of the concrete is introduced in the car park. Although there is no exterior glazing in the galleries, the exposed concrete is wrapped into the interior of the museum and allows the viewer to relate and identify the difference between an exterior wall.
Interior Partitions: The interior acts as the moving parts of the museum as a machine, providing diffused light, vertical & horizontal circulation, display surfaces, work spaces, storage, and mechanical needs. The large inner light court provides views to of the Zen Stone Garden while using the inner circulation. The inner corridor provides a visual break between the three main galleries.
merengue
08-04-2006, 05:55
Boards are great!. Nice interiors, I´d like to see the sun light entering trough those windows on the roof. Just wondering, what is the brown covering thing in the outside?.
I think that is not helping the form.
Boards are great!. Nice interiors, I´d like to see the sun light entering trough those windows on the roof. Just wondering, what is the brown covering thing in the outside?.
I think that is not helping the form.
merengue? have you read post #4? I think he explains with the brown covering thing is :)
merengue
08-04-2006, 06:15
You are right !, I don´t know why i missed that part :eek: .
The explanation sound pretty good but in my opinion the image doesn´t translate the exact idea.
Just wondering, what is the brown covering thing in the outside?.
The explanation sound pretty good but in my opinion the image doesn´t translate the exact idea.
Thanks for the comments thus far.
There is more of written response to the design problem that I will provide (too tired right not)
Also, I will clarify the 'skin' on the building, graphically... The basic parti for the building was to be an 'object in the landscape'... the skin acts to be an ever evolving and 'moving' element of the building. The copper would be allowed to patina, thus change it's appearance thru the years... there are 'slits' in the skin that would allow light to bounce and play in the space between the skin and the building's massing.
I felt the interior was a purely functional space (A machine, who's purpose is provide vertical surfaces to hang art work, control circulation, and provide appropriate light for the art)...
Again, I will write a more in depth response to the design problem...
Thanks again C&C welcome.
Updated 04-08-06:
Here is my concept for the 'Brown Covering' you questioned. The graphic example is exaggerated to clarify the concept. As stated above, the skin in pushed and pulled. 'Slits' allow light to bounce and play behind the panels onto the massing of the museums exterior walls. The panels (facade) are also constantly changing according to viewers location, time of day, orientation etc... And also aloud to naturally patina, allowing the overall appearance of the building (object in the landscape) to morph and change over its lifetime.
Hi,
Could you please post your project description in your post rather than an attachment file? It's just easier for people to easily read and therefore easier to give you feedback.
If in doubt, please check the Posting Requirements (http://www.pushpullbar.com/forums/showthread.php?t=2747).
Thank you.
Section & Details:
This is a typical section & details thru a gallery space. The concept for the 'light scoops" was to have a way to bring in natural light (from above) and not only filter and diffuse it but also control the level of light in each gallery independently. Each gallery would be able to adjust it's light level based on amount of light available, the galleries orientation to the light source, time of day, type of light req'd for the specific pieces of art, etc...
The roof plane soffit would contain an artificial light sources in a light-trough that follow the perimeter of the gallery. also, it would house the motor system that would raise and lower the 'baffle' or 'ceiling-cloud'. The roof soffit and ceiling cloud slightly overlap. If the ceiling cloud was raised to the bottom of the roof soffet, all natural light would then be removed from the space. as the ceiling cloud is lowered, more and more natural light is allowed to enter the space.
Thats the basics of the concept. Natural light would be able to be controlled (as much as possible, based on orientation to the sun, amount of light available, etc...) and the artificial light would supplement it. Since this was a hypothetical "No budget" design, I'm sure there could be a computer controlled system to automate the ratio of natural light to artificial lighted needed/available and programmed based on each galleries specific needs.
Mark Timms
09-04-2006, 03:46
GDR...
Thank you for posting! Your project looks very interesting but I think I could really do with some more information...
Could you explain more about your concept. In particular, how your overall form and space was created. Why a cube, for example?
