Glulam Architectural Prototyping: The Walhol Museum
BLAKE SOLBERG Book Produced for Masters Studio | Fall 2015 | Huang 727 E Webster St. Springfield, Missouri 65802 bsolberg.wix.com/blakesolberg bsolberg@drury.edu +1 612 710 8533
ANDY WARHOL MUSEUM NEW YORK
TABLE OF CONTENTS
01 ANDY WARHOL 02 PROGRAM 03 CASE STUDIES 04 THE OUTCOME 05 CONCLUSION 06 BIBILOGRAPHY
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ANDY WARHOL
ANDY WARHOL & HIS EARLY LIFE AND ART Andy Warhola was born in Pittsburg, Pennsylvania, and was the fourth child of Ondrej and Julia Warhola who were immigrants from Mikó, located in today’s northeastern Slovakia.1 Andy was a unique child, who was very quiet and was easily embarrassed. He suffered from a disease called Sydenham’s chorea, which caused involuntary movement of the extremities.2 Andy would go on to spend most of his childhood at home with his mother and attended church for many services on Sunday. The large amount of iconography had
an impact on the way he idolized people and beings. After college Andy moved to New York and began a career in magazine illustration and advertising. The majority of his work was for shoes and fashion companies. His whimsical ink-blot drawings allowed for repetition that made it seemed as if it were printed. The printed effect was highly admired because it made the work seem like it was widely wanted. Working in this field allowed for him to experiment with silk screen, which he excelled at.
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ANDY WARHOL & THE CAMPBELL SOUP CAN Andy’s road to success was not an easy one. While he became very famous in New York for his commercial illustrations, it was proving to be more difficult to enter the level of fine arts. Andy worked to refine his blotted-ink and silk screen printmaking, and developed a system where he would paint bright colors on an image, and then printed the print in black over the colors.1 This was the opposite of what had previously been done.
pop art culture; until his Campbell soup cans. Warhol honed his work to focus on items that we see daily and turned them into art. Using silk screen printing he was able to copy an image over and over again allowing for each image to read as the same, but the ink would lie in different places creating alterations in certain areas. Andy used great tragedies in the media to influences his art. His Marilyn Monroe was created after her passing, Elizabeth Taylor, Elvis Presley, and Even with a break through in his Muhammad Ali where a few of his printing techniques, he still had most famous work relating to the not made a name for himself in the media and Hollywood.2
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ANDY WARHOL & THE IMPACT Pop Art is for Everyone.1 This was Andy’s way of thinking when he created new pieces of work, and reflected the way he saw the pop art movement. Although Andy was pretty late in the game to become a pioneer for pop art, he has left the longest lasting impression. His work todays represents that realness there is in life and how infatuated society is with Hollywood celebrities. Andy believed that “everyone will be world famous for 15 minutes.”2
Andy made it so art was no longer just for the rich and famous, but instead it was for everyone. He created work that would normally be just a daily item and gave it meaning, and gave it a story. He changed society and life as we see it. It would be very difficult to explain art before Andy and after Andy. He changed it that much.
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PROGRAM
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PROGRAM & THE WARHOL MUSEUM The Andy Warhol Museum in Pittsburg, Warhol’s birthplace, is a vital forum in which diverse audiences of artists, scholars, and the general public are galvanized through creative interaction with the art and life of Andy Warhol. By its inclusion in this project, the Warhol Museum would contribute to New York City a constantly rotating selection of the fruits of one of the city’s most celebrated creative progeny. Its collection includes works in all of Warhol’s various media: Painting, Sculpture, Print, Drawing, Photography and Film, as well as
archival source material. As an auditorium / film screening venue, the Warhol Museum can contribute a new multi-use cultural location to the local community. One of the main goals for this area of the project is the connection between the subway, the street, and the entrance to the museum. A space that allows for large gathering and intermingling of different groups of people. Differing ground levels and how they work together will become a key component to allowing the area to be successful.
