Philadelphia Astronomy Museum by Caitlin Neal

PHILADELPHIA ASTRONOMY MUSEUM CAPSTONE RESEARCH FALL 2015

CAITLIN NEAL

CONTENTS SECTION 1: PROJECT OBJECTIVES

PAGE 4-15

SECTION 2: HISTORIOGRAPHY & CONTEMPORARY CONTEXT

PAGE 16-25

SECTION 3: CASE STUDIES

PAGE 26-95

SECTION 4: ERGONOMICS & TECHNICAL CRITERIA

PAGE 96-109

SECTION 5: TOPICAL EXPLORATIONS

PAGE110-119

SECTION 6: EXISTING SITE, CONTEXT, CLIMATE & ZONING

PAGE 120-131

SECTION 7: PROGRAM DEVELOPMENT

PAGE 132-141

SECTION 8: BUILDING ANALYSIS, CODE, REGULATIONS & STANDARDS PAGE 142-151 SECTION 9: FINAL PROJECT RESEARCH SUMMARY

PAGE 152-157

SECTION 10: BIBLIOGRAPHY & APPENDIX

PAGE 158-162

SECTION

PROJECT OBJECTIVES

Figure 1 M104 The Sombrero Galaxy

Greek Philosopher, Socrates, stated, “Man must rise above the Earth—to the top of the atmosphere and beyond—for only thus will he fully understand the world in which he lives.”1 By observing galaxies that were formed billions of years ago, astronomers have gathered information that has repeatedly altered our perception of the universe. Much of the learning of

Introduction astronomy is done outside of the classroom, through institutions such as planetaria, science museums, and observatories open to the public. Of The Association of Science-Technology Centers (ASTC) 600 members, at least 495 are science centers and museums that are operating or under development in 46 countries. Each state in the United States claims at least one science

Figure 2 Adventure Science Center Figure 2Nashville, TN

center; California alone possesses 40. In 2013, 198 science centers and museums reported a total attendance of over 81 million visits through both on-site and offsite events and programs. School groups compose a significant percentage of this attendance. The worldwide estimated school group attendance in 2013 was 16.7 million visits, 12.1 million in the United States.2

Figure 3 Adventure Science Center Nashville, TN

The goal of this design will be to contribute to the education of the general public about physics and astronomy in Philadelphia. The facility will possess highly interactive exhibition spaces in which guests are invited to explore and gain knowledge about these subjects from a new perspective that cannot be achieved in a typical classroom education. These interactive exhibits

Objectives

will encourage visitors to delve into physical and astronomical marvels that we often come in contact with and give little acknowledgement to on a daily basis. This facility will also provide space for professional collaboration in order to collect, study, and discuss critical affairs relative to the study of astronomy and physics. In combining these two goals, the proposed establishment

becomes a mecca for individuals who are seeking to expand their knowledge of celestial objects and astronomical phenomena.

Figure 4 Adventure Science Center Nashville, TN

Information

Design Development the

as to promote high interest in the

exhibition design is fundamental to

this

facility. In addition to the scientific

providing a facility that is successful

museum will be gathered through

research,

thorough

research

methods in museum design will

successful

as well as statistical information

also be conducted. Books such

that will be analyzed are The Adler

provided by resources such as

as Museum Exhibition: Theory and

Planetarium, IL and The Griffith

AAS Nova: Research Highlights,

Practice, written by David Dean,

Observatory, CA. The Chemical

The

Astronomical

Journal,

and

will

Heritage

The

Astrophysical

Journal.

The

to other various peer-reviewed

Franklin Institute will be visited to

museumâ&#x20AC;&#x2122;s attractions will focus

journal articles that reveal useful

acquire insight on the development

specifically on those topics in

information

and

astronomy and physics that are

this museum. Understanding the

most enticing to the general public,

needs and demands relevant to

scientific

regarding attributes database

information

consulted,

for

the

regarding

addition

design

its

functionality. astronomy

Foundation

design

this

Existing museums

and

The

project.

In relation to the physical design

The Designer

through the exhibition sequences

displayed in the most informative

of the facility, the designer plays a

and absorbing the content provided.

yet

tremendous role in functionality.

Decisions such as whether there will

the display of an exhibit is poorly

As stated in Museum Exhibition:

be spatially dictated movement,

designed, the information will not be

Theory and Practice, â&#x20AC;&#x153;Designing

spatially

movement,

absorbed despite how interesting

museum exhibitions is the art and

movement

the

science of arranging the visual,

throughout the museum will have a

contrary, if an exhibition is carefully

spatial, and materials elements of

direct effect on how the museum is

considered and well displayed to

an environment into a composition

be perceived by the public. Quality

the visitors, then it will be successful

that visitors move through.â&#x20AC;? Spatial

museum exhibitions require careful

layout shapes the ways in which

development in order to provide

need

visitors

and

functional spaces for the public

acoustics,

Museums

to enjoy. It is critical that exhibition

flexibility conducive to the function

are an informal educational tool

design is well developed in order

of the individual spaces to provide

that present information by moving

excellent

explore,

understand

engage,

museums.

random

spatially

guided

convey

the

material

being

attainable

content

its

way

may

intention.5 to

possible.

be.

the

Considerations

made

regarding

comfortability,

learning

and

conditions.

Figure 5 California Science Center Los Angeles, CA

10 In

the

design

the

facility,

Sustainability Correspondingly,

photovoltaic

volatile organic compounds will

special attention will be given to

solar panels will occupy the areas

environmental and sustainability

surrounding the skylights on the roof

throughout the interior spaces.

issues.

the

which will also aid in enforcing low

Reused and repurposed materials,

research portion of the building

energy consumption. The interior

as well as waste management,

will be installed in order to assist

of the building will also include

will

on maintaining low energy costs

sustainable

as well as promote productivity

Materials

amongst

air quality and release minimal

Skylighting

over

collaborators.

design that

utilized

also

wherever

possible

implemented.

strategies.

support

indoor

Figure 6 Space Shuttle Endeavour

Figure 7 Arizona Science Center Pheonix, AZ

The Client

The client that will be funding

astronomical

easily perform societal functions.

this

activities in order to spread the

Members are located throughout

(RAS).

knowledge, the awareness, and

Philadelphia

Founded in 1888, the RAS is one of

the enjoyment of astronomy. The

Valley.

the oldest astronomical societies in

RAS is comprised of volunteers

spans throughout the Mid-Atlantic

the country. The society offers all

who

region

people, professional and amateur,

board and committee chairs as to

design

Astronomical

The

Rittenhouse

Society

participate

are

internally

elected

and

the

However, of

the

Delaware

membership

United

States.6

Figure 8 Pacific Science Center Seattle, WA

The users who will predominately occupy the exhibition spaces are children and adolescents between the ages of 10 and late teens. These visitors will be presented with highly interactive and high-tech exhibits in a healthy, sustainable setting. They will be given opportunities to explore various areas of physics and astronomy such as astrophysics, quantum mechanics, thermodynamics, the solar system and star lifecycles

The User

in the planetarium, and so forth. Furthermore, professionals and graduate students are welcome to take advantage of the facilityâ&#x20AC;&#x2122;s resources for their own collaborative purposes. They will be provided areas for conferences and lectures to aid to increasing their own knowledge of these vast subjects in their desired manner. The staff who are responsible for managing and supervising the museum will be knowledgeable

in the material displayed in order to enhance the presentation of the exhibitions and answer any questions guests may have. During the design process, choosing materials that are durable and easily cleaned will aid in the upkeep of the museumâ&#x20AC;&#x2122;s exhibits. Providing proper adjacencies during space planning will assist in promoting a fluid and effective layout for guest, employees and management to navigate.

Demographics

The demographics of the location of this facility will be addressed. The program will appeal to the general public of all ages, predominately children and adolescents. In order to accommodate guests from lower income economic backgrounds, admission prices for the museum areas will be kept at the minimum. Being located in close proximity to notable universities that contain extensive physics and astronomy departments, this facility will market to schools of all levels to promote class trips and programs at the

facility. Sustainable strategies such as solar power, natural lighting, and reused and repurposed materials will contribute to maintaining a reasonable budget to run this facility. With Philadelphia being a renowned tourist location, the museum will appeal to these individuals by holding special events and exhibitions that will increase marketing and advertising for the facility. Universal design will be a necessary application to accommodate any physically handicapped visitors and provide

them with an equally enjoyable experience. Signage that possesses symbols for spaces such as restrooms, customer service, fire exits, and handicap accessibility will be applied in order to assist multi-lingual visitors. Being in such close proximity to Drexel University and the University of Pennsylvania, there will be a considerable amount of foot traffic conducted by college students as well. Overall, the programâ&#x20AC;&#x2122;s attractions will be arranged to allow the museum to become a destination for a diverse clientele.

Figure 9 Pacific Science Center Seattle, WA

Figure 10

Citations 1. Tan, Su Yin. Meteorological Satellite Systems. N.p.: Springer Science & Business Media, 2013. Print. 2. “2013 Science Center and Museum Statistics.” 2013 Science Center and Museum Statistics The Associate of Science-Technology Centers. 2013. Web. http://www.astc. org/wp-content/uploads/2014/10/2013-Science-Center-Statistics.pdf 3. Dean, David. Museum Exhibition: Theory and Practice. London: Routledge, 1994. Print. 4. Wineman, J. D., and J. Peponis. “Constructing Spatial Meaning: Spatial Affordances in Museum Design.” Environment and Behavior 42.1 (2009): 86-109. Web. 5. Ibid. 6. ”Rittenhouse Astronomical Society.” Rittenhouse Astronomical Society. Web. <http://www.rittenhouseastronomicalsociety.org/>. Images 1. http://apod.nasa.gov/apod/ap150205.html 2. http://www.muskegoncc.edu/astronomy/wp-content/uploads/ sites/90/2014/08/Astronomy-Fantasy-Sun-HD-ForWallpapers.com_1280x800.jpg 3. https://losrodriguezlife.files.wordpress.com/2012/01/dsc_6862.jpg 4. http://losrodriguezlife.com/2012/01/25/adventure-science-center/ 5. http://www.ilight-tech.com/wp-content/uploads/2013/01/Adventure-Science-Center_113-Copy1.jpg 6. http://www.muslimheritage.com/1001/California_Science_Center_04.jpg 7. http://www.nasa.gov/sites/default/files/images/701288main_Endeavour_ in_CSC_exhibit.jpg 8. http://frontdoorsnews.com/wp-content/uploads/2013/10/Dream-CreateBuild-Arizona-Science-Center.jpg 9. http://museums.groupdelphi.com/wp-content/uploads/2014/09/04LS_ PSC_WA_DSP7938.jpg 10. http://architecture.lightswitch.net/portfolio_images2011/WELLBODY/ CACHE/wellbody_1.jpg_display.jpg

SECTION

HISTRIOGRAPHY & GLOBAL CONTEXT

Figure 1 M63 The Sunflower Galaxy

The modern museum is derived from the collections and preservations of various ancient civilizations. According to Greek mythology, “Muse” refers to “The God of inspiration” or “The protector of the Arts.”1 The word “museum” derives from the Greek word “mouseion” meaning, “a temple of the Muses.”2 Science museums as we know them

The Origin

today are considered relatively new when examining the field of museology. However, the concept of possessing a collection of extraordinary artifacts relative to science and the physical environment traces back to the Renaissance.3 Some of the scientific memorabilia found in the private libraries

Figure 2 Geocentric Model Bartolomeu Velho Figure 2

and galleries of princes and scholars have survived through the centuries and have become the inspiration behind the growth of modern science museums.4 Particularly favored amongst these collectors were objects that were believed to possess supernatural properties, including relics that promoted healing, prolonged human life, and increased fertility.