You talk about the internal spaces as a 'machine'. These 'purely functional' spaces are the most important aspect to an art gallery, no? I would be interested to learn more about the idea of a machine. Did you consider how the collection was to be displayed and how the public would navigate/circulate through the different spaces whist viewing the paintings, and the experience they would have within these spaces?
I can see the finished product. I would like to understand the process in how it was achieved.
Presentation of boards 2 and 3 are really appealling. Not sure about the first
board. For me, its not really showing me the potential quality on the space...
Just my initial thoughts...
:peace:
GCR,
It seems you have a grasp of the details... I really like how you posted a graphic to explain the skin system... the presentation boards are pretty good but I think could be better... what does strike me though is the design seems to lack a concrete, central focus or idea... Mark was asking about your concept and I think that becomes telling (there seems to be a scattering of ideas)... what drove you to making such a simple cube form that just sits in a landscape? What is driving the idea of the space being a "machine"? The shots you show of the interior seem to show a space that is really void of any energy or activity... it seems boring and I am not sure would really do anything for me... maybe that is just in the way you have modelled and rendered it though? anyhow, good job but yet I think you could push it, from a pure design/conecptual point, much further...
Larger boards here (http://s37.photobucket.com/albums/e56/GCR22/Architectural%20Renderings/Hypothetical%20Projects/Fine%20Art%20Museum/?).
I agree with wizum and I have to add that there is also lack of coherence between solutions. The plan layout and the prismatic shape of the building seem designed by Mario Botta, while the outer skin looks like what Libeskind or LAB architects do.
Also, even though the lot is very large you seem to be disregarding the context.
Lastly you're looking for an overly technified lighting solution when you could take ideas from the great examples Renzo Piano gives with the High Museum addition (http://www.pushpullbar.com/forums/showthread.php?t=2229) or the Menil Collection Museum.
On the other hand I think the idea of the box in the middle of a field is an appropiate one. Also the plan seems very well organized and clear with good hierachy of spaces.
Drawings are great. Beautiful detailing and very nice panels.
Thanks Guys, I'll try to address your questions as best I can... and after reading the crits, there are some very valid points...
Why the box?
Well, I guess at its very core, I felt a Museum is, at it's most honest, a box to contain and display art... I made this statement early in class, and I took the comment literally and ran with it.
Some early issues... the site is HUGE (5 acres) compared to the size of the program space ... the buildings footprint (take away the inner court I designed) barely impacted the site @ 10,000sf. (The req'd parking was almost more of an impact than the buildings foot print, which was a whole other issue.)
Next, The location of the site is surrounded by older residential building, stone construction, with large, heavily wooded lots. Appropriate context (based on the surrounding architecture) was hard to come by. I could could design something that used that vernacular, but I feared people wouldn't even notice the building, or misread it's intent. (There is an existing "museum" on the site now, which we were told to disregard, which is essential an old mansion. If there wasn't a sign at the entrance road, I would have never known there was anything back there, much less a museum.)
So that said, the "cube" was born... a simple, pure, geometric shape. One of the simplest building blocks of 'art'...
From there, I wanted to explore the concept of the Museum as a machine (maybe not literally, as a Machine may imply mechanisms, gears, moving parts etc..) but as a space that broke its function down to its most simple parts, a tool if you will, to display art. At the same time I wanted to play with the building system as envelopes. (Facade, Exterior/Structure, Roof, and interior partitions)
As a side note to this, the interior space was a challenge... The program spaces were very small. I really wanted to make these large stroked gestures, but at that scale they would have been inappropaite... and to scale down any "broad gestures" would had lost their intended effect and purpose. This project, for me, just begged to be some 75k-100k+ sf space, but it just wasn't.
