CONTENTS
2 4 6 8 10 14 16 20 22 32 34
INTRODUCTION THE ROLE OF THE MUSEUM WHY DOES IT MATTER DESIGN CONCEPT PRECEDENT STUDIES PROJECT BRIEF FUNCTIONALITY DEMOGRAPHICS SITE CONSIDERATIONS SOURCES
Avery E. Chipman University of Kentucky College of Design Interiors: Planning, Strategy & Design 2019.
the problem “[The museum was] a labyrinth stuffed full of fragments,” which had “a perplexing and oppressive effect on the spectator.7” Museums can often feel overwhelming, confusing, and boring. “Where do I start? Are these artifacts related? Where is the excitement?” Museums are meant to be inspiring and edifying, but many instead leave the audience feeling exhausted. “As Kahn said of the experience of museumvisiting, ‘The first thing you want in most museums is a cup of coffee. You feel so tired immediately.’6”
2
“Experiencing the exhibit has a physical aspect as well as a reflective one. As museum researchers have noted: ‘Exhibits...allow people to see, touch, taste, feel and hear real things from the
real world. … Visitors devote most of their time to looking, touching, smelling, and listening, not to reading. Visitors tend to be very attentive to objects, and only occasionally attentive to labels.’6” “Perhaps these concerns sound familiar: Visitors complain that they cannot find information of interest. Visitors enter the site but don’t stay particularly long. But they leave almost as quickly as they enter without paying much attention to the artwork that the designers painstakingly displayed. Other visitors spend hours at the site but never seem to notice particular sections.10”
“How might a modern art museum produce a uniquely defined universal experience while showcasing the art?”
A NEW E
EXPERIENCE
4
THE ROLE OF THE MUSEUM “Since the time museums first emerged, their social roles retain the same and enduring behavioral structure: bringing visitors together with objects on display and allowing them to engage with the knowledge that these objects convey. Throughout the visitors’ exploration of museum space, the architectural design plays a critical role in facilitating visitors’ encounters with the displays, because the museum experience cannot be separated from its physicality.3” “The authentic museum establishes itself as honestly speaking to and with its constituencies. It respects the intellectual level and capacities of its audiences and directly confronts and challenges, through the most creative means possible, the issues relevant to their daily lives.
engage
experience
It is my conviction that the ultimate role of the museum is not to emphasize the institution but to respect individuation. By this I do not mean only the artist but the individual viewer as well, and the infinite, private, inexpressible nuances of experience transmitted between two people through works of art.1” “A museum exhibition should immerse visitors in its story. [The idea generator] noted that a nearby zoo uses this immersion theory of exhibit design. The zoo’s designers ‘put people where the animals are and let [visitors] become a part of the experiment.’ She applies these beliefs and theories to all the exhibits at her museum. ‘It’s theater,’ she noted, ‘yet the objects are real, just as animals are real [in the zoo].’10”
explore
“Visitors should have the ‘realization that what [they]’re experiencing is unique, powerful, and challenging.’ A good exhibition ‘keeps [visitors] coming around the corner’ and ‘makes [them] want to explore.’10” Ultimately, the museum should emphasize the artifacts in such a way that visitors: • Engage with one another deeply, • Experience with artifacts wholly, and • Are provoked to explore further.
