The Sheldon Museum of Art is located on UNL’s campus, along the 12th & R intersection. The boundaries of the site intervention are limited by the constraints of existing campus buildings and being able to physically connect to the Sheldon in some aspect.
Since placement is flexible, we analyzed how we wanted to integrate into the site, focusing on user circulation through campus and having the building become a part of the natural flow of campus, and leveraging under-utilized aspects of the site.
The North parking lot has desired site qualities of connective moments towards main nodes of campus, the ability to bridge the divide between the public and private aspect of campus to a prominent community space, and potential to complement the Sheldon without detracting from existing site features.
Looking at placement, we prioritized creating where design was lacking, deciding to maintain the sculpture gardens to the South, and programmed outdoor green spaces, in favor of re-hauling the currently utilitarian plot of the parking lot.
Designing to serve the community connection to campus and the Sheldon is best done through this North site which is seen in our site exploration, authentic interpretation of the Sheldon’s design, and architectural expression.
Left: Threshold analysis of Sheldon building, portion of site analysis with emphasis on connection points to the Sheldon and existing axes. By deconstructing the South facade, there is a better understanding of how the site reads in terms of hierarchy. This proved to be an exercise in dissecting how the human eye reads space in terms of order, depth, and the planar tension between related objects. The interior perspective modeled here shows the view from North to South, looking almost through and past the Great Hall. The focus is not the destination, but the series of thresholds one must cross in order to reach the end of the entry.
Above: Diagramming the prominent arches of the Sheldon, using this three centered arch as a foundation for our structural concept of authenticity in respectfully interpreting the Sheldon’s trademark features. Our chosen primary structure is the prominent concrete arch motif throughout the project. Sitting at a 16’-8” column grid, we kept the intimacy of the grid as a feature, dimensioning for an authenticity of structure, and furthering the expression by manipulating the profiles and geometry of the arch in our final design.
Above: Existing and Proposed Program Analysis
Currently: Traditional galleries and a great hall with a focus on quiet contemplation, for private use, a couple of main offices with extra administration near storage. Administration expressed a desire for dedicated programmed community space, so we used this as a foundation for the addition, where students can be expressive in an artistic environment.
Potential Proposed: The conceptual intention is supplementary for what the Sheldon has currently. As an addition, we integrated the proposed student creative spaces, adding individualistic retreat moments to create increased interaction between and across the moments of the artistic process, from making to relaxing to examining existing artworks in the Sheldon collection.
Above: Sneaking a peek into the life of students who discover a place of LEISURE, where they can shape the space to exist however they envision. A basic structure provides a framework, they cultivate program and expression as they wish.
Right: A prospective view of how an ARCHIVE space can function to serve students displaying art in various styles. Opportunity for interaction with physical pieces, either threedimensional or printed works.
Left: Peeling back the facade of the Sheldon, posing the question of how students ideally interact and GATHER within the space. What is public can also be experienced from a more secluded setting.
Below: Considering the relationship of CREATION and connection to nature, how surroundings and transparency influence personal artistic expression.
Above: Front Elevation, Credit: Kathy O’Gara
Where authenticity is seen in a tangible sense, there is also a social consideration of authenticity of connection, seen in prioritized campus integration. With Northeastern deference of form and entrance, we leverage the natural circulation paths of campus, and frame our building to receive this flow. Direct views through social programs create transparency where desired, bridging the divide between private and public space; indirect views made semi opaque by frosted glasses pique interest and further draw passersby into our building. It is our intention to serve the students of campus, as such designed a building which balanced site situation, design ideation, community integration, and program organization.
CONCRETE SLAB ROOF
SHAFT
SHEAR CORE PLACEMENT
CONCRETE ARCHES ON GRID
CONCRETE FLOORPLATE
ELEVATOR SHAFT
SHEAR CORE PLACEMENT
CONCRETE FLOORPLATE
ELEVATOR SHAFT
SHEAR CORE PLACEMENT
CONCRETE & STEEL FOOTINGS
CONCRETE SLAB FLOORPLATE CONCRETE FOUNDATION WALLS
Right Upper: Structural Grid Cross Section Diagram
Right: Section from North
Above: Exploded Structural Isometric
Our primary structure is the prominent concrete arch motif throughout the project. Sitting at a 16’-8” column grid, we kept the intimacy of the grid as a feature, dimensioning for an authenticity of structure by manipulating the profiles and geometry of the arch. Since the scaling of a singular dimension of the arch fluctuates, we determined load transference would be most efficient at floor plate instances. The arches rest along the floor plates, and the concrete slab helps equalize the load to transfer to the next floor’s arches.
Above: Basement Plan, Credit: Kathy O’Gara
Right Upper: Archive Space
Right Lower: Student Lounge
The basement directly connects to the storage system of the Sheldon, inspiring placement of an archive exposition area for students to view an interact with works of art. Additionally designed, a student lounge, for retreat and relaxation, but also inspiration; this would be student-driven space, where they choose how to make it their own.
Above: First Floor Plan, Credit: Kathy O’Gara
Right Upper: Detailed Arch Expression: elevations, plan, axon
Right Lower: Community Gathering
The first floor is primarily a gathering space, connecting to an offshoot of the Sheldon’s Great Hall, here students can congregate informally, or the space can be furnished for formal events. With the scale and arrangment of the area, art installations can be placed in order to create exhibition opportunities for student work displays.
Above: Second Floor Plan, Credit: Kathy O’Gara
Right Upper: Art Classroom
Right Lower: Art Classroom and Administrative Offices
Moving up the stairway, we come to a central hub where students can choose to enter the interactive art program, where hands-on learning and making occurs. Across the stairway, there are offices for staff that primarily work with student programming, and a small entryway before the offices to blur the divide between informal and formal.
