Rialto. Fashion. History.
Amanda Reyes. Summer 2015. Graduate Studio VII. Webber.
INTRO Problem Statement The Academy of Art University, San Francisco would like to create a fashion museum on the south side of the financial district of San Francisco, California. The school has acquired the historical Rialto building located on the intersection of Mission and New Montgomery. The School of Fashion is located in a building directly two blocks away from the Rialto. The site’s close proximity to the university provides a great opportunity for expanding their fashion program and creating a university museum. They are excited for their students to gain hands on experience and learn in a professional environment. They welcome the opportunity to join fellow nearby museums such as: the San Francisco Museum of Modern Art, Cartoon Art Museum, Yerba Buena Center, and the Contemporary Jewish Museum.
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Client The Academy of Art University, San Francisco will use the historical Rialto Building as the location for the addition of a university museum run by their fashion department. The nine level, 135,486 square foot building, has recently been restored and the university is happy to have acquired this piece of history. They feel a museum is the perfect opportunity for repurposing the building. They look forward to developing the following spaces at this location: • • • • •
Three floors of gallery space dedicate to fashion exhibits Museum cafe Museum gift shop Classrooms Studio space
Users The users will be the staff required to operate each facility, which can include: directors, curators, attendants, managers, sales associates, baristas, wait staff and customer service personnel. Since the museum is operated through the university, users would include students and professors. Rentable studio space will also allow local artists to use the building. The main users of the building will be the general public for each designated space, which may include locals and tourists.
Tenants The School of Fashion will be responsible for the day to day operations of the museum. Experienced staff will be hired to run the museum and curate the galleries. The university will lease out the cafe, gift shop, and studio space. They will ensure that those spaces be designed with their mission in mind. Tenants for those spaces will include, the cafe and gift shop owner(s), and artists. The ground level will be dedicated to retail. The second through fourth floors will be dedicated to gallery space, and the upper floors will be used for classrooms and rentable studio space. The rooftop of the building will become a useable patio, able to be rented out as well. The cafe will prepare and sell food and beverages, and the gift shop will sell items relevant to the museum and university. Possible tenants for the cafe space may include local coffee roasters looking to start a new business venture. Gift shop tenants may include a non-profit organization run through the university, or a local commercial retailer looking to expand their current business.
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CONTEXT
Location 116 New Montgomery Street, San Francisco, CA The Rialto Building is located on the major intersection of Mission Street and New Montgomery Street. It is also closely located to nearby public transit. The 2nd Street bus stop is one block away and there are several public parking garages within walking distance. The Montgomery Street BART station is also located three blocks away from the museum. This allows easy access to the museum through multiple means of transportation.
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Rialto Building History The Rialto Building was originally built in 1902 and is located in the financial district of San Francisco, California. After the 1906 San Francisco earthquake and fire the Rialto was one of the few buildings to survive the devastation. It was later restored in 1910 and it was then, that it became known as the building that “restored faith in the city”. It was designed in an American Commercial style with Renaissance Revival architectural details that is still noticeable today. With its rich history and close proximity to nearby museums, shopping centers, and the Academy of Art School of Fashion, the Rialto is the perfect location to house the school’s new fashion museum.