6
education
spaces influence art understanding
cultural and social value
According to the Characteristics of Excellence Relevant to the Standards for Museum Exhibitions and Indicators of Excellence, an excellent museum is one that “asserts its public service role and places education at the center of that role.13”
“What matters is that the building and the art work together.1”
“A museum adds cultural and social value to communities. A visitor’s contact and engagement with objects in the museum occur along the path. Museum circulation and galleries also provide an environment for social encounters, introducing an aspect of museum visits as collective social experiences.3”
“Students who attend a field trip to an art museum experience an increase in critical thinking skills, historical empathy and tolerance. For students from rural or high-poverty regions, the increase was even more significant.14” “People want to learn, but they want to learn effortlessly, while being entertained and intrigued. Such learning is regarded by museum visitors as pleasurable; for them there is no dichotomy between education and entertainment.17” “Museums, and particularly art museums, are perceived as learning spaces where the knowledge produced is not reduced to the acquisition of information but also encompasses the development of diverse individual cognitive skills, such as analytical or critical skills, diverse individual emotional skills, such as empathy or creativity, a variety of psychomotor skills, such as looking at and moving around artworks, as well as social skills related to communication or normative museum behaviour. Knowledge production in art museums is about giving the public the ability to acquire skills to generate further knowledge.15”
“We intuitively understand that the physical character of the space in which we encounter a painting or sculpture can influence our appreciation and comprehension of it.1” “What it all comes down to is this: art is fragile, architecture is not. They only thrive in a carefully nurtured context–hospitable human spaces that invite lingering and revisiting.12”
“We are all aware of the overwhelming commitment by cities across the USA to support the growth of smaller museums in their communities. In addition to being vital to a healthy educational and cultural environment, these museums confirm a growing value placed on architecture and the visual and symbolic importance of such structures within the civic context.1”
8
DESIGN CONCEPT
The design of The Feel Modern Art Museum will create an interior that influences the appreciation and comprehension of artifacts by the visitors. This will be accomplished by providing engaging environments that prompt visitors to interact with one another deeply, allow visitors to experience the artifacts more wholly, and encourage a desire in visitors to explore the museum and contents further, in order to create a complete, unified experience totally unique to The Feel.
10
Denver Art Museum
2006, Denver, CO Interiors by Studio Libeskind with Davis Partnership “The new building is not based on an idea of style or the rehashing of ready made ideas or external shape because its architecture does not separate the inside from the outside or provide a pretty facade behind which a typical experience exists; rather this architecture has an organic connection to the public at large and to those aspects of experience that are also intellectual, emotional, and sensual.” Form + Light play key roles in the Denver Art Museum’s modern and contemporary art extension. The form enhances the experience of the artifacts rather than disappears behind it while light plays within the space and enhances the experience.
https://www.archdaily.com/80309/denver-art-museum-daniel-libeskind
2011, St. Petersburg, FL Interiors by HOK “We constantly consider the visitor experience when we design a museum. A large number of people visiting a museum will be there for the first time. The architecture must be extremely easy to understand. It can be quite adventurous and stimulating, but the circulation pathways should be clear from the moment visitors arrive at the building.” Form + Light, again, play key roles in The Dali Museum. The form responds to the themes of Dali’s work while making circulation easily discernible, while natural light is allowed to stream into the non-gallery spaces, highlighting the materiality of the architecture. Natural light cannons are used within the gallery to highlight particular works by directing UV-filtered light. https://www.archdaily.com/103728/salvador-dali-museum-hok
The Dalí Museum
12
Art Institute of Chicago
2009, Chicago, IL Interiors by Renzo Piano Building Workshop “On the first floor, this daylit court will be flanked by new educational facilities, public amenities, galleries, and a garden, all of which will better actively link the Art Institute with urban life. The second and third floors will be dedicated to art and the viewing of art. The third floor will be completely lit by natural light.� Connection + Light are important elements of design at the Art Institute of Chicago. A museum has a duty to the community to bring people together to socialize and engage with the artifacts, which adds social and cultural value back to the community. Light plays a key role through the ways in which it influences the sensation of the various types of spaces and in the way artifacts are viewed.