Figure 3 The Ancient Greek Sky As interest in scientific inquiry grew in popularity, these collections expanded to incorporating minerals, anatomical and botanical specimens, and fossils.5 Modern museums of science and technology have their origins rooted in the collections of â&#x20AC;&#x153;artificial curiosities.â&#x20AC;?6 Included in these collections were the tools of travelers and explorers such as globes, drafting equipment,

compasses, and astrolabes, as well as primitive tools, machines and mechanisms, and lighting devices.7 During the Renaissance, these collections grew and flourished exponentially, so much so that by the beginning of the 17th century, lists of these establishments were compiled and made available as a directory to travelers.8 Ancient philosophers advocated the use of possessing this knowledge as a way to control and enhance

the development of human superiority in nature. By this time, the collection of natural and artificial anomalies was acknowledged as being essential to preserving history and providing research into the past for future generations.9

Figure 4 Boston Museum of Science Boston, MA

Science Center Evolution

Science museums slowly made

opened in 1929. These museums

the science museum emerged, a

progression

the

offered experiences in the viewing

concept that abandons the mere

museums

of scientific artifacts, models and

display of the object, and instead

became institutions of unequivocal

machines, as well as provided

promotes active public interaction

knowledge, places of ‘collecting,

live demonstrations of scientific

and participation through the use

seeing and knowing, places where

principles,

of interactive displays.13 This type

“anybody”

and

Science museums had expanded

survey the evidence of science.’10

‘on their earlier emphasis on public

known

In the United States, the Franklin

education to present themselves as

centers, the first two examples of

Institute in Philadelphia opened

experts in the mediation between

these new science centers being

in 1824, Chicago’s Museum of

the esoteric world of science and

the San Francisco Exploratorium:

Science and Industry opened in

that of the public.’12 During the 20th

the

1926, and the Henry Ford Museum

century, a progressive concept for

and Human Perception, which

centuries.

throughout Science

might

come

such

electricity.11

science as

Museum

institution

became

science-technology

Science,

Art,

is regarded as the “father” of

exhibiting

science centers, and the Ontario

Science

difficulty posed is the image that

young

science centers are institutions that

technology

Science centers have encountered

are only for children interaction.

exhibits, by simultaneously learning

and

Providing exhibits that cater to a

informally and being entertained.

operational difficulties throughout

young audience prompted a higher

their development. Failure in the

noise level than that of traditional

material

operation of interactive exhibits

styled museums, causing disinterest

professional-development

impose

for

for more mature audiences. To

for teachers, and large numbers of

science centers, as well as induce

address this issue, science centers

floor staff, have become included

frustration for visitors. It is often

began

features of science centers. Funding

newly

with

specifically intended for adults, as

for

inexperienced staff that encounter

well as activities for grandparents

through traveling demonstrations,

this problem. However, improved

with

co-touring

Center

array

Toronto.

philosophical

negative

founded

exhibit-monitoring

image

institutions

systems,

methods

reducing

their

this

have issue.

design

aided Another

programs

grandchildren.

and

new, more sophisticated interactive

maintain an objective to open the

public’s

mind—specifically

minds—to

science

through

and

interactive

Live demonstrations, educational

these

for

school

centers

were

exhibitions

classes, services

found with

partnering science centers, and Science-technology

centers

overnight

camp-in

programs.17

Figure 5 Miami Science Museum Miami, FL

Figure 6 Science Museum Oklahoma Oklahoma City, OK

Figure 7 Science Museum London, UK

Citations 1. Manssour, Y. M., H. M. El-Daly, and N. K. Morsi. “The Histor- Images ical Evolution of Museum Architecture.” The Historical Evolu1. http://apod.nasa.gov/apod/ap140313.html tion of Museums Architecture 2. https://upload.wikimedia.org/wikipedia/ 2. Bedini, Silvio A. “The Evolution of Science Museums.” commons/7/7b/Bartolomeu_Velho_1568.jpg 3.Ibid. 3. https://theperceptionalist.files.wordpress. 4.Ibid. com/2012/11/the-ancient-greek-sky.png 5. Ibid. 4. https://upload.wikimedia.org/wikipedia/com6. Ibid. mons/3/34/Museum_of_Science,_Boston,_MA_-_ 7. Ibid. IMG_3150.JPG 8. Ibid. 5. http://www.energy-floors.com/media/userfiles/im9. Ibid. 10. Pedretti, Erminia. “Critical Conversations and New Direc- ages/Miami%20Science%20Museum1b.jpg 6. http://city-sentinel.com/wp-content/uptions in Science Centres and Science Museums.” 11. Koster, Emlyn H. “In Search of Relevance: Science Centers as loads/2015/06/COM-CurioCity-Photo1.jpg 7. https://i.ytimg.com/vi/9rT-Fb4SAs8/maxresdefault. Innovators in the Evolution of Museums.” 12. Pedretti, Erminia. “Critical Conversations and New Direc- jpg tions in Science Centres and Science Museums.” 13. Ibid. 14.Koster, Emlyn H. “In Search of Relevance: Science Centers as Innovators in the Evolution of Museums.” 15. Ibid. 16. Caulton, Tim. “Hands-On Exhibitions: Managing Interactive Museums and Science Centers.” 17. Koster, Emlyn H. “In Search of Relevance: Science Centers as Innovators in the Evolution of Museums.”

SECTION

CASE STUDIES

Figure 1 M64 Black Eye Galaxy

SECTION

3.1

THE CHEMICAL HERITAGE FOUNDATION

Figure 2 The Chemical Heritage Foundation

Figure 3 The Chemical Heritage Foundation

The Chemical Heritage Foundation’s Museum and Conference Center is located along Independence National Historical Park adjacent to the Foundation’s headquarters. The structure is composed of two levels adding up to about 20,000 square feet. The museum is a project practicing the sustainable method of adaptive reuse. The

Overview

building was originally the First National Bank building constructed in 1865 by John MacArthur Jr., who notably contributed to the design of Philadelphia’s City Hall. Over time the interior of the building was extensively remodeled to better serve commercial office needs and was eventually left vacant until bought by the Chemical Heritage

Foundation. The extensive renovation included the modernization of the interior using stone flooring, glass stairs and railings, and hightech exhibition design methods as well as preservation of the historic structure that accumulated to a cost of about $20 million.

Figure 4

Site & Location

The Chemical Heritage Foundation Museum and Conference Center is located on 3rd and Chestnut Sts. in the Old City section of Philadelphia. Being in such a high tourist area, the Museum is reachable through various means of transportation such as car, Amtrak, and SEPTA

mass transit. Being located in the heart of Old City, the museum is surrounded by historical context. The residence of Benjamin Franklin, scientist and inventor, is visible from the buildingâ&#x20AC;&#x2122;s Franklin Room. Additionally, the residence of Benjamin Rush, the countryâ&#x20AC;&#x2122;s first

chemistry professor, is located a block away on Walnut and 3rd Sts.

Figure 5 The Chemical Heritage Foundation

Client & Users The client of the project, the Chemical Heritage Foundation, advocates the mission statement, â&#x20AC;&#x153;to foster dialogue on science and technology in society.â&#x20AC;? The Foundation focuses on the collection, preservation, and exhibition of historical artifacts associated with the sciences and technologies ranging from the physical sciences, chemical sciences and engineering, and the life sciences. The design of the museum provides

entertainment for users who possess no scientific background. The material and information displayed is presented and explained in such a manner that a visitor who has no previous knowledge of the history of chemistry is capable of understanding scientific concepts and principles with ease. On the other hand, the material is also not displayed in a way that visiting physicians and chemists would be uninterested in the exhibitions. The museum provides a balance

of educating and raising the awareness of important scientific milestones while also providing entertainment to both the general public and scientific scholars.

Figure 6 The Chemical Heritage Foundation

Figure 7 The Chemical Heritage Foundation

Design Concept

The Foundation’s museum and conference center was a ten-year renovation project of the historic 1865 First National Bank building. The building is two-stories high, constructed of masonry and brick with an exaggerated cornice. It is a symmetrical structure with a three-

bay façade and emphasis placed on the central doorway. The façade is composed of the classical principles of solid pedestals, entablatures, and a roof balustrade. The firm responsible for the renovation, SaylorGregg Architects, reserved the bank’s original classic design while

infusing it with a modern aesthetic on the interior in such a way that compliments the historical elements of the space such as the arched 15 foot windows and Italianate façade.

The museumâ&#x20AC;&#x2122;s first floor is predominately public spaces, excluding the catering kitchen and Conference Hall. The lobby area provides immediate access to the main exhibit gallery as well as the Ulllyot Conference Hall. Because the main gallery is enclosed by a series of glass doors and the Conference Hall is enclosed with solid wooden doors that match the wall paneling, there is a clear distinction between

Floor Plans

which area is public and which area is private. Beyond the reception desk and elevators is an area providing numerous pamphlets and magazines providing information of the museum and its many activities, seminars, and temporary exhibitions. The placement of this information area is adjacent to the coat room and restrooms, making it a heavily traveled space by public visitors, which is ideal for marketing purposes.

35 The second floor is divided between public and private space. The main gallery of the first floor extends up to its mezzanine level. Dividing the museum area of the second floor and the conference and banquet areas is a small lounge as well as an additional reception desk in its corridor. These two features provide a direct indication that there is a shift in usage of the spaces.

Figure 8 The Chemical Heritage Foundation

Interior Design Circulation & Wayfinding The main gallery has no specific wayfinding system. The museum is designed to allowed visitors to explore the exhibits at their own pace and interest. The temporary exhibition space is defined by a large glass wall located in the rear of the space. This area is an intimate gallery, much smaller in

square footage, but follows the same wayfinding system as the main gallery space. To access the mezzanine level, there is a monumental glass stair located in the main gallery. To provide handicap accessibility, elevators are located in the lobby area.

Materials Overall, the interior spaces of the museum have a modern and contemporary aesthetic applied to them. The lobby area boasts rich woodwork along the walls, providing a sophisticated

atmosphere.

The flooring is composed of charcoal gray slate, rich in texture, with accents of a

Figure 9 The Chemical Heritage Foundation

Figure 10 The Chemical Heritage Foundation lighter toned stone. There is heavy integration of glass and metal throughout the spaces, including the walls, the floors, the stairs, and the railings. Having gone under previous commercial renovations, the interior of the structure lost much of its classical appeal. In order to reconnect the updated interior with the historic buildingâ&#x20AC;&#x2122;s past,

the designers gutted the interior of its drywall to reveal the bankâ&#x20AC;&#x2122;s original structure and restored the two-story Doric columns. The concept of the bankâ&#x20AC;&#x2122;s renovation also considered sustainable design methods, such as motion sensitive lighting, and a restroom on the second floor that features walls and floors made from recycled plastic

bottles and soda cans as well as dual flush toilets. The Chemical Heritage Foundation adheres to LEED Silver principles and is currently registered and awaiting certification.5

Figure 11 The Chemical Heritage Foundation Color The color palette in the exhibition space consists of dark tones aside from the amber colored wall panels. Predominately used for the color of the materials are various shades of black and gray that are intensified by the abundant metal and glass fixtures. This palette provides a cool environment that visually connects with the subject

of the museum. The color palette combined with the hard edges of the metal and glass creates an experience that coincides with the clean, industrial environment that is often associated with scientific research facilities. Lighting There are four dominate sources of lighting implemented throughout

the museum. Due to the

large

scale arched windows, there is an abundance of sunlight that enters the space. These windows are equally spaced and extend along the full length of the gallery, being large enough to provide light to both the lower level and the mezzanine level. Additionally, these windows are also prevalent in Ullyot Hall, the conference hall

immediately accessible from the lobby, which provides a substantial amount of light. Located in the ceiling are a series of evenly spaced horizontal light strips. These lights are recessed into spaces between the ceiling panels, hiding the fixtures so that only the light itself is visible. A substantial amount of wall space is dedicated to the floor-to-ceiling

glowing panels that highlight wall mounted artifacts. These panels not only provide light, but are also eye catching due to their warm color which contrasts the other cooler toned materials in the space. In turn, they aid in drawing a visitor over to the smaller artifacts that are being displayed. To highlight the individual exhibits are recessed

track lights. Particularly in the temporary exhibition space beyond the main gallery, these track lights are able to be repositioned and slide along the ceiling in order to accommodate whatever media and media arrangement is

being

used

that

time.

Figure 12 The Chemical Heritage Foundation

Figure 13 The Chemical Heritage Foundatio

Fixtures, Furniture, & Equipment The exhibition spaces were designed by Ralph Appelbaum Associates.6 The exhibits are broken down into specific sections covering a substantial range in the history of chemistry. Each section focuses on connecting the displayed items with specific people associated with them, creating a visual narrative. These displays are backed by floor-to-

ceiling amber colored glowing glass panels. A system of steel rods attached to these panels are arranged to provide display space for a number of artifacts. Towards the center of the main gallery are two rows of dark pedestals of various dimensions that showcase some of the larger artifacts the museum has collected. Majority of the artifacts on display are unprotected by glass. Directly in

Figure 14 The Chemical Heritage Foundation

the center of the gallery is a media column that scales the exhibition spaceâ&#x20AC;&#x2122;s full height. This column offers interactive display that gives visitors the opportunity to enjoy chemistry-related videos and delve deeper into origins of chemistry. Each exhibit is accompanied by informational panels that explain the artifacts and their relevance in context that is understandable by not only chemists and

Figure 15 The Chemical Heritage Foundation

physicians, but also visitors outside of the chemistry community. The conference spaces have their own provided services. Franklin 1 and Franklin 2 are separated by a movable soundproof wall. This wall quickly collapses to combine these two spaces into one large meeting space provided with a fully-wired speakerâ&#x20AC;&#x2122;s lectern, ceiling mounted projector and drop down screen, and two whiteboard walls. Similarly,

Ullyot Hall is a large space that can be utilized for various functions. The space contains an elevated stage and lectern, as well as a fullyintegrated audio-visual system. This space is also able to be divided into two smaller spaces for more intimate gatherings. Garden 1 and Garden 2 each provide a ceiling mounted projector and drop down screen with large whiteboard walls, while Garden 3 serves as a more refined

space with the largest projection screen, high-back executive seating, and a large boardroom table. The Otto Rohm and Otto Haas has similar sophisticated conference

room

features.