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5-8 University Access: Studio Space Administration Classrooms Lounges Conference Rooms
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Student Gallery & Runway Peace. Love. Freedom. Fashion. Exhibit Denim, America’s Pastime Exhibit
Public Access: Lobby Cafe Rialto Topstitch Gift Shop
BUILDING PROGRAM Total Unit Number
Net Square Footage/Unit
Museum Lobby Vestibule Welcome Lobby Security Desk Elevator Lobby Men’s Public Restroom Women’s Public Restroom
1.00 1.00 1.00 1.00 1.00 1.00
340 680 189 310 440 360
Museum Cafe Dining Area Service Area Kitchen
1.00 1.00 1.00
2,436 182 320
Museum Gift Shop Vestibule Retail Space Cash Wrap Fitting Room
1.00 1.00 1.00 1.00
150 3,306 152 242
Museum Galleries Exhibit Gallery Gathering Space Administrative Offices Men’s Public Restroom Women’s Public Restroom General Storage Electrical Room
3.00 3.00 6.00 3.00 3.00 3.00 3.00
7,215 2,128 938 220 200 333 18
Miscellaneous Mechanical Room Electrical Room Service/General Storage
1.00 1.00 1.00
108 18 1,290
Space Designation
Total Net Square Footage
45,898
Table of
Contents
Introduction Context Building Program
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Public Level Level One
Floorplan & Reflected Ceiling Plan Welcome Lobby Cafe Rialto Topstich Gift Shop
Level Two
Floor plan & Reflected Ceiling Plan Exhibit A Exhibit B Exhibit C
Level Three
Floor plan & Reflected Ceiling Plan Exhibit A Exhibit B Exhibit C
Level Four
Floor plan & Reflected Ceiling Plan Exhibit A Exhibit B
Level Five
Floor plan & Reflected Ceiling Plan
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Museum Level
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Level One The ground level of the Rialto has three primary spaces including: a cafe, gift shop, and museum lobby. Each primary space has immediate access to major and minor streets. The existing building has a unique entrance off of New Montgomery. It has arched entry ways with fabric overhangs. I wanted to keep as much history of the building intact and preserved this as the main museum entrance. Having the gift shop located on the major intersection was due to this part of the building having the highest traffic volume. The gift shop could operate on its own and generate its own consumer base, making it an asset to the university and museum. Therefore, the cafe was best situated on the minor intersection where it could provide guests with both an intimate experience and moderate street activity. The materials proposed for the level one flooring are polished concrete in the cafe, marble tile in the lobby, and porcelain stone tile in the gift shop. The marble from the lobby continues into the circulation of the cafe and gift shop, creating a direct connection to the museum lobby. The ceiling materials proposed for level one are wood, copper, and glass. Wood was used to add a natural feel and contrast the hardness of the polished concrete floors. Copper became an inspiration for the museum identity because it represented the copper rivets used in the patent of jeans. Glass was used in the gift shop to allow cove lights to illuminate the shop and add an extra level of sophistication.
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Welcome to the Rialto Museum Lobby
The Rialto dates back to 1902, so it I felt it was important to retain as much of the original identity of the building as possible. However, there was one major addition I proposed which involved opening part of the second level in order to create an atrium-like feel. This would allow a large chandelier lighting feature to drop down from the second floor to light up the lobby space below. Research showed it was important that guests feel connected to all aspects of the museum. Having this second floor opening would allow guests, not only limited to museum patrons but cafe and gift shop users as well, to connect to the upper level museum exhibits. The lobby would then become a place where an intersection of all museums spaces would take place. Each space would be able to work independently, but the lobby was where there could be an opportunity for guests to connect with one another.
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Design Drivers In keeping with the historical nature of the building I decided to use the existing marble finishes and accents. I also thought it was important to keep the coffered ceilings with their beautiful details at the entrance. I proposed updating the lighting to add a modern feature to the existing space. Plush leather benches sit against the wall beneath large exhibit posters highlighting upcoming and existing exhibits. One the most beautiful features of the existing building was the ornate staircase and elevators. I wanted these features to be visible from the entrance but I also allow staff behind the desk some privacy. In order to solve this issue, I proposed using copper panels cut with filigree patterning similar to the detail of the existing elevators. The panels would serve as a partition providing privacy to the staff and its semi-transparency would let detail of the elevators show through.
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1. Hightower Bulb Fiction Pendant 2. Tech Lighting Hudson Pendant 3. Geiger Museum Bench 4. Copper Panel Cladding 5. Wilsonart Blue Agave 6. Carerra Marble 7. China Black Marble Right Image: Main Entrance Lobby Perspective
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Eat Rialto Cafe Rialto
Cafe Rialto is the hub of the Rialto Fashion Museum. It has 2,588 square feet of dining space and 320 square feet dedicated to the kitchen. The small kitchen supports a small menu of sandwiches and pastries to eat along handcrafted coffees and espressos. As the hub of the museum Cafe Rialto supports a diversity of users like: museum guests, students, faculty, staff, and fellow coffee patrons. The variety of seating spaces make it possible to accommodate individuals and groups, thus making it comfortable for anyone. The main entrance is tucked away on Minna Street, but the cafe also has a large folding door located off the street of New Montgomery. New Montgomery is a high traffic street and the large folding door will allow guests to feel a part of the outside activity while also inviting pedestrians in.