PROGRAM DISTRIBUTION Component Lobby / Tickets / Coat Check Auditorium / Film Screening Open Gallery Project Space Administration / Curatorial Restrooms Mechanical Circulation Total
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Sq. Ft. 2,500 3,000 40,000 2,500 1,500 500 2,000 5,000 57,000
PROGRAM
PUBLIC
PRIVATE
CONNECTION WITH CIRCULATION
DIRECT
VISUAL
NONE
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CASE STUDIES
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CASE STUDIES & THE SOLOMON R. GUGGENHEIM MUSEUM Frank Lloyd Wright From the architect. Swelling out towards the city of Manhattan, the Solomon R. Guggenheim Museum was the last major project designed and built by Frank Lloyd Wright between 1943 until it opened to the public in 1959, six months after his death, making it one of his longest works in creation along with one of his most popular projects. Completely contrasting the strict Manhattan city grid, the organic curves of the museum are a familiar landmark for both art
lovers, visitors, and pedestrians alike.1 The exterior of the Guggenheim Museum is a stacked white cylinder of reinfored concrete swirling towards the sky. The museum’s dramatic curves of the exterior, however, had an even more stunning effect on the interior. Inside Wright proposed “one great space on a continuous floor,” and his concept was a success.2 Walking inside, a visitor’s first intake is a huge atrium, rising 92’ in height to an
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expansive glass dome. Along the sides of this atrium is a continuous ramp uncoiling upwards six stories for more than one-quarter of a mile, allowing for one floor to flow into another. The ramp also creates a procession in which a visitor experiences the art displayed along the walls as they climb upwards towards the sky.3 The design of the museum as one continuous floor with the levels of ramps overlooking the open atrium also allowed for the interaction of
people on different levels, enhancing the design in section. The curved walls of the interior were intended so that paintings had to be tilted backward, “as on the artist’s easel.� This was unsuccessful because the paintings were still very difficult to display because of the concavity of the walls, and because of this before its opening 21 artists signed a letter protesting about their display of work in such a space.4
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CASE STUDIES & THE SOLOMON R. GUGGENHEIM MUSEUM CIRCULATION DIAGRAM
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CASE STUDIES & THE NELSON-ATKINS MUSEUM Steven Holl Architects From the architect. The expansion of The Nelson Atkins Museum of Art fuses architecture with landscape to create an experiential architecture that unfolds for visitors as it is perceived through each individual’s movement through space and time. The new addition, named the Bloch Building, engages the existing sculpture garden, transforming the entire Museum site into the precinct of the visitor’s experience.1
The Nelson-Atkins Museum’s addition created by Steven Holl Architects is located in Kansas City, Missouri. As visitors move through the new addition, they will experience a flow between light, art, architecture and landscape, with views from one level to another, from inside to outside.2 The threaded movement between the light-gathering lenses of the new addition weaves the new building with the landscape in a fluid dynamism based on a sensitive relationship to its context.
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The “meandering path” threaded between the lenses in the Sculpture Park has its sinuous complement in the open flow through the continuous level of galleries below. The galleries, organized in sequence to support the progression of the collections, gradually step down into the Park, and are punctuated by views into the landscape.3 A strong relationship between the architectural concept and the Museum’s important oriental art
holdings is illustrated by works in the permanent collection such as Verdant Mountains (12th century) by Chiang Shen or The North Sea (16th century) by Chou Ch’en, which demonstrate the timeless merging of art, architecture and landscape. The new addition celebrates this fusion with the new Isamu Noguchi Sculpture Court, setting a binding connection to the existing Sculpture Gardens.4
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CASE STUDIES & THE NELSON-ATKINS MUSEUM CIRCULATION DIAGRAM
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CASE STUDIES & THE WEISMAN ART MUSEUM Gehry Partners, LLC The Weisman Art Museum in Minneapolis was Frank Gehry’s first building that represents his current style that he is known around the world for. The building is located on the University of Minnesota’s campus along the Mississippi River. The reason behind choosing this case studies is the different spaces and different forms that are created throughout the building. The plan of the Weisman
is very simple, even though it may not seem evident from the exterior. While the plan is uniform, compared to the exterior, the ceiling heights, lighting, and spatial quality differs from room to room. The differing spaces allows for many different and unique works to be shown and displayed. Currently in the building the art work is modern, reflecting the style of the building. As you enter you are great by a 30-foot painting
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created by Roy Lichtenstein. Then as you make your way through the building you see many paintings, sculptures, displays, videos, as you would see in the future Andy Warhol Museum in New York.
spaces made for specific art pieces.