https://www.archdaily.com/24652/the-modern-wing-renzo-piano
2012, Amsterdam, Netherlands Interiors by Benthem Crouwel Architects “From this lowest level in the building it is possible to move to a new exhibition hall in the floating volume level. Via two escalators in an enclosed yellow ‘tube,’ straight through the new entrance hall, the two exhibition areas are connected. This way the visitor crosses the entrance area without leaving the exhibition route and without being distracted by the public functions: visitors remain in the museum atmosphere. The exhibition hall in the floating volume is directly connected to the hall of honor in the old building, which makes the routing circle complete. Due to the variety of types of space, a new museum comes into existence with a wealth of experiences and exhibition opportunities.” Connection + Form became key design elements within the Stedelijk Museum addition. Maintaining circulation paths between the two buildings, new and old, without crossing through non-exhibit spaces allows visitors to remain focused on the artifacts, while the form of the addition creates an experience that appropriately foils that of the existing building. https://www.archdaily.com/350843/stedelijk-museum-amsterdam-benthem-crouwel-architects
The Stedelijk Museum
14
THE FEEL MODERN ART MUSEUM “He defined a museum as a community’s expression toward cultural values and its responsibility is to nourish the growing need for expression of and interest in art, and that improvement in quality will follow. He stressed the need of making the museum the center of the cultural life of a community and that to create a building of quality would symbolize this self assurance.5”
Located in the distillery district of Lexington, Kentucky, The Feel Modern Art Museum will serve not only the immediate Lexington communities and universities, but also visiting downtown traffic and the surrounding suburban counties. The University of Kentucky Art Museum is currently the only art museum containing modern art within a 50-mile radius of Lexington. The Feel, at over twice the size of The University of Kentucky Art Museum, will fill a cultural and social void in an area where the arts are appreciated yet underrepresented. The Feel Modern Art Museum is located on the 42,000 square foot first floor of the historic James E. Pepper Rickhouse built in 1933. Exhibits will incorporate modern art in traditional and nontraditional forms, including digital works, installations, and performance art. The mission of The Feel is to collect and share artifacts in order to bring cultural and social benefits, education, and art appreciation to visitors through a unique and universal experience.
1 0 0- m ile r adi us
Th e
Fe el M
Cincinnati Art Museum
fro m
er od n
tM Ar
Contemporary Arts Center
ra us di
Carnegie Center for Art & History
mi le
m eu us
50-
Huntington Museum of Art
KMAC Museum The Speed Art Museum
University of Kentucky Art Museum
16
HOW WILL THE FEEL FUNCTION?
The museum will be dynamic and exciting. “Mies van der Rohe’s advice that ‘the first problem is to establish the museum as a center for enjoyment, not interment of Art’ had been accepted as the ethos of the new museum.8” “The director of public programs at the urban history museum wants her visitors to ‘enjoy the experience’ and leave exhibits ‘knowing, thinking, and feeling.’10” “According to the American Association of Museums’ Standards for Museum Exhibitions, an exhibit is successful if it is physically, intellectually, and emotionally satisfying to visitors.10”
The museum will be beautiful, responsive, and augmentative to the type of work it holds, while also presenting a unified front. “An art museum should itself be a work of art.8” “The contemporary art museum can and should uniquely provide: a fully dimensional aesthetic experience in which the building and its contents interact on the highest plane.8” “The physical characteristics of the building were expected to hold their own alongside and independent of the experience of the works of art. There was a new drive towards a relationship of planned and carefully controlled reciprocity between the museum as a place to visit and the museum as a publicly accessible collection of works of art. The garden, the library and the cafe were as important to the visit as individual galleries.6” “The link between the museum and the visitor’s life needs to be made clear . . . the objects one finds and the experiences one enjoys, while possibly inspiring awe and a sense of discovery, should not feel disconnected from the visitor’s experience.10” “Unified spatial arrangements should provoke viewers’ experience of oneness with the surrounding environment.11”
The museum will have a fairly open plan that allows for understanding and visibility.
Circulation will be the form that follows the function and must be clear.