Post-Occupancy Survey Upon interviewing a museum employee, there are some user issues with the design of the building, beginning with the entrance. When entering the museum, a visitor is immediately greeted by a receptionist, with doorways on either side of lobby leading into adjacent spaces. This presents an issue because the wood paneling and office-building climate of the lobby gives no indication that there is a science museum available to the general public. It would have

been preferred that there be an entrance that leads directly into the museum from the street in order to better connect the museum to the community. The design of the temporary exhibition gallery is mostly constructed of glass walls with changing ceiling heights. This provides a series of design challenges when developing new exhibitions. Because of the lack of solid walls, there is minimal space

to mount paintings. To resolve this, curators must incorporate temporary wall structures into their exhibition designs to provide more mounting conditions. The mezzanine level does not extend into the changing exhibit gallery, rather it stops at the glass divider. This combined with the narrow dimensions of the room make the gallery a slightly uncomfortable space to be in. However, due to the high ceiling, this area is ideal for three-dimensional installations.7

Figure 16 The Chemical Heritage Foundation

Figure 17 The Chemical Heritage Foundation

Overall, The Chemical Heritage Foundation Museum and Conference Center is well designed for a museum focused on the physical and chemical sciences. The modern design aesthetics compliment the subject matter and provides an open learning environment while the hints of classical design elements provide a historical connection that

Evaluation

can also be united with the concept of the museum being for the history of chemistry. The circulation and arrangement of the main gallery space allows visitors to browse the media at their leisure in no specific order. It is apparent that the designers took into account how much the visitor will be aware of the conference centers beyond the

museum galleries. These conference centers are separated, but not entirely secluded from the gallery spaces, providing sufficient privacy while not completely excluding them from the museum area itself.

Program

COLOR

SPACE

SQFT COLOR

SPACE

SQFT

Lobby

600

Coat Room

165

Reception

Restrooms

280

Ulloyt Auditorium

2700

Kitchen

640

Permenant Gallery

3360

Mechanical

850

Media Column

Storage

735

Rotating Gallery

1600

190

COLOR

SPACE

SQFT

Lounge

COLOR

SPACE

SQFT

800

IT Room

Reception

300

Kitchenette

380

Balcony

2000

Restrooms

200

Conference Room

1570

Mechanical

340

AV Room

340

Figure 18 The Chemical Heritage Foundation

Citations

1. “About the Museum | Chemical Heritage Foundation.” About the Museum | Chemical Heritage Foundation. Accessed September 16, 2015. 2. Ibid. 3. Ibid. 4. “Making Modernity: A Gallery Preview | Chemical Heritage Foundation.” Making Modernity: A Gallery Preview | Chemical Heritage Foundation. Accessed September 16, 2015. 5. Interview with chaning exhibits curator 6. “Making Modernity: A Gallery Preview | Chemical Heritage Foundation.” Making Modernity: A Gallery Preview | Chemical Heritage Foundation. Accessed September 16, 2015. 7. Interview with chaning exhibits curator

Images

Figure 1 Figure 2 http://technical.ly/philly/wp-content/uploads/sites/2/2015/06/8267602001_df5e0ecc8d_k-e1434475997869.jpg Figure 3 http://d2nvi0bvnbu529.cloudfront.net/system/images/W1siZiIsIjIwMTIvMDEvMDYvMDZfMzBfMDlfODI4X2NoZl9lbnRyeS5qcGciXSxbInAiL CJ0aHVtYiIsIjYyMHg+Il1d/chf-entry.jpg Figure 4 Google Earth Figure 5 https://upload.wikimedia.org/wikipedia/commons/c/c4/CHF_P1000361_Chemical_Heritage_Foundation_Exterior.jpg Figure 6 http://www.geekadelphia.com/wp-content/uploads/2015/07/IMG_3393.jpg Figure 7 http://sci-america.org/site/wp-content/uploads/2013/06/Exterior-from-Park_-Tom-Crane-2001.jpg Figure 8 http://northeaststoragesolutions.spacesaver.com/wp-content/uploads/2015/07/library-storage-systems-at-chemical-heritagefoundation.jpg Figure 9 ”http://www.mardixon.com/wordpress/wp-content/uploads/2013/04/photo-2-1.jpg Figure 10 http://www.jacobswyper.com/sg_work/museum-conference-centerchemical-heritage-foundation/ Figure 11 http://www.jacobswyper.com/sg_work/museum-conference-centerchemical-heritage-foundation/ Figure 12 http://www.jacobswyper.com/sg_work/museum-conference-centerchemical-heritage-foundation/ Figure 13 Caitlin Neal’s Galaxy s6 Figure 14 Caitlin Neal’s Galaxy s6 Figure 15 Caitlin Neal’s Galaxy s6 Figure 16 http://files.idssasp.com/public/C58/0172c6ab-e2e1-4393-84c5-f6f2aca4df3e/aea4d66b-594d-4c84-86ad-e67643ca7ff5.JPG Figure 17 http://www.raany.com/media/uploads/making_modernity/2008av40.406-1.jpg Figure 18. https://c4.staticflickr.com/4/3144/2924258885_7feb1f33f7_b.jpg

SECTION

3.2

THE FRANKLIN INSTITUTE

Figure 1 The Franklin Institute

Overview

Fig Figure 2 The Franklin Institute

Overview

The Franklin Institute is one of the

Tuttleman IMAX Theatre. Additionally,

1824 in honor of Benjamin Franklin,

country’s oldest science centers.

The Franklin Institute also operates

America’s first scientist and opened

Located in Philadelphia’s Parkway

the Fels Planetarium, the second

to the public on January 1, 1934,

Museums

structure

oldest planetarium in the Western

becoming one of the first museums

is composed of three levels of

Hemisphere. The museum features

in the nation to offer a hands-

interactive exhibits, adding up to

12 permanent exhibits as well as

on approach to learning about

about 400,000 feet of exhibition

hosts renowned traveling exhibits.

science and the physical world.

space, two auditoriums, and the

The Franklin Institute was founded in

District,

the

Site & Location

The Franklin Institute is located in

some of the cityâ&#x20AC;&#x2122;s most famous

means of

Center City Philadelphia, at the

attractions, such as the Cathedral

such

intersection of 20th Street and the

Basilica of Saints Peter and Paul,

PATCO. The museum also offers a

Benjamin Franklin Parkway. Being

the Academy of Natural Sciences,

parking garage behind the main

located along the Parkway, The

the Rodin Museum, and Eakins

building that is open to public use.

Franklin Institute is neighbors with

Oval. It is reachable through various

public transportation SEPTA,

Amtrak,

and

gure 2

Figure 3

Figure 4 Figure 4 The Franklin Institute

The

Franklin

Client & Users

Institute

expresses

with activities that engage students,

collaborative events, as well as offers

public

education

children, adults, and families. The

a variety of programs for adolescents

by offering hands-on exhibitions

design of the permanent exhibits

within the museum itself, within the

and activities regarding science

are predominantly geared toward

community, and within classrooms

in the physical world. In fact, The

children between the ages of eight

in order to build leadership skills,

Franklin Instituteâ&#x20AC;&#x2122;s mission statement

and thirteen, while the traveling

provide mentorship opportunities,

is defined as, â&#x20AC;&#x153;to inspire a passion

exhibits have the tendency to cater

and open paths to formal education

for learning about science and

to an older audience. The museum

technology.â&#x20AC;? The museum reaches

possesses partnerships with cultural

more than 1 million people each year

organizations that support unique

dedication

Figure 5

science-based

careers.

Figure 5 The Franklin Institute

Figure 6 The Franklin Institute

Design Concept The Franklin Institute’s 400,000 square foot museum is housed in a Greek Revival style structure. The museum’s façade is composed of Greek temple characteristics such as six Ironic order columns that stand in front of a recessed portico that support its entablature and pediment that marks the entrance. The spaces between these columns are often utilized for signage opportunities such as hanging banners marketing new exhibitions.

The building is constructed of white Indiana limestone, emphasizing its Greek Revival architecture. The symmetrical structure also possesses a roof balustrade with a series of large square-latticed windows evenly spaced along the façade. In June 2014, The Franklin Institute opened its new 53,000 square foot wing: The Nicholas and Athena Karabots Pavilion. This new addition includes a conference center, a climate-controlled travelling

exhibition gallery, and the permanent exhibit Your Brain. The addition was designed by SaylorGregg Architects and has received LEED certification at the Silver Level. The building is comprised of the same Indiana limestone as the original structure and features modern sustainable features such as a raingarden to mitigate storm-water drainage and a dramatic Shimmer Wall which is designed to mirror the sky.

Figure 7 The Franklin Institute

The museumâ&#x20AC;&#x2122;s first floor is accessible by both the student entrance and the business entrance, which is handicap accessible. The Franklin Theater, Planetarium, Group Lunchrooms, and Education center are located on this level, as well as exhibits such as Space Command and The Train Factory and the KidScience center which is designated for children eight years and younger. The elevators which access all floors are located adjacent to themain lobby area,

Floor Plans

while the main staircase that features a large swinging pendulum is within the Space Command exhibit. The second floor is accessible by the main entrance. Upon entering the museum a visitor is immediately in the presence of the Franklin Memorial statue. This area is a public space that does not require ticketing admission to view. Adjacent to the Franklin Memorial are various exhibition spaces as well as the food court, all of which require museum tickets for admission. Beyond the

Franklin Memorial is the main Atrium which provides access to the parking garage, the IMAX theater, Sci-Store, and ticket venue. Various exhibits stem off of this atrium space, as well as a ramp that connects to the third floor and a ramp to the Special Exhibitions entrance. The third floor is comprised of the least amount of public exhibitions as well as the IMAX accessible entrance and exit. The third floor can be accessed via elevator, the pendulum stairs, or the central atrium ramp.

Figure 8 The Franklin Institute

Interior Design Circulation and Wayfinding

the connecting floorâ&#x20AC;&#x2122;s exhibits. The

Giant Heart exhibit, various shades

pendulum stair is the main vertical

of red and yellows are implemented,

presented through signage. Signs

connection between the floors. The

while

are located at critical points in

museum holds a series of elevators

exhibit dark tones of blue, purple,

circulation, such as the entrance

but only select elevators connect

and gray are prominent. In exhibits

of a room, stairways, ramps, and

through each floor, while others

such as Your Brain, designers used

elevators. Each sign displays a

can only access specific floors.

color to enhance the visitorâ&#x20AC;&#x2122;s journey

Wayfinding

for

the

museum

list of the exhibits on that specific

the

Space

Command

through the exhibit. The color palette

floor accompanied by an arrow

Color

in Your Brain begins with light grays

that points in the direction of each

The color palette for the exhibition

and yellows and then fades into

individual

Additionally,

spaces varies. The colors will often

deeper tones of blue, green and

when placed at points of vertical

coincide with the subject matter of

purple, signifying that the further in

circulation, these signs will also list

each exhibition. For example, in the

the exhibition you walk, the deeper

exhibit.

Figure 9 The Franklin Institute

Figure 10 The Franklin Institute

Figure 11 The Franklin Institute you are exploring inside the brain.

Being a museum with a young

hard surface applications. When

audience, the exhibit designers

heated, corian can be shaped

Graphic design also plays an

need

materials

and molded into limitless forms;

important

exhibits.

that are going to be durable to

however, excessive heat can cause

Exhibition designers work closely

withstand the everyday interactive

damage. The material is susceptible

with their graphic design team

with children as well as easily

to scratches, but can be easily

member in order to aid in the

maintainable

museum

repaired, making corian ideal for

presentation

informational

maintenance staff. For surfaces

the museumâ&#x20AC;&#x2122;s interactive program.

material. This is predominantly seen

such as table tops, corian is often

through bold graphic images on

used. Corian is a non-porous,

the walls behind displays. Materials

stain resistant material used for

role

the

implement

for

the

Materials Being

such

Heart exhibit. While constructing a

large

details untouched and displayed.

building,

the exhibit, the structureâ&#x20AC;&#x2122;s original

acoustic is a significant portion of

architectural details that had been

Lighting

the design process. To control sound

previously hidden were exposed.

Lighting

in the exhibits designers opt to use

Rather than re-hide these ornate

throughout

carpeting over hard floor surfaces.

details to install acoustic ceiling tiles,

exhibits, designers often use LED lights

Additionally, banners may be hung

the design team chose to install

to create theatrical lighting effects.

to also aid in noise absorption. An

an acoustical drop ceiling. This

Lights are attached to a track that

ideal example for how the exhibit

feature uses very thick acoustical

allow them to be shifted in order

designers designed for noise level

padding

to accommodate any changes

control would be in the Giant

sound, leaving the architectural

order

absorb

relatively the

additions

standard

museum.

the

Within

exhibitions.

Figure 12 The Franklin Institute

Furniture, Fixtures, & Equipment

to interact with these designs and

Methods of displaying information

The equipment used in the exhibits

are then given a survey regarding

widely varies between exhibits. In

are designed while designing the

the positives and negatives of

some cases, artifacts such as real

exhibits themselves. Included in the

each design. These observations

human brain samples in the Your

design team are industrial designers

and surveys then become the

Brain exhibit are placed within glass

that build and fabricate interactive

factors behind any alterations that

cases, and other artifacts such as

objects for visitors. These designs

need to be made by the industrial

a real meteor sample in the Space

will go through a series of test

designers to their original design

Command exhibit are placed on

stages in which children are invited

before it is placed in its exhibit.

pedestals, open for the public to

Figure 13 The Franklin Institute

Figure 14 The Franklin Institute feel and experience more intimately.