This building, along with other work done by Frank Gehry and his firm will serve as a good case study as I start to develop the While the circulation of this ideas and design behind the Andy building is nothing to write home Warhol Museum in New York. about, the forms created inside sure are. This building informed by diagram by shifting and move the circulation paths, both up and down, to created new and unique
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CASE STUDIES & THE WEISMAN ART MUSEUM CIRCULATION DIAGRAM
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THE OUTCOME 39
THE OUTCOME & THE MODEL Circulation will play an important role in the design for the Andy Warhol Museum. Creating paths that let you travel through the life of Andy’s work, from the beginning to the end or the end back to the beginning. This double helix structure is made completely of wood and slowly ramps up, one helix above the next.
another level needs to be added one a column is placed on top the of the beam and then again sandwiched between two columns.
This structure will make it available for more intergeneration of circulation from many different parts of the surrounding context. The circulation paths will be able to drop down to the level of the The main floor beam is sandwiched subway, and then connect them between two columns and then with the people coming from the rests on one below it. When street and else where.
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THE OUTCOME & THE MODEL
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CONCLUSION & FINAL STATEMENTS Andy Warhol is the definition of American Art. He rose from poverty and became one of the most famous artists to ever live. His work in unique in the sense that it has many diversity in many areas. From the collections of the same image repeated over and over again, to work that is influenced by the world around. This will make the displaying of his work very unique and specific. The museum needs to have space for large areas for repetitive to film to sculptures. All
of these forms suggested the same thing but in different mediums. The process through the Andy Warhol will based off of his life, and the observer will pass through the exhibits seeing the progress before their eyes. Seeing the drastic changes to the minuet, while also focusing on integrating the average person passing by into the museum and immerse them in the work, because as Andy said, Pop Art is for Everyone.1
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BIBLIOGRAPHY
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BIBLOGRAPHY & TEXT CITATIONS ANDY WARHOL His Early Life and Art 1. http://www.sothebys.com/en/news-video/blogs/all-blogs/21-days-ofandy-warhol/2013/11/andy-warhol-facts-21-days.html 2. http://primaryfacts.com/818/10-andy-warhol-facts/ The Campbell Soup Can 1. Warhol biography, Gagosian Gallery Retrieved October 6, 2015 2. “John Giorno”. www.warholstars.org Warhol, Andy (1975). The philosophy of Andy Warhol: from A to B and back again. San Diego: Harcourt Brace Jovanovich. THE IMPACT 1. http://www.departures.com/art-culture/art-design/ andywarhol%E2%80%99s-influence-art-today 2. http://www.theartstory.org/artist-warhol-andy.htm
CASE STUDIES The Solomon R. Guggenheim Museum 1. Adelyn Perez. “AD Classics: Solomon R. Guggenheim Museum / Frank Lloyd Wright” 18 May 2010. ArchDaily. Accessed 6 Oct 2015. <http://www. archdaily.com/60392/ad-classics-solomon-r-guggenheim-museum-franklloyd-wright/> 2. Ibid. 3. Ibid. 4. Ibid. The Nelson-Atkins Museum 1. “The Nelson-Atkins Museum of Art / Steven Holl Architects” 30 Jul 2008. ArchDaily. Accessed 6 Oct 2015. <http://www.archdaily.com/4369/ the-nelson-atkins-museum-of-art-steven-holl-architects/> 2. Ibid. 3. Ibid. 4. Ibid.