“Visibility is a critical aspect of physical design that influences visitors’ spatial behavior. This question of path choice is particularly critical for open plan museums where visitors’ spatial behavior is less determined by partitions or other physical constraints, but where some implicit boundaries are recognized through visibility.3”
“The manner in which museum architecture and the layout of the exhibitions constrain visitor circulation may determine visitors’ patterns of interaction with display objects. Therefore, the way in which circulation constraints are structured is the central question of museum design. An exhibition layout may show the intentions of a curator in presenting narratives in a particular viewing sequence, which implies a path visitors are expected to follow.3”
“First-time visitors tend to explore museum space to get an overall orientation to the space and to enjoy certain exhibit elements. The visual continuity in an open plan museum provides access to environmental information at a glance. Thus, it is proposed that this exploratory movement is influenced by visual access to environmental information.3” “Curiosity is a major factor in determining whether environments are appealing, and indeed curiosity triggers interaction towards the object.6”
“Open plan museums provide an opportunity to investigate the effect of spatial layout on movement patterns, since visitor movement involves both circulation through spaces and stopping at particular display objects. Physical boundaries connect or separate spaces, and reflect ‘structures’ in a building program.3” “Wayfinding within a museum has little to with signs and maps. It has to do with the layout of the building.10”
18
Galleries will be open but separate and will be defined by the art within.
The totality of the spaces will be universally, flexibly, and adaptably designed.
Spaces will be well-lit, with natural light where appropriate.
“The room is the beginning of architecture. It is the place of the mind. You in the room with its dimensions, its structure, its light respond to its character, its spiritual aura, recognizing that whatever the human proposes and makes become a life. The structure of the room must be evident in the room itself.6”
• The design is useful and marketable to people with diverse abilities.4 • The design accommodates a wide range of individual preferences and abilities.4 • Use of the design is easy to understand, regardless of a user’s experience, knowledge, language skills, or current concentration level.4 • The design communicates necessary information effectively to the user, regardless of ambient conditions or the user’s sensory abilities.4 • The design minimizes hazards and the adverse consequences of accidental or unintended actions.4 • The design can be used efficiently and comfortably and with a minimum of fatigue.4 • Appropriate size and space is provided for approach, reach, manipulation, and use regardless of user’s body size, posture, or mobility.4
“As the 19th century proceeded and larger sheets of wired glass became available, the lantern light solution favoured by Soane gave way to the more straightforward scheme of setting glass within the pitch of the roof. This became the ubiquitous way of providing top light and high, clear walls and is found in most of the larger galleries of the period. It is still favoured by many artists, including the majority who took part in a survey undertaken in preparation for the design brief for Tate Modern.1”
“High-ceilinged white boxy rooms, dozens and dozens of them on end, get awfully tedious after an hour or two. The uniformity of the rooms suggested that looking at Cubist still lifes, British Pop, or flickering video screens was not altogether so different an experience.12”
“Physical comforts like temperature, lighting, sound levels, hardness of the floor, and places to rest all help to ‘paint’ the total museum experience. Hard, backless benches say a lot about what the museum thinks about its elderly visitors and restrooms without changing tables say, ‘Don’t bring your little ones with you.’16”
“[Light sources] that would provide abundant horizontal light to rake across works of the applied and decorative arts, revealing their textures and workmanship.9”
LEXINGTON 20
$61,000 U.S. median income $76,300 Lexington median income
321,959 total population 31,573 are university students +1.19% avg. annual population increase since 2010
ethnicity
75.6% 14.5% 3.6% 3.2% 2.8%
white black asian mixed other
poverty
81.43% 18.57%
above line below line
unemployment
93.9% employed 6.1% unemployed
http://worldpopulationreview.com/us-cities/lexington-population/
22
1170 Manchester Street
42,000 sqft.