The

integration

technology

opportunities such as performing a

These pedestals, viewing tables, and

plays a large role in the museumâ&#x20AC;&#x2122;s

CAT scan and seeing real brain scan

other methods of artifact display

exhibition design. Some of the most

images, driving a car to understand

are designed to accommodate

impressive examples of the use of

the myth of multitasking, and an

each exhibit specifically. Therefore,

technology can be found in the

interactive climbing exhibit featuring

you will not find a display table

Your Brain exhibit. Upon entering the

intense LED lighting simulates sparks

used in the Giant Heart exhibit also

exhibit, a visitor is greeted by a large

between brain synapses while an

being used in the Electricity exhibit.

display wall that allows a user to view

interpretation of how your brain

their own bodyâ&#x20AC;&#x2122;s nervous system.

hears sound plays in the background.

Additionally, the exhibition provides

Figure 15 The Franklin Institute

Upon

Post-Occupancy Survey lead

make designing difficult in terms

possible. The square footage of

exhibition designer for The Franklin

of space planning and the types

a space itself can also become

Institute, some issues regarding

of interactive exhibits that can be

an issue. In general, an exhibit

the structure of the building were

utilized. Designers wish to refrain

usually possess 5,000 square feet

addressed. Keeping the original

from inserting display boards of

of space. Occasionally, walls in

structure of the building intact

information a long a wall with

inconvenient places, or exposed

is important within the design

no additional three dimensional

mechanical systems can become

process.

display, such as in the Space

nuisances for the design team. For

can

Command exhibit, as much as

example, located on the far end

specific

interviewing

However, exhibition

the

shapes rooms

Figure 16 The Franklin Institute

of the Amazing Machines exhibition

the wall to insert a display case.

is a load bearing structural wall in

replaced,

touch

screens

cease

responding to a personâ&#x20AC;&#x2122;s touch,

the center of the room. Due to its

Because

structural properties, this wall was not

rely

able to be removed. The solution the

integration,

design team implemented was to

and maintenance of these systems

use this wall as a means of directing

is crucial to the success of the

circulation through the exhibition,

exhibits.

even cutting through a piece of

processing systems need to be

the heavily

museum on

constant

Over

time,

exhibits

and large wall displays may shut

technology

down. These are all issues that can

updating

result in expensive replacements.

outdated

Program

COLOR

ROOM Franklin Theater Space Command KidScience Group Dining Harcourt Classroom Planetarium Train Factory Franklin Memorial Your Brain Franklin Foodwooks Sci-Store Amazing Machine IMAX Theater Atrium Franklin Air Show Electricity Changing Earth Key Hall Giant Heart Demonstration Theater Special Exhibits Sport Zone Sir Issacâ&#x20AC;&#x2122;s Loft Sky Bike

SQFT. 560 1000 760 660 650 4000 760 4400 7000 4000 4600 3000 4700 5100 4100 2700 3000 1700 4800 2100 6000 2560 3760 -

Figure 17 The Franklin Institute

Citations 1. “The Franklin Institute.” Mission & History. 2.“The Franklin Institute.” Directions & Parking. 3. “The Franklin Institute.” Mission & History. 4. “The Franklin Institute.” Mission & History. 5. “Science and Art.” Nicholas and Athena Karabots Pavillion. 6. Interview Images 1. http://luckeyclimbers.com/wp-content/uploads/2014/07/franklin_2.jpg 2. http://www.visitphilly.com/resize/587x391/98/r/http/c0468732.cdn. cloudfiles.rackspacecloud.com/franklin-institute-philadelphia-2-600.jpg http://www.myinsightmag.com/wp-content/uploads/2013/06/The-Franklin-Institute-610x250.jpg 3. Google Earth 4. http://www.blooloop.com/userfiles/article/.hero/5422957570b21-traversing-the-human-heart-at-the-franklin-institute.jpg 5. https://www.fi.edu/sites/default/files/styles/hero_large/public/images/ exhibit/hero/Hero_Exhibit_BloomObservatory_2.jpg?itok=KCTIQ6xK 6. https://cinematicfrontier.files.wordpress.com/2012/09/dscn7317.jpg 7. http://si.wsj.net/public/resources/images/PJ-BV410_ brain1_P_20140617163757.jpg 8. Caitlin Neal’s Galaxy S6 9. Ibid. 10. Ibid. 11. https://www.artguildinc.com/2015/wp-content/uploads/2015/10/TheFranklin-Institute-2.jpg 12. http://media.nj.com/indulge/photo/franklin-institute-7jpg5cd44972c4cd3c41.jpg 13. https://c1.staticflickr.com/9/8065/8213716563_17d3a1c49c_b.jpg 14. http://static01.nyt.com/images/2014/06/13/arts/design/20140613PHILLY-slide-ZWNA/20140613-PHILLY-slide-ZWNA-jumbo.jpg 15. https://upload.wikimedia.org/wikipedia/commons/e/e5/Interior_ view,_Franklin_Institute_-_DSC06614.JPG 16. http://www.artguildinc.com/2015/wp-content/uploads/2015/10/TheFranklin-Institute-11.jpg 17. https://www.artguildinc.com/2015/wp-content/uploads/2015/10/TheFranklin-Institute-3.jpg

SECTION

3.3

THE GRIFFITH OBSERVATORY

Figure 1 TheFigure Griffith1Observatory

Figure 2 The Griffith Observatory

Overview Griffith Observatory is one of Los

Observatory is one of the most

and expansion in January 2002,

Angeles’

attractions.

popular tourist destinations in the

reopening

Located in Griffith Park on the south-

United States and the most-visited

This extensive $93 million project

facing side of Mount Hollywood

public observatory in the world.2

updated

1,134 feet above sea level, the

The Observatory is open late every

Observatory’s interior while retaining

Observatory

from

evening, offering free-admission, as

its art deco exterior. Amongst the

Downtown Los Angeles to the Pacific

designated by the will of Griffith J.

additions included an underground

Ocean.1 Since its opening in 1935,

Griffith, funder of the Observatory’s

expansion,

the

land

The

planetarium dome, new exhibits,

over 76 million visitors. Being a hybrid

building functioned as an informal

a café, gift shop, and the Leonard

of public observatory, planetarium,

education facility from its opening

Nimoy

and

in 1935 until closed for a renovation

greatest

offers

Observatory

exhibition

has

views

welcomed

space,

Griffith

and

construction.

in and

November enhanced

replacement

Event

2006.

Horizon

the

Theater.3

Figure 3 The Griffith Observatory

Site & Location Griffith Observatory is located within

an expansive public park. Since

incredible views of Downtown Los

Griffith

Griffith’s original donation, further

Angeles and the Hollywood Sign.

owned park in the United States.

donations of land, as well as City

Additionally, this position is ideal for

Spanning over 4,200 acres of land,

purchases

the

the usage of any of the Observatory’s

it is one of North America’s largest

Park. Today, Griffith Park’s 4,210

solar telescopes to observe the

urban parks.

Welsh immigrant and

acres of land is home for numerous

sun, sunspots, and solar flares.6

real estate owner Griffith J. Griffith

recreational attractions for families,

acquired the Spanish land grant

educational and cultural institutions,

of Rancho Los Felis. In 1896, Griffith

and miles of hiking and horseback

donated 3,015 acres of the ranch’s

riding trails.6 Due to its position on the

land to the City of Los Angeles,

Santa Monica Mountain range, on

designated

a clear day the Observatory boasts

Park,

largest

municipally 4

for

the

creation

have

expanded

Figure 4 The Griffith Observatory

Design Concept The design of Griffith Observatory

elements. The Art Déco movement

to be composed of terra cotta;

was developed by architects John

was fueled by the machine age,

however,

C. Austin, who is also the designer

representing

persuaded

of Los Angeles City Hall and the

and the rise of technology. The

to strengthen and thicken the

Shrine Auditorium, and Frederick M.

exterior

building’s concrete walls.7

Ashley, most notably the designer

structure is adorned with geometric

Great Depression was a significant

of the Los Angeles Public Library

design details such as trapezoidal,

factor in the construction of the

Memorial Branch. The Observatory

zigzagged, and triangular shapes,

Observatory.

is rooted in the Art Deco style, fused

and chevron patterns. (Figure 4)

prices were dramatically dropped,

with Greek Revival and Beaux Arts

Originally, the exterior was planned

enabling the selection of 4 fine Figure

scientific the

progress

Observatory’s

1933

major

earthquake

Building

architects The

material

materials for the interior walls, floors,

restoration were Brenda Levin and

of a new dome, star projector,

and finishes. One of the most elegant

Stephen Johnson, both of whom

seating, and sound system, (3.)

features of the Observatory’s design

possessed

the expansion of public space to

is that the architecture reflects the

credentials.

guided

improve visitor experience, which

building’s

housed

the planning for the project: (1.) a

was achieved through excavation

planetarium and observation towers

renovation of all elements of the

and construction under the front

are

pure

existing building, returning the iconic

lawn and west terrace, a multi-level

copper roof cladding. (Figure 5)

building to its original grandeur, (2.)

exhibit gallery, a 200-seat theater,

By the early the 2000s, the building

the development and renovation

a café, and bookstore, and (4.) the

was in need of a renovation. The

development of 60 new exhibitions. 8

chosen

the

this

function.

emphasized

architects

substantial

The

their

oversee

renovation

and

the

impressive Four

restoration

goals

planetarium,

enhancing

planetarium’s

physical

environment through the additions

Figure 5 The Griffith Observatory

Figure 6 The Griffith Observatory

Interior Design

The designers of Griffith Observatory

astrological myths. Above each door

most attractive features of Griffith

emphasized the Art Deco style

of the Rotunda are painted panels

Observatory is free public telescope

of the exterior through the use of

featuring

historic

viewing. 7.5 million people have

elegant materials on the interior

figures throughout the development

looked through the Observatory’s

such as bronze metalwork, marble

of the sciences. (Figure 6) The

Zeiss 12-inch refracting telescope,

flooring, travertine walls, and wood.

two levels of the Observatory are

more than any other telescope

Upon

Observatory,

divided into numerous wings, each

on Earth.6

visitors are guided into the Central

featuring their own category of

emphasizes

Rotunda featuring a ceiling mural

Astronomy, such as moon phases,

mission:

“Griffith

by Hugo Ballin. This specific mural

an illuminated periodic table of

inspires

everyone

depicts

representation

elements containing actual samples

ponder and understand the sky.”

incorporating

of each element, and the scale

various ancient Greek and Roman

models of planets. One of the

entering

“the

the

Ballin’s heavens,”

monumental

Such public interaction the

Observatory’s Observatory to

observe, 9

Figure 7 The Griffith Observatory

Evaluation Griffith Observatory possesses

exterior walls with a main central

a monumental presence on

display area. These smaller exhibits

the south-facing side of Mount

are then arranged according to

Hollywood in downtown Los

overall topics. Ultimately, I believe

Angeles. Architecturally, the

that Griffith Observatory boasts

exterior of the building is extensively

a successful integration of the

ornamented in art deco design

history of the building itself with the

that extends into the interior

technological upgrades on the

through the application of painted

interior and provides organized, well

murals and elegant materials. The

planned exhibition spaces.

exhibits are planned in a functional manner, being organized along the

Program

COLOR

SPACE

SQFT COLOR

SPACE

SQFT

Planetarium

6000

Astronomerâ&#x20AC;&#x2122;s Monument

Observation Terrace

2220

Day & Night

160

Observing in Calif.

855

West Alcoves

430

Beyond the Visible

350

Moon Phases

160

Extending the Eye

625

Tides

170

Using the Sky

370

Sun & Stars Paths

200

Tesla Coil

200

Seasons

200

Camera Obscura

200

Solar Telescopes

420

Restrooms

380

Eclipses

200

Central Rotunda

1000

Our Sun is a Star

315

Ticketing

200

Elements

280

Information

200

The Active Sun

320

Lawn Display

680

Sunset & Moonset Lines

1600

COLOR

SPACE

SQFT COLOR

SPACE

SQFT

Center of Gravity

Our Earth

Wormhole Stairway

700

Star Patterns

Cosmic Connection

2000

The Planets

Education Center

850

Milky Way Galaxy

Our Moon

Iconic Universe

Cosmic News

Our Address

Event Horizon Theater

3000

Information

Depth of Space

Cloud Chamber

Restrooms

530

Spark Chamber

The Big Picture

Pieces of the Sky

Other Worlds & Stars

Cafe

2620

Albert Einstein

Ticketing

1150

Our Solar System

Gift Shop

1350

Figure 8 The Griffith Observatory

Citations 1. “Griffith Observatory.” - About 2. Ibid. 3. “Renewing a World-class Institution: The Renovation and Expansion of Griffith Observatory.” Griffith Observatory. 4. ”Griffith Park.” Griffith Observatory. 5. ”The Guide to L.A.’s Griffith Park.” Discover Los Angeles. 6. ”Griffith Park.” Griffith Observatory. 7. LeBlanc, Rena. “Hollywood’s Enduring Superstar - The Griffith Observatory.” Discover Hollywood - Hollywood’s Enduring Superstar - The Griffith Observatory. w 8. ”A HISTORY OF GRIFFITH OBSERVATORY.” Griffith Observatory 9. “Renewing a World-class Institution: The Renovation and Expansion of Griffith Observatory.” Griffith Observatory. 10.“Griffith Observatory.” - About 11. Ibid. Images Figure 1. https://images.trvl-media.com/media/content/ shared/images/travelguides/destination/178280/GriffithObservatory-20400.jpg Figure 2. http://dtfjihky7xwic.cloudfront.net/sites/default/files/ styles/article_image/public/media/Culture/Museums/griffithobservatory-night.jpg?itok=kYka_Mfu Figure 3. http://www.griffithobservatory.org/exhibits/ halloftheeye.html Figure 4. http://www.pfeifferpartners.com/projects. php?category=5 Figure 5. http://anecdotalgoat.com/2013/02/14/art-deco-meetsscience-at-the-griffith-observatory/ Figure 6. http://www.pfeifferpartners.com/projects. php?category=5 Figure 7. http://www.griffithobservatory.org/exhibits/ guntherdepthsofspace.html Figure 8. http://griffithobservatory.org/exhibits/exhibitsimages/ our_moon2.jpg

SECTION

3.4

THE ADLER PLANETARIUM

Figure 1 The Adler Planetarium Figure 1

Figure 2 The Adler Planetarium

The

Adler

Planetarium

museum includes three theaters,

main building that increased the

Astronomy Museum is a museum

space

museum’s

user-friendliness

dedicated to the study of astronomy

one of the world’s most complete

provided

additional

and

astronomical instrument collections

space.