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Elevation Marker
Design Drivers Prior research to the project showed it was important cafes provide comfortable seating, adequate lighting, and proper acoustics. As research suggested, I proposed pendant lighting to create an intimate atmosphere and offer spot lit territories where people could feel comfortable sitting. The existing space had a generous ceiling height which made acoustics an important factor to consider. I addressed this issue by proposing various ceiling heights throughout the space and viewed it as an opportunity to enhance the seating arrangement. 1. Sherwin Williams Oak Barrel 2. Daltile Urban Blue Crosshatch Limestone Tile 3. Corian Deep Sea 4. Armstrong Blue Ridge
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Above: Graphic Display Wall Elevation - 3/8� = 1’ Right: Cafe Seating Perspective
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When space planning I decided four types of seating arrangements would create a successful design: lounge seating, flexible seating, bar seating, and bench seating. Coffee houses have the unique opportunity of becoming “third-places�. So, I felt it was important to provide a variety of seating that could accommodate various group sizes and the amount of time spent in the cafe. The lounge seating could become a patrons favorite spot, the large tables could support business or student meetings, and the bench and bar seating could be the cozy spot for an individual or couple.
1. Hightower Orient Pendant 2. Hightower Caravaggio Pendant 3. Exposed Concrete 4. Armstrong Hardwood Shell White 5. Sherwin Williams Rookwood Red 6. Emeco SU Barstool 7. Herman Miller Steelwood Table 8. Elan by Decca Plateau Table 9. Herman Miller De-Ja-Vu Chair 10. Emeco Navy Chair
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Right Image: Folded Door Entrance Perspective
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Shop Rialto Topstitch Gift Shop
Topstitch is the retail store for the Academy of Art School of Fashion. It contains 3,700 square feet of retail space. The shop is divided in to designated areas for various departments. One of the features of the shop is a department for student fashion. Each semester the School of Fashion will hold a competition in which students will be able to compete for their chance to showcase and sell their fashions in Topstitch. Topstitch will promote local fashion designers and artists to sell their items at the store. Not only will it cater to apparel, but it will also sell gift shop collectibles that will help support the School of Fashion. My researched showed museums have a tough time generating continuous financial support. By providing a retail store in the building program Topstitch will be able to help brand the museum and create their own following of users.
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Elevation Marker
The elevation to the left details a typical merchandise layout and possible wall graphics. I wanted the graphics to represent fashion in the city of San Francisco. Fashion inspiration boards and a mounted flat screen TV would remind customers of the student and university involvement in the building. The flat screen TV could display past runway shows and serve as an opportunity to invite guests to become more involved with the fashion program.
1. Shaw Coastal Oak
Above: Merchandising Wall Elevation - 3/8� = 1’ Left: Cash Wrap Perspective
2. Black Powdercoat Steel 3. Natural Unfinished Maple
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Design Drivers
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Early researched showed that retail spaces should be flexible, have well laid out paths of travel, and encourage sightlines. Flexibility and egress were big design considerations for me when space planning. It was important to establish a path from the museum lobby to the Mission Street entrance. I wanted the path to meander around displays to allure shoppers to nearby displays while also encourage them to explore the museum lobby and connect with other users.
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As part of the uniqueness of Topstitch, student fashions will be on display and rotating each semester. By providing small wall divisions and multiple displays each department space remains flexible, and gives students the freedom merchandise their own space. Choosing materials that would support this flexibility and act as a backdrop for the constant change in styles was also an important factor.
1 & 2. Hans Boodt Mannequins 3. Hightower Calabash Pendant 4. Hightower Teton Table 5. Herman Miller Osso Table 6. White Brick 7. Wilsonart Faded Trellis Laminate 8. Nevamar Rush Veneer Image on Right: Lobby Entrance Perspective
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Explore Rialto Academy of Art School of Fashion Museum Level two begins the museum experience. Several of my precedent studies for museums were: Tate Modern, MOMA New York, Victoria & Albert Museum, and the Bata Shoe Museum. I selected a variety of museums that were either dedicated to fashion, or have had temporary fashion exhibits in the past. It was important to research the ways museums handled space planning, way finding, and branding. Each of the museums I looked at had a well branded experiences which led to an overall cohesive design. These were elements I wanted to incorporate when implementing my own designs. Planning the flow of the museum experience was at the forefront of the process. I wanted layouts to be similar on each of the three floors, but also have their own individual identities. Creating display systems that could be repeated throughout the levels was also important in order to accomplish a branded experience like what I noticed in my precedent studies.