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BIBLOGRAPHY & IMAGE CITATIONS
ANDY WARHOL 1.1 https://nursemyra.files.wordpress.com/2012/01/andy-warhol.jpg 1.2 http://www.poster.net/warhol-andy/warhol-andy-autobiography-of- alice-b-shoe-1955-2632848.jpg 1.3 http://static.guim.co.uk/sys-images/Guardian/Pix/ pictures/2013/1/20/1358704796473/Andy-Warhol-drawing-2-001.jpg 1.4 http://i.huffpost.com/gadgets/slideshows/276286/ slide_276286_2013770_free.jpg 1.5 https://upload.wikimedia.org/wikipedia/en/thumb/1/1f/Campbells_ Soup_Cans_MOMA.jpg/300px-Campbells_Soup_Cans_MOMA.jpg 1.6 http://mediation.centrepompidou.fr/education/ressources/ENS-PopartEN/images/xl/3i00159.jpg 1.7 http://i.stack.imgur.com/kIpXd.jpg 1.8 http://www.warhol.org/uploadedImages/Warhol_Site/Warhol/Content/ Warhol_Artwork/1998.1.275.jpg 1.9 http://static.guim.co.uk/sys-images/Guardian/Pix/ pictures/2010/8/18/1282116891137/Warhol--Brillo-Boxes-At-S-006.jpg 1.10 https://ka-perseus-images.s3.amazonaws. com/329f84364bd08b80515b71fa830da2d2b6802c0c.jpg 1.11 http://www.saatchigallery.com/aipe/imgs/warhol/triple_elvis.jpg CASE STUDIES Solomon R. Guggenheim Museum 3.1 Image taken by author. 3.2 http://images.adsttc.com/media/images/51cb/6045/ b3fc/4b21/4200/0001/large_jpg/gugg.jpg?1372282948 3.3 Image produced by author. 3.4 http://media.guggenheim.org/content/arts_curriculum/masters/ image001.jpg 3.5 https://s-media-cache-ak0.pinimg.com/736x/9f/ b1/1e/9fb11e3ea1e1cdfc1e8d5416810fc8f6.jpg 3.6 http://commondatastorage.googleapis.com/static.panoramio.com/ photos/original/77054113.jpg Nelson-Atkins Museum 3.7 “The Nelson-Atkins Museum of Art / Steven Holl Architects” 30 Jul 2008. ArchDaily. Accessed 7 Oct 2015. <http://www.archdaily.com/4369/
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the-nelson-atkins-museum-of-art-steven-holl-architects/> 3.8 Ibid. 3.9 Image produced by author. 3.10 Ibid. 3.11 Ibid. 3.12 Ibid Weisman Art Museum 3.13 https://upload.wikimedia.org/wikipedia/commons/4/41/Weisman_ Art_Museum.jpg 3.14 http://images.publicradio.org/ content/2011/09/29/20110929_1weisman092711_33.jpg 3.15 Image produced by author. 3.16 http://tinyurl.com/qcgb3cp 3.17 http://tinyurl.com/og9mw4u 3.18 https://c1.staticflickr.com/1/50/121069932_cca1dc5515_z.jpg THE OUTCOME 4.1 Image produced by author. 4.2 Image produced by author. 4.3 Image produced by author. 4.4 Image produced by author. 4.5 Image produced by author. 4.6 Image produced by author. 4.7 Image produced by author. CONCLUSION 5.1 https://spaceandart.files.wordpress.com/2012/01/jackie-andy-warhol.jpg 5.2 https://s3.amazonaws.com/classconnection/192/ flashcards/7413192/jpg/andy-warhol-excerpt-marilyn-diptych-967x102414CC3B1208D5D5AE583.jpg AFTER BIBLIOGRAPHY 7.1 http://static01.nyt.com/images/2012/12/02/books/ review/1202Yau01/1202Yau01-articleLarge.jpg Image on Backcover http://blog.chasejarvis.com/blog/wp-content/ uploads/2011/08/tumblr_l6pvplhdKs1qzyt4jo1_400.jpg
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