1930 by businessman Max Adler,

on display. Additionally, the Adler

mission as, “to inspire exploration

the Adler Planetarium holds the

Planetarium

the

and understanding of our Universe,”

title of America’s first planetarium

Doane Observatory, one the only

providing an engaging museum

and

National

public urban observatories that is

for diverse audiences, promoting

Historic Landmark in 1987. Home

also research-active. In the 1990s,

excitement

to just over 145,000 square feet of

the Adler Planetarium acquired a

space

exhibits and research quarters, the

modern addition to the vintage

astrophysics.

was

declared

Founded

and

Overview science

also

exhibitions,

advertises

and

The

museum

and

science

and

exhibition defines

curiosity

its

about

exploration.1

Figure 3

Site & Location

The Adler Planetarium is located

as the first inland aquarium with a

notable

along the shore of Lake Michigan on

permanent saltwater fish collection ,

the Campus also features Soldier

the northeast tip of Northerly Island,

The Field Museum of Natural History,

Field, home of the National Football

Chicago, Illinois. It is resting on

holding a status of being a premier

League’s Chicago Bears. There are

the far end of Chicago’s Museum

natural

through

currently proposals to expand the

Campus. The Museum Campus is

its size, educational quality, and

Museum Campus by adding both

a 57-acre museum park located

extensive

the Lucas Museum of Narrative

along Lake Michigan. It surrounds

collections ,

Adler

Art as well as the Barack Obama

three of Chicago’s most popular

Planetarium. The Museum Campus

Presidential library and Museum.

museums: the Shedd Aquarium,

provides

an indoor public aquarium noted

friendly vicinity for the city’s most

history

museum

scientific 4

and scenic,

specimen The

pedestrian-

museums.

Additionally,

Figure 4 The Adler Planetarium

Design Concept

The Adler Planetarium was designed

unusual configuration. The building

(Figure 5) The crowning dome is

by architect, and cousin of Max Adler,

is in a dodecagon shapeâ&#x20AC;&#x201D;one side

formed from copper, while the front

Ernest A. Grunsfeld, Jr. The museum

for each sign of the zodiac. In fact,

doors are composed of bronze

is representative of the Art Deco

the exterior of the original building

and nickel with beveled glass. At

architectural design style, boasting

features twelve bronze plaques of

sunset, the sun shines through the

symmetry, geometrical shapes, and

Chicago-based sculptor Alphonso

beveled glass, refracting the rays

use of metals. (Figure 4) Formed

Iannelliâ&#x20AC;&#x2122;s

and creating a rainbow-like effect

from St. Cloud (Minnesota) Rainbow

of the mythological figures that

in the Main Lobby.5

Granite, the structure is unique in its

represent the zodiac constellations.

sits upon a terrace that is several

modern

representations

The building

Figure 4

feet above ground level. However,

match perfectly. The Pavilion was

four new exhibition galleries, and

from the sidewalk to the top of

a 200 seat restaurant featuring

the dome, the structure measures

Chicago. The $30 million addition

impressive skyline views.7 (Figure 6)

just

wraps around the original building

under

90-feet

height.6

and is partially underground. It The museum has undergone a series

expansions

includes a new planetarium theater,

throughout

its operation. In 1972 a $4 million underground facility was added to the museum and in 1977, the Doane Observatory was opened. In 1999 the Adler Planetarium acquired the Sky Pavilion, a 60,000-square foot structure that is composed of glass and steal. The granite used for the construction of the Sky Pavilion was

obtained

from

the

same

stone quarry in Minnesota as the original building, allowing them to

Figure 5

Figure 6 The Adler Planetarium

Figur

Interior Design

88 The

Adler

Planetarium’s

interior

that serves as a gathering area as

the LED lighting system while also

highlights technological innovation

well as a pre-show experience that

allowing

in its exhibit galleries. One exhibit

optimizes the museum’s Sky Theater.

projections.

Family

Using aluminum tubing and polyester

prime example of the museum’s

Welcome Gallery, takes creative

fabric, walls are constructed in

integration of technology is the

and innovative design ideas, such as

organic forms creating a dramatic

exhibit: The Universe: A Walk Through

the use of abstract materials, in order

and impactful interior space. The

Space

to create a multifunctional space

smooth, white fabric chosen reflects

curators make a distinct effort to

particular,

the

Clark

for 8

and

mixed-media

video

(Figure 7) Another

Time.

The

exhibit

Figure 7 The Adler Planetarium

Figure 8 The Adler Planetarium make the exhibit interactive, taking

their surroundings, light pulsations

in alliance with Oxford University that

the visitor on both a physical and

combined with sound, interactive

is run via the Internet to invite the

psychological journey through the

floor and wall projections, and

general population to participate in

history of the universe. The space

several wall displays.9 (Figure 8) One

intergalactic research and analysis.10

available for the exhibition was

of the greatest successes of the

smaller in size, therefore, to achieve

design of the museum is its integration

the concept of being removed

of actively researching scientists with

Earth the senses are manipulated

the public. Astronomers give regular

using the soft surfaces of fabric, light,

talks in the lower-level labs. On the

and sound. Throughout the journey

same level, an office for the staff of

visitors will experience changes in

the Zooniverse project, a public effort

Figur

Figure 9 The Adler Planetarium

Evaluation The

Adler

Planetarium

exhibit itself, rather the entire space

on the exterior. Upon approach to

fully

becomes a part of the exhibition.

the museum, visitors are greeted

their

Full halls are utilized and designed

by the adorned historic structure

experience through the museum.

to create a journey through the

that is surrounded by a modern

It has achieved creating exhibits

history of astronomy. By doing

glass structure. By constructing a

that

so,

futuristic addition to the original

excellent

example

engaging

visitors

entices

visitors

of in

while

not

visitors

are

subconsciously

overwhelming them. The museum

being pushed through from one

art

has fully embraced advancements

exhibit to the next, enforcing

powerful visual statement about

in technology that strengthens

horizontal circulation throughout

the mission of the museum, as

the exhibition spaces including,

the museum. A prime example of

well as what visitors can expect

detailed

effect

this is the Welcome Gallery. The

to encounter on the interior. The

lighting, and innovative building

innovative materials molded into

Adler Planetarium has displayed

materials, making the exhibits are

organic forms creates a dramatic

bold

both exciting and extreme. Exhibit

yet beautiful multipurpose space.

decisions for their exhibitions that

design is not restricted to just the

This innovation can also be viewed

are desirable for my own project.

graphics,

LED

deco

yet

building

creates

functional

design

Figure 10 The Adler Planetarium

Program

COLOR

SPACE

SQFT

Done Observatory

COLOR

SPACE

SQFT

Restrooms

280

Our Solar System

1770

Vending/Lockers

520

Cafe Galileoâ&#x20AC;&#x2122;s

1720

Classrooms

350

Skywatchers Terrace

720

The Universe

1220

Welcome Gallery

1100

Space Visualization

300

Ticketing

390

Telescopes

2000

Rainbow Lobby

330

Astronomy in Culture

2000

Gemini XII

325

Star Theater

3200

Shoot For the Moon

520

Star Exhibit

1060

Planet Explorers

2200

Cyberspace Classroom

250

X-Lab

150

Atwood Sphere

530

Adler Store

775

Space Theater

530

Sky Theater

1685

Figure 11 The Adler Planetarium

Citations

1. “Adler Mission.” Adler Planetarium. Web. 2. “City of Chicago, Chicago Park District Break Ground on New Wheel-Friendly Area in Grant Park.” Grant Park. Web. 3. “History & Architecture.” History & Architecture. Web 4. “History.” The Field Museum. 23 Feb. 2011. Web. 5. “FAQ.” Adler Planetarium. Web 6. Ibid. 7. “Adler History.” Adler Planetarium. Web 8. ”Welcome Gallery / Thomas Roszak Architecture.” ArchDaily. 28 Feb. 2012. Web. 9. “The Universe: A Walk Through Space and Time.” Architect. Web. 10. Ibid. Images Figure 1. https://writescience.files.wordpress.com/2013/07/ skypavilion.jpg Figure 2. https://tripplanningtips.wordpress.com/author/ annasmith00/g/exhibits/halloftheeye.html Figure 3. Google Earth Figure 4. http://www.adlerplanetarium.org/faq/ Figure 5. http://mintaka.sdsu.edu/faculty/erics/web/arcchicago.html Figure 6.http://dn.educationaltravel.com/wp-content/ uploads/2012/10/chicago-iStock_000001757735Medium-Adler.jpg Figure 7. http://i.ytimg.com/vi/UQpSdGxBHno/maxresdefault.jpg Figure 8.http://i.ytimg.com/vi/733Fqt95DAA/maxresdefault.jpg Figure 9. http://trulychicago.com/wp-content/uploads/2014/02/ adlerafterdark.jpg Figure 10 http://jrlightingdesign.com/wp-content/uploads/2015/06/4. jpg Figure 11. https://brainandthewind.files.wordpress.com/2015/04/ adler4.jpg

SECTION

ERGONOMICS & TECHNICAL CRITERIA

Figure 1 Messier 81 Galaxy

Furniture & Equipment

98 Exhibitions

most

will include wall displays that are

adults. Full technological integration

museums.

either attached directly or set off

such

Exhibitions provide visual access to

from the wall, floating display cases

equipment, projectors, and monitors

the museumâ&#x20AC;&#x2122;s collections through

throughout the floor plan, and

will be included in order to present

various

interactive

various

people

are

interact

modes

the

way

with

display.

The

modes of display in this museum

exhibitions

designed

for usage by both children and

display

screens,

multimedia

audio

exhibitions.

Generally, science museums are Figure 4

Figure 2

Figure 3 Figure 5

Figure 3 attractive destinations for families

Figure 4 back rests are a successful seating

Figure 5 in order to allow users with mobility

with young children as they are

method

they

impairments use the backs and the

interactive and visually stimulating.

promote social interaction among

arms of the benches to reposition

When considering comfort, both a

adults and are able to be rearranged.

themselves and aid in the actions

childâ&#x20AC;&#x2122;s comfort as well as an adultâ&#x20AC;&#x2122;s

Bench seating that are not located

of sitting down or standing up.1

comfort must be accounted for.

against walls should have backs.