Level Two
Denim: America’s Pastime This entire floor is dedicated to the permanent denim exhibit and the birth of jeans. Jeans were invented around the same time period of the industrial revolution. Choosing materials and finishes that represented industrialization and denim is how I felt would best make this exhibit stand out. Therefore, the flooring material I proposed was an antique natural hardwood. The hardwood would be able to remain durable amongst the varying foot traffic and rotating displays as inventory shifted. Its light color is contrasted by the dark hardwood used to call out display staging areas. Being able to direct guests from one side of the building to the other became a challenge. I responded to this by proposing large wall graphics to identify the floor level, exhibit path direction, and surrounding spaces.
1. Armstrong Antique Natural 2. Armstrong Blue Ridge
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Exhibit A
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History of Denim
Exhibit A begins with the history of denim, here guests are welcomed to large wall graphics detailing the history surrounding the time period. Museum guests can see the types of applications denim was originally being used for and the first patent of what we now know as jeans. The exhibit in the center of this room highlights the men that created the patent and displays original pairs of jeans. Research showed that it was important to take climate control and lighting into account due to the delicate nature of the items and preserve them appropriately. This is why I felt it was important to create a private room for these items and encase them. I chose Wolf Gordon’s wall covering Atlas because it resembles the coloring of jeans and brings out the items on display. White pedestals and stages contrast the dark wall covering and black displays, and give your eye some relief. I wanted to create a cohesive display system that would be present throughout the museum. A black powder coated steel panel represents the time period and the color also picks up on the flecks of black in the flooring.
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Above Image: Perspective of Interior Jean Exhibit Right Image: Perspective of Overall Exhibit 1. Black Powder Coated Steel 2. Wolf Gordon Atlas
Above Image: Patent Jean Room Perspective Right Image: History of Denim Perspective
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Exhibit B Rebels Wear Jeans
The second part of this exhibit displays the transformation of jeans. Jeans were made for the working man and eventually the working woman as well. Shortly after this is when jeans went beyond serving utilitarian purposes to becoming a fashion staple in everyone’s home. A rising of youth rebellion and Hollywood’s influence helped make jeans become the piece of clothing they are today. I wanted to incorporate the cowboy and Hollywood atmosphere in both displays, but also retain the identity of this floor. Similar colors and materials were chosen to keep the exhibits cohesive. Elevation Marker
Below Image: Graphic Display Wall Elevation - 3/8” = 1’
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Right Image: Cowboys in Denim Exhibit Perspective
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Exhibit C
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Denim on the Runway
2. This room is the last part of the denim exhibit. Here guests can see how denim has transformed to become a material on the fashion runway. The platform represents a runway, but also provides a measure of security for the items on display. The geometric graphic on the wall behind the platform is inspired from the pattern of jean pockets and the color resembles the stitching on jeans. I proposed Wilsonart’s Girona Falls as the base material because it has a marbling finish which resembles the dyeing and wash effect on jeans.
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4. 1. Wilsonart Designer White 2. Pittsburgh Paints Mincemeat 3. Wilsonart Girona Falls 4. Wolf Gordon Atlas Above Image: Typical Geometric Pocket Pattern Right Image: Denim on the Runway Perspective
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Level Three
Peace. Love. Freedom. Fashion. Level Three begins the exhibit Peace. Love. Freedom. Fashion. This level highlights another interesting period in the history of San Francisco, which was the hippie era. During the 1960’s youths were moving to the district of Haight Ashbury to live in a place where a large counterculture movement was taking place. This period created a type of fashion we commonly associate with the 1960’s decade. The exhibit starts with the Vietnam War. Due to a growth of antiwar sentiment, peace and love became symbols generating from this major event. When planning the exhibit spaces I wanted the forms of this level to represent the transition from violence to peace. I decided to start the exhibit with sharp angles and smaller spaces. As you continue through the exhibit the forms become more open and organic. The use of Armstrong’s Antique Natural hardwood maintains a cohesive flooring material throughout levels. I proposed the addition of the “Marbleous Wood” flooring because it adds another element of organic design which further enhances the concept.