So, back to the Site/Building Relationship. I figured, well, there is all this green space... so why not impact it as little as possible, leave it for people/animals/trees etc.. to use... but still announce there is "something out there" that demands further investigation... I guess I felt, that the building itself, at the scale I was dealing with when viewed from afar, in this sea of green, could simply be seen as an abstract sculpture placed in the landscape. I felt it was a powerful image, but appropriate. The building itself, as a piece of art. (literally)
"You're looking for an overly technified lighting solution"
Well this was forced on me... I had some very simple and commonly used methods of bringing in diffused light from above, but was told... "Come on man, there is no budget here... Think outside the box (No pun intended:D )can't you find a different way of controlling the light".. So I started to explore mech. means of controlling the light... I thinks it a pretty interesting solution (In theory), but your right, it could have much, much simpler.
You talk about the internal spaces as a 'machine'. These 'purely functional' spaces are the most important aspect to an art gallery, no?
IMHO, No, I feel the art is the most important aspect of the space... I didn't want the architecture on the interior in any way to interfere or overshadow the artwork itself. Whether this opinion is shared or not, I think in that aspect, my design was "true" to it's intent... To me, the interior should be "purely fuctional"... A Machine.
Also, with that said, I guess I inflected my personal feelings of how I enjoy a Museum, or more accurately, the art within the museum. Once I'm inside, I don't care what color the walls are, or what materials and forms are being used... I want to see the art. I like to go alone, I like it to be peaceful and quite... I want to be able to observe and reflect at my own pace, and really experience the art... Almost spiritual or medatative... I don't want a lot of fuss and distraction around me. (So I guess I wouldn't have enjoyed a Andy Warhol showing at the factory ;) )
(there seems to be a scattering of ideas)...
On some level, I agree with you... but can't really put a finger on why or where that disconnect happen...
In closing...
First, Thank you very, very much for the feedback... I hate to say it, but the couple of projects I've posted here, have gotten better (in content) and more informative crits than I have in my Juries at school... These type of dialogs are the only way we can truly grow as designers...
Second, this is a 3rd year assignment out of a 7 year program... and this project was 10 weeks (3 of which were filled with research projects), so more time for development would of course been helpful..
Again, thanks and keep the comment coming.:cheers:
... I hate to say it, but the couple of projects I've posted here, have gotten better (in content) and more informative crits than I have in my Juries at school... These type of dialogs are the only way we can truly grow as designers...
The problem with universities and design schools (and i would imagine that this is global) is that unlike here, tutors and jury members usually only have a very short time to try and understand what you are doing and then based on what you have presented (both verbal and drawings) give you feedback. It's not easy work to have to think so quickly all the time, and usually there is a whole studio of students to get through in one session as well! It is how the system works unfortunately and it's not really anyone's fault. So please don't think any less of your tutors/jury members.
The luxury of this forum is that there is time for people to digest, think about what to say and how to express it. The very fact that you can write down some of these points is a bonus because there is always time to edit and read over what you have just written before replying.
[pushpullbar]2's Design Studio section hopes to fill that need created by the constrained conditions of real design studios at universities.
The problem with universities and design schools (and i would imagine that this is global) is that unlike here, tutors and jury members usually only have a very short time to try and understand what you are doing and then based on what you have presented (both verbal and drawings) give you feedback. It's not easy work to have to think so quickly all the time, and usually there is a whole studio of students to get through in one session as well! It is how the system works unfortunately and it's not really anyone's fault. So please don't think any less of your tutors/jury members.
The luxury of this forum is that there is time for people to digest, think about what to say and how to express it. The very fact that you can write down some of these points is a bonus because there is always time to edit and read over what you have just written before replying.
[pushpullbar]2's Design Studio section hopes to fill that need created by the constrained conditions of real design studios at universities.
fantastic comments Swank-E... you nailed it on the head... and GCR, your attitude is just right... you have taken the crits and not gotten offended by them or personalized them... you have used them constructively, even if you don't agree with them, and have obviously used this forum for learning how to make yourself a better designer... well done... :cheers:
ps... I will finish reading your follow-up comments later... got to get back to work :)
imasayer
10-04-2006, 16:44
I have several problems with this project, but they all revolve around the concept. The concept is weak, so your project suffers in some areas. A machine for viewing art? What does that even mean? (I know what Corbu meant, but what do you mean) It just does not come through in the project. In order to convince me, you would have to carefully nail down this "machine" idea then show me how you executed it in your project.