Bench seating with padding and

Stability of these benches is essential

for

museums

Materials

Being a commercial space that will

will deteriorate when in contact

for

be in constant usage by children, the

with acid-releasing materials, such

When choosing the overall materials

materials used in this museum need

as cheap mount board. In order

for

to possess very high durability, flame

to create a safe environment for

that should influence the selection

resistance and abrasion resistance.

collections, using metal for display

process include low maintenance

Additionally,

cases

non-

for

specific

storage

due

its

strong,

the

easy

near

museum

museum,

cleaning,

objects.2

characteristics

low

volatile

and display materials can effect

flammable

using

organic compounds to improve

and

museum

wood that has been sealed with

indoor air quality, impermeability,

corrosion,

some form of sealant to reduce the

materials that will aid in noise

discoloration, and deterioration. For

effect of harmful vapors, and using

reduction, and materials that can

example, all metals are affected by

glass due to its scratch resistance

easily be replaced if damaged.

harmful vapors of wood, and textiles

and gas impermeability are safe

seriously

collections

damage through

characteristics,

use

Figure 7

Figure 8 Figure 6

100

Figure 9 Rietberg Museum

Lighting Lighting design is imperative for

eyes, creating eye fatigue. Museum

visibility

successful museums. Specifications

artifacts possess a high risk of

intensity.4

for

exposure

receiving damage from lighting,

that is excess of the minimum

are based on how much light in

such as photochemical damage

amount of light required to view an

generally required to view that

(fading)

object is causing light damage.

object by the public.3 Proper lighting

damage (structural). Implementing

In addition to light intensity, the

optimizes

proper lighting design that highlights

color of light is also instrumental in

observe the exhibitions displayed

the artifacts will eliminate shadows,

effective museum lighting display.

without requiring straining of the

glare, and reflections to increase

Incandescent and halogen lamps

artifactâ&#x20AC;&#x2122;s

the

light

visitorâ&#x20AC;&#x2122;s

ability

and

photomechanical

without

increasing

light

Any amount of light

have poor color rendering. Under

in museums as it can cause fading

Since museum exhibits are not

these lamps reds and yellows will

and distortion of museum collections

commonly permanently secured,

and

and should therefore be diffused.

lighting needs to be adjustable for

violets will be subdued, altering and

Sources of light will also effect artifact

changing exhibits.7 Fixtures should be

distorting the artifact’s appearance.

appearance.

lamps

replaced or refocused if necessary

Choosing lamps with a balanced

and lamp fixtures may “hotspot”

and should be installed along a

color spectrum that is very close

which will make reading labels a

track system in order to increase

to sunlight is ideal in order to have

difficult task. This can create a high

the ease of lamp repositioning.

successful presentation of an object.

contrast between colors and finishes,

However, direct sunlight is undesired

while also creating severe shadows.

intensified

while

blues

Low-voltage

Figure 10

Figure 11

Figure 12

101

102 Traditionally

being

Sustainable Design

high-energy

to be considered â&#x20AC;&#x153;greenâ&#x20AC;? it must be

design methods such as using eco-

consuming buildings due to the need

addressed on both the exterior and

friendly materials, material reuse,

to maintain stable temperature and

the interior. Simple changes that

solar technology, and rainwater

humidity conditions. Implementing

can be made to an already existing

harvesting should also be considered

various sustainable design methods

structure include swapping old light

during

for this museum is an innovative

fixtures for energy saving fixtures,

characteristic that many museums

upgrading

are eager to achieve by pursuing LEED

and

certifications. In order for a museum

skin.

mechanical

enhancing

the

Additionally,

the

design

process.

systems, buildingâ&#x20AC;&#x2122;s

sustainable

Figure 13

Security

Figure 14

Museum curators, designers, security

security threats before they ever

their tour route, proximity of exhibit

specialists, and fire safety specialists

happen. Some minimum security

objects, and vulnerability of artifacts

should collaborate in the design

standards include proximity of staff

to theft and accidental damage.9

phase of a project in order to predict

to the exhibit area, size of tours and

Improper

Acoustic Control

acoustic

control

can

interacting

with.

103

Carpeting

and

make the most visually attractive

padded acoustic ceiling tiles are

exhibitions

Being

common methods of noise control.

a science museum, this project

Sound-absorbing wall panels and

will require appropriate acoustic

hanging banners are also effective.

methods the

unappealing.

order

excessive

noise

It is most comfortable for a parent to see their children at all times. This requires It is

combat

young

visitors and the exhibits they are

Figure 16

Figure 15

Figure 17

Visual Control

Its most comfortable for a parent

rather than encased. Open display

should be arranged for optimized

to see their children at all times.

objects should be out of armâ&#x20AC;&#x2122;s

viewingâ&#x20AC;&#x201D;small or detailed objects

This requires minimizing the use of

length. This distance is measured

are paced in the front while larger

interior partitions and other visual

from the edge of the object to the

objects

obstructions. Any climbing activities

edge of the proposed barrier. All

should return children near their

object displays must be viewable

starting point while also keeping

by all visitors, including children

them

displayed

and handicapped. Any cases that

artifacts may be openly displayed

display both large and small items

view.

Some

are

placed

behind.10

Wayfinding & Signage

104

Wayfinding should clearly indicate

the full text. This is particularly helpful

to read for both those standing and

the entrances and exits of each

for visitors with reading difficulties and

sitting. Sufficient lighting should be

exhibition. Signs should avoid the

visual impairments. The typefaces

focused on labels while avoiding a

use of complex jargon or technical

used on signs should be clear

glaring effect as well as avoiding a

language.

Rather,

and easily legible. If the signage is

shadow effect from exhibit cases.11

should

provided

information easily

placed a considerable distance

Information

from the visitor, appropriate text

panels should include one or two

sizing to accommodate that viewing

overview sentences in clear, large

distance is essential. Signs should be

print that enable visitors to grasp key

mounted with the natural line of sight

information without having to read

in mind and should be comfortable

understood

English.

Figure 19

Figure 18

Figure 20

Figure 21

105

Figure 23

Figure 22

Figure 24

Figure 25

Figure 26

Universal Design

Universal design aims to enable all

room for two wheelchairs to pass

the hearing-impaired. On the other

members of the public to enjoy the

at all points as well as adequate

hand, descriptive audio coinciding

same experiences. Universal design

wheelchair

When

with the film describes the actions

can also be described as inclusive

pulling up to exhibits, wheelchair

on screen for the visually impaired.12

design, considering children, able

users must be able to guide their

bodied adults, the elderly, and those

feet far enough under the exhibit to

with disabilities. When designing for

reach the interactive elements. Any

wheelchair

film should provide captioning for

accessibility,

provide

turn

space.

106

Figure 27

Figure 30

Figure 28

Figure 31

Figure 29

Figure 32

107

Figure 33

108

Figure 34 Space Center Houston Houston, TX

Citations

Figure 8. Ibid. Figure 9. http://www.erco.com/projects/culture/rietberg-museum-3005/ images/usa-erco-rietberg-museum-solut-1-20.jpg?c=2014-03-28_13-31-22 Figure 10. http://www.licht.de/fileadmin/Publikationen_Downloads/ 1. Lueder, Rani, and Valerie J. Berg Rice. “Designing Products and Places for lichtwissen18_light_museums_galleries.pdf Toddlers to Teens.” Ergonomics for Children. 2008 Figure 11. Ibid. http://jkainc.com/wp-content/uploads/Ergonomics_for_Children.pdf Figure 12. Ibid. 2. Scottish Museums Coucil. “THE EFFECTS OF STORAGE AND DISPLAY Figure 13. http://i.huffpost.com/gen/1871127/images/o-SECURITYMATERIALS ON MUSEUM OBJECTS.” GUARDS-MUSEUM-facebook.jpg http://d1vmz9r13e2j4x.cloudfront.net/NET/misc/00027850.pdf Figure 14. http://www.designboom.com/architecture/kengo-kuma3. Weintraub, Steven. “The Museum Environment: Transforming the Solution into associates-new-taipei-city-museum-of-art/?utm_campaign=Sunday&utm_ a Problem.” Art Preservation Services. 2006. http://www.apsnyc.com/The Museum medium=e-mail&utm_source=subscribers Environment_Transforming the Solution into a Problem_Steven Weintraub.pdf. Figure 15. http://www.britishcouncil.in/sites/default/files/guidelines_for_ 4. ”MUSEUM LIGHTING - PURE AND SIMPLE.” Nouvir Lighting. http://www. museum_display.pdf nouvir.com/pdfs/MuseumLighting.pdf. Figure 16. Ibid. 5. Weintraub, Steven. “The Museum Environment: Transforming the Solution into Figure 17. http://www.gordon-inc.com/acoustics/gallery/gallery. a Problem.” Art Preservation Services. 2006. http://www.apsnyc.com/The Museum aspx?id=212 Environment_Transforming the Solution into a Problem_Steven Weintraub.pdf. Figure 18. http://accessible.si.edu/pdf/Smithsonian%20Guidelines%20 6. ”MUSEUM LIGHTING - PURE AND SIMPLE.” Nouvir Lighting. http://www. for%20accessible%20design.pdf nouvir.com/pdfs/MuseumLighting.pdf. Figure 19. http://www.ada.gov/regs2010/2010ADAStandards/2010ADAsta 7. Lueder, Rani, and Valerie J. Berg Rice. “Designing Products and Places for ndards.htm#c7 Toddlers to Teens.” Ergonomics for Children. 2008 Figure 20. Ibid. http://jkainc.com/wp-content/uploads/Ergonomics_for_Children.pdf Figure 21. Ibid. 8. Jacobson, John W. “From Red Dinosaurs to Green Exhibitions.” National Figure 22.Ibid. Association For Museum Exhibition. 2009.http://name-aam.org/uploads/ Figure 23. Ibid. downloadables/EXH.spg_09/4 EXH_spg09_From Red Dinosaurs to Green Figure 24. Ibid. Exhibitions_Jacobsen.pdf. Figure 25. Ibid. 9. ”Museum Collections Security and Fire Protection.” National Park Service. 2002. Figure 26. Ibid. http://www.cr.nps.gov/museum//publications/MHI/Chapter 9.pdf. Figure 27. Ibid. 10. ”A Practical Guide for Exhibitions.” British Council. http://www.britishcouncil.in/ Figure 28. http://accessible.si.edu/pdf/Smithsonian%20Guidelines%20 sites/default/files/guidelines_for_museum_display.pdf. for%20accessible%20design.pdf 11. ”Smithsonian Guidelines for Accessible Exhibition Design.” Smithsonian Figure 29. Ibid. Accessibility Program. http://accessible.si.edu/pdf/Smithsonian Guidelines for Figure 30. Ibid. accessible design.pdf. Figure 31. http://www.ada.gov/regs2010/2010ADAStandards/2010ADAsta 12. Lueder, Rani, and Valerie J. Berg Rice. “Designing Products and Places for ndards.htm#c7 Toddlers to Teens.” Ergonomics for Children. 2008 Figure 32. Ibid. http://jkainc.com/wp-content/uploads/Ergonomics_for_Children.pdf Figure 33. Ibid. Figure 34.http://www.theflashlist.com/assets/venue/us/tx/gulf/houston/ Images living/act/museum/spacecenterhouston/dallas.html Figure 1. http://www.nasa.gov/mission_pages/spitzer/multimedia/spitzer-20070604. html Figure 2. http://accessible.si.edu/pdf/Smithsonian%20Guidelines%20for%20 accessible%20design.pdf Figure 3. Ibid. Figure 4. http://www.universaldesignstyle.com/ada-focus-benches/ Figure 5. http://accessible.si.edu/pdf/Smithsonian%20Guidelines%20for%20 accessible%20design.pdf Figure 6. https://www.britishmuseum.org/pdf/OP_111%20selection_of_materials_ for_the_storage_or_display_of_museum_objects.pdf Figure 7. Ibid.

109

SECTION

TOPICAL EXPLORATIONS

Figure 1 NGC 6384 Galaxy

112

Figure 2

This

museum

providing

will

focused

information

entertainment adolescent

families

children,

Human Behavior to emerge as hands-on, multisensory

museums connecting with children

and

learning environments that focus on

is to pay special attention to the

with

the interactions of young learners.

importance

imagination.

Providing

specifically

story-telling

between the ages 10-15. Throughout

There are many aspects to consider

presenting

the development of science centers

when

led-theater-based

and museums there has been a

methods of children in museums.

most effective for young children.

heightened interest in understanding

Young children are often excited by

Children will often take these stories

what experiences visitors gain, how

multisensory

interactionsâ&#x20AC;&#x201D;artifacts

and manipulate them to create

visitors

and

that ale able to be closely observed

their own creative stories regarding

what visitors have learned during

and touched. Additionally, they

the

their visit.

Childrenâ&#x20AC;&#x2122;s museums

are drawn to objects that are

and satisfying their imaginations.

specifically have evolved from the

large in scale and are displayed in

Humor is also appreciated amongst

traditional art and science museums

accurate context. A method for

young

consider 1

exhibitions,

analyzing

the

learning

content

stories

and

museum

infacilitator-

program

artifacts,

children.

are

sparking

Occasions

that

113

Figure 3

were specifically funny to them

other adults provide answers to the

adult will interact more directly

will become very memorable and

spontaneous questions from children,

with the child, initiating choices

be easily recalled about their visit.

aiding in their learning processes.

and

When

Parents

Although

museum

may

interacting

with

children

providing may

more also

guidance.4 guide

how

designed with children in mind,

there are sex main roles played by

children will interact with an exhibit.

adults still play a significant role.

adults: player, facilitator, supervisor,

Minimal interaction by the adult will

Very young children are always in

interpreter, student, and co-learner.

encourage the child to continue

the company of an adult. Therefore,

If adults perceive that an exhibit is

playing by their own accord. In

adults play a major role in how

designed for children to interact with

instances

children experience a museum. A

independently then they will remain

principles will result in less exploring

large portion of research regarding

available to the child off to the side

by the child and instead encourage

the interaction of families at museums

and allow the child to explore on

exploration by facilitating questions

focuses on their conversations and

their own. If the exhibit is perceived

and drawing attention to specific

verbal interactions. Parents and

as being more challenging, the

important aspects of an exhibit.5

where

adults

explain

114

Figure 4 British Museum

Proper

lighting

Lighting specialists have developed

its color temperature. This numerical

value is referred to as the lampâ&#x20AC;&#x2122;s

light

correlated color temperature and is

such as the color appearance

measured in degrees Kelvin (K). The

the greatest ease. However, in

color temperature does not refer

addition

light

specific

to how hot the lamp is, rather the

illumination, lamps also possess a

lamps, and the color rendering

relative amount of whiteness a lamp

direct relationship to color. Color is

accuracy of each type of lamp.6

emits when heated in correlation to

desirable the the

viewerâ&#x20AC;&#x2122;s

museums

order

optimize

ability

observe

describe

presented to

Color: Lighting

exhibits

providing

with

sufficient

range

light on

measurements

characteristics

sources,

the

effect

objects

under

not a physical property of objects,

the Kelvin scale. A lamp possessing

rather it is both a physiological and

The appearance of light is defined

a color temperature on the lower

psychological

by the numerical measurement of

end of the scale such as 2600-

reaction

light.