1. Armstrong Antique Natural 2. Marbleous Wood by Snedker Studio of Copenhagen
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Exhibit A Fashion Reflects
When museum guests enter the third floor large way finding elements inform them what level they are on, nearby spaces and a discreet directional arrow to point them towards the right path of travel. Each entrance space has adequate space to allow groups tours to stop and discuss features of the exhibit and reconvene when they are ready to move on. Wolf Gordon’s Network wall covering was chosen to represent the red in the Vietnam flag and the casualties of war. I felt it was important to give guests a background history to the hippie movement in order to gain a further appreciation for the exhibits following. I really wanted the colors and the patterns of the fashion on display to stand out. In order to accomplish this the materials proposed in the main exhibit space reflect the colors and patterns of the 1960’s. 1. Copper Metal 2. Wolf Gordon Network 3. Wilsonart Tangerine 4. Wilsonart Lava Lounge 5. Pittsburgh Paints Tropical Splash
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Above Image: Level Two View From Elevator Right Image: Level Two Fashion Reflects Perspective
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Exhibit B
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Freedom in Fashion
Freedom in Fashion is an exhibit to recognize how past styles, materials, and colors inspire future fashions. I wanted this exhibit to be even more organic because this exhibit is about freedom of expression. Colors choices are more prominent on floors and ceilings, while walls and platforms remain neutral. This allows the fashion to become the focus of the exhibit. Circular uplighting creates a glow around the displays and reinforces the circular patterns happening on the floor. 1. Pittsburgh Paints Calypso Berry 2. Pittsburgh Paints Magic Magenta 3. Pittsburgh Paints Granite Falls
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Right Image: Freedom in Fashion Exhibit Perspective
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Level Four Student Fashions
Level four is the last level of the museum and it is the only temporary exhibit of the three. When researching museum layouts flexibility was especially important because of the temporary nature of the exhibits. Utilizing display systems that were able to be easily stored were an important consideration. There also needed to be extra storage to accommodate the larger amount of stored items. To address this I designed a larger closet with barnyard style doors for easy accessibility. Guests are free to roam around the exhibits and see the work of current students. Two private staging areas highlight the work of two featured students. One includes the winner of the student competition whose work will be for sale at the Topstitch gift shop. This is a unique opportunity for museum guests to get a glimpse at the inspiration and process of the student designers.
1. Armstrong Antique Natural 2. Armstrong Timber Wolf
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Gallery A
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Student Display
Flexibility was the most important consideration for this level. Gallery A is a temporary exhibit showcasing the semester’s work of current students. Therefore the exhibit would need to rotate two to three times a year. I proposed a space that allowed the students to create their own identities. By providing flexible partitioning systems and displays students are able to curate their individual space. Due to the fluctuating designs I proposed the background to remain neutral so it did not compete with the fashion on display. I used dark flooring to create a more intimate space and track lighting to cast pools of light in specific directions. Students are also provided with a display panel where they can pin up project information and presentation materials. These are the same panels used throughout the museum which continue to connect to the overall museum brand.
1. Sherwin Williams Doeskin 2. Pittsburgh Paints Flipper 3. Keilhauer Jumble Table
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3. The image above is a paper partitioning system called Pipe & Drop created by the designers Procedes Chenel. They come in a variety of different colors and are perfect for providing flexibility in this exhibit space. They are lightweight and easy to move, but they also come with steel bases that allow them to hold their position. Students are able to chose colors and arrange their space in a way that enhances their designs.
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Gallery B
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Runway Gallery
Part of the museum experience is a runway gallery. At the end of each semester the School of Fashion can hold a fashion show and invite the public. When shows are not being held mannequins can stand displayed on the runway. Providing flexible seating was important due to the temporary nature of the gallery. The Herman Miller Dressed First chair was chosen for its design and stackable quality. This makes it easy to set up for shows and store when finished. 1.Precedes Chenel Pin & Drop Partition 2. Sherwin Williams Doeskin 3. Herman Miller Dressed First
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Levels Five-Eight Levels five through eight are open for university access. The floor plan caters to multiple uses including: studio space, classrooms, administrative offices, conference rooms, lounges, and printing rooms. The university can use these levels to hold studio classes or even lease to outside fashion designers. Security key doorways would allow users access outside of museum operating hours. As the school continues to succeed and expand the Rialto offers additional opportunities to provide unique amenities for their students.
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Amanda Reyes. Summer 2015. Graduate Studio VII. Webber.