The presentation is really nice, but the lower left hand corner drawing in post 3 is not very good. It looks like a one point perspective, just looks flat and lifeless. I would chose a more dynamic angle next time. But all in all, it is a really nice presentation.
Why a zen garden? Why not a sculpture garden? Is the statue a piece of art? Why can't I experience the zen garden? (i.e. a walking path though the garden) I do like the idea of this open court providing light to the rest of the building, that was a great idea.
The functions of spaces seem to be laid out fairly well, with a logical path of circulation, but your interior spaces are a little boring. I understand that you do not want to over embellish the art spaces in order to let the art take center stage, but that doesn't mean you have to leave out architecture. I guess it is better to under-do it than over-do it.
I like the simple box with a dramatic skin over it. I think that it works fairly well, but again what does this have to do with your concept? I hope this does not come off too harsh, that is not my intent. I hope that my comments are helpful to you.
spadestick
10-04-2006, 17:58
IMHO, No, I feel the art is the most important aspect of the space... I didn't want the architecture on the interior in any way to interfere or overshadow the artwork itself. Whether this opinion is shared or not, I think in that aspect, my design was "true" to it's intent... To me, the interior should be "purely fuctional"... A Machine.
Also, with that said, I guess I inflected my personal feelings of how I enjoy a Museum, or more accurately, the art within the museum. Once I'm inside, I don't care what color the walls are, or what materials and forms are being used... I want to see the art. I like to go alone, I like it to be peaceful and quite... I want to be able to observe and reflect at my own pace, and really experience the art... Almost spiritual or medatative... I don't want a lot of fuss and distraction around me. (So I guess I wouldn't have enjoyed a Andy Warhol showing at the factory )
I like the way you expressed the wrapping of the museum and the detail involved in its implementation.
now getting into your interior spaces... especially the part about interior space to you being purely functional.
1) why did you or do you have to rotate it 45 degress off the orthogonal? (sorry my pet peeve is the dreaded 45 degree on a plan). Does it make the architectural interior more "invisible" and less intrusive than leaving it orthogonal to the rest of the encompassing space?
2) unless it is a classical space or something that reflects a classical trajectory (like the Louis Kahn museum), there is no reason for it to contain so many elements of symmetry. Functional spaces can be asymmetrical to accomodate artwork, services, circulation and so forth.
meditative space geniuses are Pawson, Silvestrin, Chipperfield, Zumthor, and the older works of H&deM, some of Ando's work as well.
i dont like your style cuz not real and space very small and lot of space small, and view not well but you design panels good
i dont like your style cuz not real
what do you mean 'not real'?
image: Federation Square, Melbourne (http://www.fedsq.com[/url)
one more of Federation Square
what do you mean 'not real'?
image: Federation Square, Melbourne (http://www.fedsq.com[/url)
Thanks Swank-E...
Yeah, I'll just have to disagree w/ you on that tadao, and that's OK.
Funny Swank-E, that was one of the buildings I used to generate ideas...
I want to thank those who took the time to Crit the design...
I'm on to my next design in class now. I'll be taking what I learned from this Crit and applying it to this design...
It's probably just as, is not more, important to learn what didn't work and why... as what did work...
I'll post my next project ASAP.... I may post it now at the design phase, and follow it through finished presentation. (It's a short 4 week assignment)
Oh, quel projet. Félicitations
It's great, Congratulations. I like the presentation.
Oh, quel projet. Félicitations
It's great, Congratulations. I like the presentation.
Merci beaucoup:cheers:
GCR,
I think your skin idea is fantastic and is a very strong concept. It has great potential. Like others have mentioned I would like to see that related to plan. Your boards look great too! Nice interior shots!
vBulletin® v3.7.3, Copyright ©2000-2008, Jelsoft Enterprises Ltd.