type 2
assembly A-3
1,400 occupants
JAMES E. PEPPER RICKHOUSE
N
summer equinox sun path
winter equinox sun path
38 walk score
45 bike score
100+ parking spaces
24
“The limitations of the apartment-inspired model as a container for art became more evident in the 1960s as the nature and scale of art changed. Painting moved from the easel to the whole wall, sculpture from the plinth to the floor and then to occupation of volume itself in the form of installations and performance. Artists moved from small ateliers with top or northern light to occupy warehouse studio space. Museums sought ways to respond. Initially it seemed that the issue was
simply one of space - how to accommodate large works of art in rooms of modest scale. Increasingly, however, artist-run and independent galleries showing contemporary art began, for reasons of cost or aesthetic, to occupy existing spaces, usually industrial. Museums responded more slowly, beginning to use industrial space only in the 1980s.1�
BY: PAT
PLOT DATE: 3/9/2018 3:30 PM
26
FIRST FLOOR PLAN SCALE: 1/8"= 1'-0"
NOTE:
THIS AS-BUILT DRAWING IS BASED UPON FIELD MEASUREMENTS OBTAINED USING ZEB-REVO SCANNER. ACCURACY IS PLUS OR MINUS 1-3 CENTIMETERS. PLEASE VERIFY ALL CRITICAL DIMENSIONS. EXTERIOR WALLS NOT SHOWN.
28
EXISTING CONDITIONS: INTERIOR
30
EXISTING CONDITIONS: EXTERIOR
32
CODES AND CONSIDERATIONS Ramps that assist in egress cannot have a slope greater than 1 inch vertical change for every 12 inches of horizontal change. 2 For any room or space with only one exit, the maximum occupant load should not exceed 50 people. For rooms or spaces with two exits, the maximum occupant load should not exceed 500 people. 2 For rooms with more than 50 occupants, doors must swing into the direction of egress. 2
An accessible route must be provided to all public toilet facilities. Each toilet facility must be accessible.2
must be a minimum of 32 inches and a maximum of 48 inches. 2
For every 6 accessible parking spaces, 2 must be vanaccessible. 2
In employee areas, clear aisle widths may not be less than 24 inches. In public areas, smooth and unobstructed aisles spaces should not be less than 44 inches wide. 2
For assembly type A-3, an automatic sprinkler system must be provided if the fire area is greater than 12,000 square feet. 2 By ADA standards, the clear width of a door opening
Maximum length of an egress corridor is 20 feet.2
All parts of the building shall abide by the principles of universal design4: • The design is useful and marketable to people with diverse abilities. • The design accommodates a wide range of individual preferences and abilities. • Use of the design is easy to understand, regardless of a user’s experience, knowledge, language skills, or current concentration level. • The design communicates necessary information effectively to the user, regardless of ambient conditions or the user’s sensory abilities. • The design minimizes hazards and the adverse consequences of accidental or unintended actions. • The design can be used efficiently and comfortably and with a minimum of fatigue. • Appropriate size and space is provided for approach, reach, manipulation, and use regardless of user’s body size, posture, or mobility.
Bathrooms shall have: accessible stalls and utilities/ dispensers, including toilets, urinals, sinks, soap dispensers, toilet paper dispensers, hand dryers, and mirrors. They will have grab bars, appropriate space alloted for wheelchair maneuvering, and easily used doors. All doorways shall be wide enough to easily accommodate a wheelchair, or other assistive devices, and should have lever handles or automatic switches that are easily accessed. Accessible parking spaces shall be available, located near ramps or elevators if they are necessary for the building. Ramps and elevators should be provided that allow for visitors to access all parts of the building without the use of stairs.
COPY ROOM
BREAK ROOM
CONFERENCE ROOM
EMPLOYEE OFFICES
BACK-OF-HOUSE
ARCHIVAL+STORAGE
RESTROOMS
AUDITORIUM
LOBBY
GALLERY
34
STORE
ADJACENCIES CAFE
DIRECTOR’S OFFICE
STORE
EMPLOYEE OFFICES
GALLERY
CONFERENCE ROOM
LOBBY
BREAK ROOM
AUDITORIUM PUBLIC SPACES
RESTROOMS
BACK-OF-HOUSE
ARCHIVAL & STORAGE
ADJACENT NEAR ADJACENT NON-ADJACENT
CAFE
DIRECTOR’S OFFICE
STORE
EMPLOYEE OFFICES
GALLERY
CONFERENCE ROOM
LOBBY
BREAK ROOM
AUDITORIUM
COPY ROOM
CULTURE
PRIVACY
COMMUNITY
VERSATILITY
EDUCATION
STORAGE
TECHNOLOGY
COLLABORATION
NATURAL LIGHT
ACOUSTICS
CULTURE
PRIVACY
COMMUNITY
VERSATILITY
EDUCATION
STORAGE
TECHNOLOGY
COLLABORATION
NATURAL LIGHT
ACOUSTICS
& CRITERIA
RESTROOMS ARCHIVAL & STORAGE
BACK-OF-HOUSE
PUBLIC SPACES NEEDED SOMEWHAT NEEDED INDIFFERENT
36
Dir. Conference Office Room
Copy
Archives & Storage
Auditorium Back-ofHouse
Gallery
Auditorium
Office R.R.