2700K will create a warm light

mix

where as a lamp having a higher

light that influences the colors of

better

color temperature such as 4100-

objects to the human eyes and is

and

5500K will emit a whiter light.

completely independent from the

discrimination.

correlated color temperature of a

art, CRI can have a large impact on

When addressing how light effects

lamp.

The CRI scale is from 0 to

a viewerâ&#x20AC;&#x2122;s perception of the exhibit

the color of objects the color

100 percent indicting how accurate

through its rendering accuracy.9

rendering index (CRI) is implemented.

a specific lamp is at rendering

The

a color when compared to its

CRI

system

considers

the

wavelengths

present

reference. The higher the CRI, the the the

rendering most

capability

accurate

When

color

illuminating

Figure 5 Museum of Science and Industry Chicago, IL

Figure 6

Color: Space Design When looking at the interiors of

Therefore, when visiting a museum

images taken by the Hubble Space

various

there

designated for the education of

Telescope published by NASA of

palette.

astronomy and other related fields,

intergalactic

Commonly these types of museums,

an interior environment using these

as the composition of galaxies,

specifically

specific

supernovae,

science

museums

reoccurring

color

astronomy

and

colors

emphasizes

the

astrophysics museums, use deep

learning experience of the visitorâ&#x20AC;&#x2122;s by

hues of blues, purples, grays, and

visually enhancing the information

reds. This is the typical color scheme

being displayed. Additionally, these

associated with space exploration.

colors can also be associated with

phenomena and

such

nebulae.

115

116

Learning with Interactive Technology

Museums have an important role

passively being addressed by a

learning

in facilitating learning. Educational

teacher, the teacher should facilitate

social

technologies

are

effective learning environments that

used

learning,

for

predominantly

while

also

interaction

promoting

for

children.

science,

promote informal learning activities

Developments in technology have

technology, math, and engineering

that are voluntary, self-motivated,

enhanced the desire of science

(STEM) outside of the classroom.10

and based on personal interests.11

museums

Much of the educational philosophy

Traditional

â&#x20AC;&#x153;hands-onâ&#x20AC;?

behind interactive exhibits originates

constrained by curriculum, time,

permanent and traveling exhibitions.

from the work of philosopher Jean

and lack of resources. Facilities

These exhibits may be mechanical,

Piaget. Piaget argued that learning

such as science centers, natural

electronic,

is a result of direct interaction with

history museums, planetariums, and

and range from simple manipulation

the

aquariums

environments

devices to high-tech manipulation

environment.

Children

learn

classroom

provide

learning

engage experiences

visitors

through

multimedia-based

from actions rather than passive

full

experiences,

of scientific instruments.12 Interactive

observations. Therefore, rather than

physical activity, and reality-based

exhibits are dominant in the field

multisensory

Figure 7 Museum of Science and Industry Chicago, IL

117

Figure 8 Science Center Singapore of physics due to the availability

provide case study scenarios that

leaving them feeling that they now

of direct visitor manipulation of

incorporates the learner directly

understand something more than

physicsâ&#x20AC;&#x2122;

rather than being a mere observer.14

they have previously.15 Interactive

concepts,

but

there

has also been developments of

exhibits must be strategically placed

interactive technology in biology

In order for interactive exhibits to

throughout the museum. Although

and

be successful there are certain

the hands-on approach is enticing

standards

chemistry

interactive

well.13

Types

technologies

they

must

due to its popularity with visitors,

they

must

museums that are integrated into

have

it is important to keep in mind that

exhibits are: multimedia materials

direct and obvious actions and

interactive exhibits do not need to be

such as large scale graphics and

reactions, they must have clear

incorporated into every exhibitionâ&#x20AC;&#x201D;

photographs, video, and sound,

goals whether physical, cognitive,

there are some scenarios where an

presentation

such

or affectionate, they are intuitive

interactive exhibits would simply not

as digital projectors which may or

to use and require minimal label

be appropriate. Interactive exhibits

may not be interactive, simulations

reading, they have open-ended

should be designed to play to the

and models to allow manipulation

outcomes, they are challenging but

strengths of the museum by improving

environments,

not threatening to visitors, and they

understanding of museum objects.16

and microworlds and games to

provide enjoyment for visitors by

real

technologies

world

designed:

which

118

Figure 9 Boston Museum of Science Boston, MA

Citations 1. Jakobsson, Anders, and Eva Davidsson. 2012. Understanding Interactions at Science Centers and Museums : Approaching Sociocultural Perspectives. Rotterdam: Sense Publishers, 2012. eBook Academic Collection (EBSCOhost), EBSCOhost. 2. Munley, Mary Ellen. “Early Learning in Museums.” Smithsonian Institution. April 1, 2012. http://www.si.edu/Content/SEEC/docs/mem literature review early learning in museums final 4 12 2012.pdf. 3. Ibid. 4. Ibid. 5. Ibid. 6. “Introduction | Light Sources and Color | Lighting Answers | NLPIP.” Lighting Research Center. 2004. 7. “Color Rendering Properties of Light Sources.” Solar Power for Ordinary People. June 11, 2013 8. “Light and Color.” Sylvania. 2005. https://assets.sylvania.com/assets/documents/ FAQ0060-0605.89de4345-f5b5-4dc5-96dd-afb34e5697c6.pdf. 9. “What Is Color Rendering Index (CRI)?” Topblub. 10. Sunal, Dennis W. “Impact of Technology on Informal Learning.” In The Impact of the Laboratory and Technology on Learning and Teaching Science K-16. Charlotte, North Carolina: IAP/Information Age Pub., 2008. 11. Jakobsson, Anders, and Eva Davidsson. 2012. Understanding Interactions at Science Centers and Museums : Approaching Sociocultural Perspectives. Rotterdam: Sense Publishers, 2012. eBook Academic Collection (EBSCOhost), EBSCOhost. 12. Sunal, Dennis W. “Impact of Technology on Informal Learning.” In The Impact of the Laboratory and Technology on Learning and Teaching Science K-16. Charlotte, North Carolina: IAP/Information Age Pub., 2008. 13.Ibid. 14. Hawkey, Roy. Learning with Digital Technologies in Museums, Science Centres and Galleries. London, England: NESTA Futurelab, 2004. 15. Jakobsson, Anders, and Eva Davidsson. 2012. Understanding Interactions at Science Centers and Museums : Approaching Sociocultural Perspectives. Rotterdam: Sense Publishers, 2012. eBook Academic Collection (EBSCOhost), EBSCOhost. 16. Ibid.

119 Images Figure 1. http://apod.nasa.gov/apod/ap050112.html Figure 2. http://www.discoversouthken.com/ pages/54b68739-8c31-450f-a473-3fb232af5ce9 Figure 3. http://www.msichicago.org/about-the-museum/ press/exhibits-and-events-information/robot-revolution/ Figure 4. https://en.wikipedia.org/wiki/British_Museum Figure 5. http://www.illuminexlighting.com/why-the-timeis-right-for-energy-efficient-lighting-in-museums/ Figure 6. https://www.expedia.com/Chicago-MuseumOf-Science-And-Industry-Chicago.d6064043.VacationAttraction Figure 7. http://www.inparkmagazine.com/wp-content/ uploads/2014/04/FE.SEGD_.4.jpg Figure 8. http://www.thetech.org/plan-your-visit/galleries Figure 9. https://commons.wikimedia.org/wiki/ File:Boston_Museum_of_Science,_Theater_of_Electricity. jpg

SECTION

EXISTING SITE, CONTEXT, CLIMATE, & ZONING

Figure 1 NGC 3370

122

Figure 2

Philadelphia

Located in the southeastern tip of

a major political and economic

people. The city is culturally diverse

Pennsylvania, Philadelphia is the

center, the city became a major

with 41.8% of the city being Black,

state’s largest city and the fifth

immigration destination for a number

36.2% White, 13.3% Hispanic, 6.7%

largest in the United States. The

of different religions and ethnicities.

Asian, and 0.1% Native American.

city’s size, population, and cultural

As a result, Philadelphia has made a

The city is also ethnically diverse, with

background

Philadelphia

significant amount of contributions

the population having Irish, German,

one of the nation’s major cities. The

to art, music, architecture, and food.

Polish, and English ancestries.

makes

The

School District of Philadelphia is

City of Brotherly Love is a melting pot of races and cultures as well as home

Demographics and Education

the seventh largest in the nation

to some of the earliest historical

In 2014, the estimated population in

landmarks of American history. Being

Philadelphia County was 1,560,297

Roman Catholic Archdiocese of

enrollment.

Additionally,

the

123

Figure 3

Philadelphia oversees one of the

viewed by around 40 million visitors

and

largest parochial school systems in

every year. Visitors who come to

Center, the worldâ&#x20AC;&#x2122;s only museum

the country. There are more than

Philadelphia are often drawn to

dedicated to the U.S. Constitution.

80 institutions in the Philadelphia

Independence National Historical

Other cultural attractions include

region, the highest concentration

Park, also known as the birthplace

The Philadelphia Zoo, The Franklin

of colleges and universities in the

The

Institute, the Philadelphia Museum

nation, offering degrees in disciplines

Liberty Bell Center, Independence

of Art, and Reading Terminal Market.

such as the sciences, medical,

Hall, and the Independence Visitor

business, law, and design.

Center

American

democracy.

welcomes

around

3.5

million visitors each year. Additional City Attractions

historical attractions include The

Philadelphia offers a range of both

Betsy Ross House, which was the

cultural and historical attractions

birthplace of the American flag,

the

National

Constitution

University City

124

In the heart of West Philadelphia is

educational facilities in this area

often

the academic epicenter of University

are

Pennsylvania,

traveling performers. University Cityâ&#x20AC;&#x2122;s

City, named for the six colleges and

Drexel University, and the University

art and cultural organizations are

universities that are located within

of the Sciences in Philadelphia.

some of the fastest-growing in the

its parameters.

Other notable institutions include

region.

constantly

University City is

evolving

the

Childrenâ&#x20AC;&#x2122;s Hospital of Philadelphia,

additions of restaurants, educational

30th Street Station, and Philadelphia

institutions,

Ronald McDonald House.

and

through

University

residences.

The

host

artists,

festivals,

and

Many

neighborhood is easily navigable by

parks are playgrounds are scattered

foot or by bicycle as well as public

throughout the neighborhood as

transportation. The most esteemed

well as performance spaces that

Figure 4

125

Figure 5

Existing Site

The 33rd Street Armory is an event

traffic from university students along

that are utilized by some of Drexel

venue located on Drexel University’s

33rd Street. Immediately adjacent

University’s sports teams. The south

campus. Main entrances to the

to the west of the site is a seven-

end of the building faces a large

Armory

story

that

office building that is significantly

and Cuthbert Street, and along

blocks any views. The north side of

taller in comparison to the Armory.

Lancaster

three-story

the building faces a five-story brick

structure was built in the Classical

facility directly with a green space

Revival

style

featuring

directly beside it. This is the most

façade

and

stone

are

located

Walk.

The

33rd

brick

entablature

educational

aesthetically

building

pleasing

entrance.

and parapet. Due to the building’s

The east end of the building is

location, the site receives heavy foot

adjacent

recreational

fields

Climate

Figure 5

127

Figure 6

Figure 7

Zoning

128

Center City, Commerical Mixed Use

Residential Multi-Family

Institutional

Residential Single-Family Attached

Medium Industrial

Neighborhood, Commercial Mixed Use

Community, Commercial Mixed Use

129

130

Citations 1. ”Philadelphia, Pennsylvania.” (PA) Profile: Population, Maps, Real Estate, Averages, Homes, Statistics, Relocation, Travel, Jobs, Hospitals, Schools, Crime, Moving, Houses, News, Sex Offenders. Web. 16 Dec. 2015. 2.Ibid. 3.Ibid. 4. ”Top 10 Most Visited Attractions In Philadelphia — Visitphilly.com.” Philadelphia. Web. 16 Dec. 2015. 5. ”University City.” District. 23 Aug. 2011. Web. 16 Dec. 2015. 6.Ibid. 7. “Arts and Culture.” University City District. 19 Sept. 2011. Web. 16 Dec. 2015. Images Figure 1 http://apod.nasa.gov/apod/ap130808.html Figure 2. https://www.artguildinc.com/2015/wp-content/uploads/2015/10/TheFranklin-Institute-3.jpg Figure 3 http://eagleeyesynergies.com/wp-content/uploads/2014/04/philadelphia_1. jpg Figure 4 http://www.altruismworldwidellc.com/ uploads/3/8/8/9/38898561/4917970_orig.jpg Figure 5 https://upload.wikimedia.org/wikipedia/en/7/77/The_Drexel_Armory.JPG Figure 6 http://www.usclimatedata.com/climate/philadelphia/pennsylvania/unitedstates/uspa1276 Figure 7 Ibid. Figure 8. http://www.philadelphia.climatemps.com/ Figure 9 http://www.phila.gov/map#id=267b68be93ae4b5b990c5b3823dc11e5 Figure 10 http://imagicdigital.com/wp-content/uploads/2012/08/ CenterCityAerial_024_MarkHenninger.jpg Figure 11. http://drexel.edu/~/media/Images/coresite/backgrounds/Home/spring15-PISB-Bridge-Day-normal.ashx