Collaborators:
Audrey Huse & Kathy O’Gara Jazz Graves & Kendra HeimesSite Studio Spring 2021
This paired project proposal concentrates on technological aspects within formal components of architecture as well as field advancements. By taking these ideas and carrying them throughout the interior and exterior design, there is a connection created between existing and manipulated site conditions.
The digital as well as physical aspects of the diversely programmed fabrication spaces in this scheme speculate for the future of maker spaces and how those will be defined in future. Though speculation can be inaccurate, this design allows for current spatial needs and accommodates future growth of the industry, basically allowing the building to grow with technology.
A central part of connecting the design to the site and community is the second-floor viaduct connection, which is entirely open along the perimeter and the central space acts as a classroom community-oriented program. This allows for a seasonal consideration of the space without rendering it unusable during unideal weather conditions. With the viaduct directly branching into the building, there is also intentionality of welcoming users and visitors into the space, not only creating the public connection, but actively drawing people in.
Our final design built on previous studio emphasis of programmatic planning and organization, as well as integration of a sustainable energy component.
Left: Existing Makers Spaces (and similarly related work spaces)
Above: Activity and User Diagram
In order to properly construct program spaces the people of Callowhill Philadelphia would be interested in accessing, we researched site context and discovered many civic buildings nearby as well as a school, taking into account the recorded neighborhood’s statistics of residents, we brainstormed potential interests and considerations the user groups would consider to be community assets. While knowing the context of the site we had to cross examine the viability of the programs with gaps in the fabric of Philadelphia makers spaces, designing amenity spaces that aren’t present in the design community at a public level.
Though the forms are seemingly dense volumetrically, this is to provide the community access to a wide variety of tools and resources they would not otherwise have available. That concern of mass density is offset using glass paneling and instances of fragmenting the façade that break up the stark solidity of the form. Each program has a cut slicing into the active space in order for users to have connection to the exterior as well as spark interest for viewers from outside to catch a glimpse of the designs inwards.
Above: Section Perspective from South
The ALIGHT tiles (an independently researched energy component comprehensively integrated into both the exterior and interior of the design) are not only a motif for form and energy harvesting, but they also act as the bridging component between programmatic elements within the form. By utilizing it as a form of wayfinding in both floorplate and wall integrations, the paths themselves can diagram the flow of program. In terms of form, much of the design is influenced by site presence, ensuring an accessible building from all sides, and creating site conditions such as hardscape instances where user-site interaction is encouraged.
Left Upper: First Floor Plan
Left Lower: Second Floor Plan
Above: Atmospheric Viaduct Concept
The community connection established at the first floor primarily targets the street side site passersby, with community displays and event space situated in order to draw in artist, retail, and curious foot traffic. The second floor opens with complete visual and physical relationship to the viaduct adjacent to the site. Drawing nature into the architectural design blurs the line between the built and unbuilt environment, strengthening site intentionality, but not deferring to it. The moment also provides reprieve for users to ground themselves, take a break, to be inspired and experience nature in an authentic manner.
Left Page -
Upper Left: Within the Assembly Workshop
Upper Right: Third Floor Plan
Lower Left: Inside the Robotics Lab
Lower Right: Fourth Floor Plan
Right Page -
Upper Left: Fifth Floor Plan
Upper Right: Looking from the Computer Lab
Lower Left: Roof Plan
Renders correspond to the paired floor plan, with the main active spaces being shown. Each main floor has a focus of physical making, electronic and digital focused design, and then the blending of the two. The links between these programs is expressed in a vertical stacking concept. With physical making the most rooted in the community, it bridges the gap from the first and second floor public floors. Then the fourth and fifth floors continues the gradient towards digital techniques and making.
This partnered proposal focuses on the harmony of specific spatial qualities and programmatic elements necessary to facilitate an optimal experience for prospective users.
The organization of spaces are determined by a grid-inspired form which creates pockets of areas within an open concept plan. This grid motif exists not only as an organizational tool but is present within the design of form and fenestration. The relationship between the exterior and interior directly reflects the overarching idea of intimate spaces within a larger environment. The design balances established spaces accommodating both traditional use while being adaptive to the progressive needs of student users and technology alike.
Using Maslow’s hierarchy of human needs as a guide, floor plans are inspired by abstractions of the tiers. The first floor emphasizes connection and community programs, such as lounges, group rooms, and a cafe, all fulfilling the desire for belonging. To address the achievement and esteem section, the primary focus of the second floor allows for more traditional and progressive academic pursuits with study rooms and community garden space.
The top floor considers self-expressive needs by allowing for creative programs featuring workshop spaces and a partition grid system which can be manipulated to define the space for a variety of programs. With this considered vertical arrangement, each level allows for defined sound hierarchy, the first floor being the loudest with the community aspect and the third floor being the most introspective and quiet.
A novel learning environment allows one to further their sense of self while pursuing interests that allow for growth in every aspect of life, not only academics, but in the base needs of human motivation.
Right Upper: Schematic collages and plans demonstrating the concepts of novel learning, exploratory exercise before building design
Right Lower: Section Perspective from West
Above: Exploded Isometric in Site
Here the organization of program and adjacencies is the main focus of the design, as well as the spatial capacity with opportunity for facilitating innovative learning. One of the main ideas we pursued is creating flexible spaces as seen with spatial dividers, meaning users can manipulate their environments to best suit their needs. This center is meant to support the uses of the libraries directly West, acting as an extension for those facilities.