Break Area
Office
Store
R.R.
Café Lobby
R.R. R.R.
Store Back-ofHouse
Café Back-of-House
Elev.
circulation
public space
private space
Archives Workspace
SOURCES Serota, N., & Koshalek, R. (2001). Housing Modern Art. RSA Journal, 148(5497), 14-23. Retrieved from http://www.jstor.org/ stable/41380247 1
2
Kentucky Building Code. (2014). United States of America: National Association of State Contractors Licensing Agencies.
Kaynar, Ipek. (2010). Visibility, movement paths and preferences in open plan museums: An observational and descriptive study of the Ann Arbor Hands-on Museum. 3
54
Story, M., Mueller, J., & Mace, R. (1998). The Universal Design File: Designing for People of All Ages and Abilities. Design Research and Methods Journal, 1(1). 4
Smith, C. (1995). Architecture and the Museum: The Seventh Reyner Banham Memorial Lecture. Journal of Design History, 8(4), 243256. Retrieved from http://www.jstor.org/stable/1316020 5
6
Human-Computer Interaction: Theory and Practice. (2003). Greece: Taylor & Francis.
7
Macdonald, S., & Basu, P. (2007). Exhibition experiments. Malden, MA: Blackwell Pub.
Bergdoll, B. (2009). I. M. Pei, Marcel Breuer, Edward Larrabee Barnes, and the New American Museum Design of the 1960s. Studies in the History of Art, 73, 106-123. Retrieved from http://www.jstor.org/stable/42622475 8
Overby, O. (1987). THE SAINT LOUIS ART MUSEUM: AN ARCHITECTURAL HISTORY. Bulletin (St. Louis Art Museum), 18(3), 1-41. Retrieved from http://www.jstor.org/stable/40656863 9
Carliner, S. (2003). Modeling Information for Three-dimensional Space: Lessons Learned from Museum Exhibit Design. Technical Communication, 50(4), 554-570. Retrieved from http://www.jstor.org/stable/43095602 10
Katherine Kuenzli. (2013). The Birth of the Modernist Art Museum: The Folkwang as Gesamtkunstwerk. Journal of the Society of Architectural Historians, 72(4), 503-529. doi:10.1525/jsah.2013.72.4.503 11
Loughery, J. (2001). The Future of Museums: The Guggenheim, MoMA, and the Tate Modern. The Hudson Review, 53(4), 631-638. doi:10.2307/3852630 12
Professional Networks Council of the American Alliance of Museums. (2012). Standards for Museum Exhibitions and Indicators of Excellence. 13
American Alliance of Museums. (2018). Museum Facts & Data. Retrieved from https://www.aam-us.org/programs/about-museums/ museum-facts-data/#_edn18 14
Emilie Sitzia. (2018). The ignorant art museum: beyond meaning-making, International Journal of Lifelong Education, (37)1, 73-87. 15
Bitgood, S., & Shettel, H. (1996). An Overview of Visitor Studies. The Journal of Museum Education, 21(3), 6-10. Retrieved from http://www.jstor.org/stable/40479068 16
Borun, M. (1992). The Exhibit as Educator: Assessing the Impact. The Journal of Museum Education, 17(3), 13-14. Retrieved from http://www.jstor.org/stable/43738167 17