131

SECTION

PROGRAM DEVELOPMENT & DOCUMENTATION

Figure 1 NGC 5128 Centaurus A

134 SPACE

QUANTITY

Vestibule

SQUARE FOOTAGE 100

Coat Room

200

TOTAL SQUARE FOOTAGE

ADJACENCIES

100

Coat Room, Atrium, Ticket Office, Lobby

200

Vestibule, Atrium, Ticket Office Entry Lobby, Vestibule, Museum Shop, Ticket Office Atrium, Entry Lobby, Vestibule

Atrium

2,500

Ticket Office/ Information Desk

140

Museum Shop

700

Atrium, Ticket Office icket Office, Atrium, Storage

Exhibition Spaces

12,000

Storage

100

300

Service Lobby

200

Service Storage

1000

Cafe

500

Exhibition Spaces, Fabrication Lab Service Storage, Fabrication Lab Service Lobby, Fabrication Lab Seminar Hall, Exhibition Spaces, Planetarium, Public Restrooms

135 DESCRIPTION Entry from street Guests may leave personal belongings inorder to enjoy interactive exhibits empty handed Area providing access of general services to visitors Ticket sales and museum information

PRIVACY (Visual/ Acoustic) -

LIGHTING Natural (Day), Artificial (Night)

Visual

Artificail

Natural (Day), Artificial (Night)

EQUIPMENT/ FURNITURE

FINISHES

Tile

Storage casework, front desk, coat shelving

Carpet Tile

Natural (Day), Artificial (Night)

Musuem Merchandise

Visual, Acoustic

Artificial

Visual and Interactive Exhibits

Visual, Acoustic

Artificial

Exhibit display items are kept Exhibit materials and systems are received Received exhibit materials and systems are kept Families may relax and enjoy food and beverages

Visual, Acoustic

Artificial

Seating, Ticket/Information Desk Desk, casework, file cabinents, cash register Cash register, cash wrap, merchandise casework Benches, interactive exhibits, audio/ display systems Shelving

Visual, Acoustic

Artificial

Loading dock

Poured Concrete

Visual, Acoustic

Artificial

Shelving, cabinents

Poured Concrete

Acoustic

Natural (Day), Artificial (Night)

Tables with seating, cash resgister, cash wrap

Hard Surfaces

Hard Surface Carpet Tile Carpet Tile

Hard Surfaces Tile

136 SPACE

QUANTITY

SQUARE FOOTAGE

TOTAL SQUARE FOOTAGE

ADJACENCIES Private Offices, conference Rooms

Private Restrooms

1200

Public Restrooms

300

1200

Exhibition Spaces, Cafe

Fabrication Lab

900

Service Storage, Storage Storage, Public Restrooms, Private Restrooms Administrative Offices, Private Conference Room

Janitor’s Closet

President’s Office

700

Administrative Offices

600

President’s Office, Private Conference Room

Private Lounge

500

Board Conference Room, Private Restrooms

Private Conference Room

200

President’s Office, Administrative Offices

137 DESCRIPTION

PRIVACY (Visual/ Acoustic)

LIGHTING

EQUIPMENT/ FURNITURE

ADA accessible, staff usage only

Visual, Acoustic

Artificial

ADA accessible

Visual, Acoustic

Artificial

Designers manufactuer museum exhibitions

Visual, Acoustic

Artificial

Visual

Artificial

Shelving, Cabinents

Natural (Day), Artificial (Night) Natural (Day), Artificial (Night) Natural (Day), Artificial (Night)

Desk, credenza, casework, file cabinents, lounge seating Desk, credenza, casework, file cabinents, lounge seating Work tables with stools, lounge seating

Visual, Acoustic

Security, Staff, Exhibit Designers

Visual, Acoustic

Relaxation and collaboration area for museum staff Conference room for small staff meetings

Acoustic

Visual, Acoustic

Natural (Day), Artificial (Night)

Water closets, lavatories, urinals, hand dryers Water closets, lavatories, urinals, hand dryers, baby changing station Tables, stools, computers, fabrication equipment, shelving, cabinents

Conference table with seating, credenza, casework, audio/display system

FINISHES Tile Tile

Poured Concrete

Tile Carpet Tile

Carpet Tile

138 SPACE Board Conference Room

Theater

QUANTITY

1 1

TOTAL SQUARE FOOTAGE

ADJACENCIES

600

Lounge, Private Restrooms

1000

Exhibition Spaces

SQUARE FOOTAGE

KidScience

800

Planetarium

4100

Classrooms

400

800

Seminar Hall

700

Mechanical Rooms

600

Exhibition Spaces, Theater, Planetarium, Classrooms Classrooms, Exhibition Spaces, Theater, KidScience KidScience, Exhibition Spaces, Theater, Planetarium Cafe, Public Restrooms, Classrooms Storage, Exhibition Spaces, Planetarium, Theater

139 PRIVACY (Visual/ Acoustic)

DESCRIPTION Conference room for large formal meetings Short video presentations, auditorium seating Activity area for toddlers and young children Short sky presentations, auditorium seating Gathering area for feild trips and summer science camps Guests may enjoy research presentations, auditorium seating

Visual, Acoustic

Visual, Acoustic Acoustic

LIGHTING

EQUIPMENT/ FURNITURE

Conference table Natural (Day), with seating, Artificial (Night) credenza, casework, audio/ display system Seating, audio/ Artificial display systems Tables, seating, Artificial interactive activities

FINISHES

Carpet Tile

Carpet Tile Carpet Tile

Visual, Acoustic

Artificial

Seating, audio/ display systems

Visual, Acoustic

Artificial

Tables, seating

Carpet Tile

Visual, Acoustic

Artificial

Seating, audio/ display systems

Carpet Tile

Visual, Acoustic

Artificial

Tile

Subtotal

Circulation (30%-40%)

29,400 42,000

Carpet Tile

140

Adjacency Diagram

COLOR

SPACE Entry Restrooms Atrium Exhibition Planetarium Educational Spaces Administration/Support Spaces

141

Figure 1 Museum of Science and Industry Chicago, IL

SECTION

BUILDING ANALYSIS, CODE REGULATIONS, & STANDARDS

Figure 1 M82 Starburst Galaxy with a Superwind

144

Figure 2 Philadelphia Armory

The Philadelphia Armory The Philadelphia Armory was design by Philadelphia architect Philip H. Johnson in 1916. The building was designed in Classical Revival style featuring a stone entablature and parapet.1 There is a 28’-48’ clearance to the trusses, with 48’ at its highest point.2 The structure’s facade is symmetrical, featuring 4 arched windows equally offset from the main entrance. There is a shift from the dominant red brick to a lighter stone at the two central columns that border the main entrance, the lintels above the

window, and surrounding the end corner windows. The interior of the Armory showcases its structural components. Large arched web joists span the width of the building to provide support for the roof without needing to provide a grid of columns running through the center of the space. There is a pattern of arched windows that span the length of the structure on both sides.

145

to the steel joists. Due to the lack of gridded columns, the floor plan is extremely versitile with its functionality.

The floor plan is rectangular in shape with the exterior walls being load bearing, in addition

Figure 3 Philadelphia Armory

Existing Drawings

Existing Section

Existing Plan

Existing Facade

148

Code Evaluation PROJECT DATA Project Name: Philadelphia Museum of Astronomy Address: 32nd & Lancaster Ave., Philadelphia, PA Date of Completion of Original and Additions: Original Completion: 1916 Drexel University Athletic Center: 2008 Number of Stories: One Level Total Gross Sq Ft.: 42,000 sqft (not including basement) BUILDING CODE Zoning Ordinance: I-2 Fire Code: IFC 2012 Building Code & Date: IBC 2012 Energy Code: IEC 2012 FIRE PROTECTION Fire Exit Enclosures: 2 Hours Shafts and Elevator Hoistways: 2 Hours Tenant Space Separations: 2 Hours Smoke Barriers: 30 Minutes Corridor Resistance Rating: MEANS OF EGRESS Sprinklered: Protected/Sprinklered Dead End Limit: 50’-0” Minimum 2 Exits Per Floor

USER GROUP CLASSIFICATION A-3 - Assembly Gross sqft: 39,400 sqft. Sqft/Occupant: 30 NET Number of Occupants: 1297 Minimum Corridor Width: 44” Number of Exits: 4 EXITS Exit Access Travel Distance: 250 ft SANITATION Male/Female WC Male: 2 WC Female: 4 Urinals Male: Lavatories Male: 2 Lavatories Female: 2 Drinking Fountains: 1 B - Business Gross sqft: 2,600 sqft. Sqft/Occupant: 100 gross Number of Occupants: 26 Minimum Corridor Width: 44” Number of Exits: 4 EXITS Exit Access Travel Distance: 250 ft SANITATION Male/Female: WC Male: 1 WC Female: 1 Urinals Male: Lavatories Male: 1 Lavatories Female: 1 Drinking Fountains: 1

149

Figure 4 Philadelphia Armory

150

Figure 5 Philadelphia Armory

Citations 1. “National Historic Landmarks & National Register of Historic Places in Pennsylvania”. CRGIS: Cultural Resources Geographic Information System. “National Register of Historic Places Inventory Nomination Form: 32nd St. and Lancaster Ave. Philadelphia Armory” (PDF). 2. Capstone Building Information PDF Images Figure 1. http://apod.nasa.gov/apod/ap130704.html Figure 2 http://fridayarc.com/drexel-amory/imgarmory_exterior/ Figure 3 http://drexeldragons.com.s3.amazonaws.com/ facilities-_armory1-_yt.jpg Figure 5 https://upload.wikimedia.org/wikipedia/ commons/e/eb/Lancaster_32nd_Armory.JPG

151

SECTION

FINAL PROJECT RESEARCH SUMMARY

Figure 1 NGC 7293 The Helix Nebula

Executive Summary

154

The research conducted over the past several months has provided critical information to the design of a science museum. These types of museums offer an informal learning environment with handson teaching techniques that inspire patrons, especially children, to deeper explore scientific and mathematical phenomena. Through this, science museums have an important impact on the science literacy of the community it serves, influencing public understanding and attitudes towards science and technology. Understanding the past and present design successes, as well as failures, of already established science museums will provide insight for the optimal design of this facility by addressing functionality,

sustainability, materiality, and adjacencies. This museum will be a learning center utilized by all members of the public. Universal design strategies and ADA compliant codes will be implemented and observed in order to create a facility that is equally enjoyable for both the able-bodied and the physically impaired. The exhibits will be displayed using the most innovative design methods through the use of advanced technology and building materials. Inspired by the researched case studies, this science museum will provide an exciting learning environment for patrons of all ages, arousing their minds on the mysteries of our universe.

Astronomy and space exploration is a personal passion of mine. It is a topic that is eye-opening and awe-inspiring to the beauty and power of nature and physics. I strongly believe that it is essential for the general public to understand and be aware of the constant progressions that are being achieved in understanding our place in the universe. The opportunity to marry my passion for astronomy with my passion for interior design is taken with great excitement. I am eager to delve into the design of this facility and to share my two passions with my peers. My overall goal for this project is to present a science museum that excels in its design as well as fully expresses my personality and excitement for astronomy.

A special thank you to the capstone committee: Capstone Research and Programming Fall 2015 Professor: Alex Messinger Capstone Project Advisors: Christy Schneider, Exhibition Projects Manager at The Chemical Heritage Foundation Bradford W. Bartley, Senior Exhibit Designer at The Franklin Institute Capstone Design Spring 2016 Professor: Lauren Baumbach

155

Orion Nebula

Cluster and Starforming Region Westerlund 2

SECTION

BIBLIOGRAPHY & APPENDIX

Figure 1 M83 The Southern Pinwheel

Bibliography

160

Section 1

1. Dean, David. Museum Exhibition: Theory and Practice. London: Routledge, 1994. Print. 2. ”Rittenhouse Astronomical Society.” Rittenhouse Astronomical Society. Web. http://www.rittenhouseastronomicalsociety.org 3. Tan, Su Yin. Meteorological Satellite Systems. N.p.: Springer Science & Business Media, 2013. Print. 4.Wineman, J. D., and J. Peponis. “Constructing Spatial Meaning: Spatial Affordances in Museum Design.” Environment and Behavior 42.1 (2009): 86-109. Web. 5.“2013 Science Center and Museum Statistics.” 2013 Science Center and Museum Statistics The Associate of Science-Technology Centers. 2013. Web. http://www.astc.org/wp-content/uploads/2014/10/2013Science-Center-Statistics.pdf

Section 2

1. Bedini, Silvio A. “The Evolution of Science Museums.” February 2, 2013. Web. Accessed September 8, 2015. 2.Caulton, Tim. “Hands-On Exhibitions: Managing Interactive Museums and Science Centers.” 1998. Web. 3.Koster, Emlyn H. “In Search of Relevance: Science Centers as Innovators in the Evolution of Museums.” Daedalus 128.3 (1999): 277. Biography in Context. Web. 9 4.Manssour, Y. M., H. M. El-Daly, and N. K. Morsi. “The Historical Evolution of Museum Architecture.” The Historical Evolution of Museums Architecture. Web. 5.Pedretti, Erminia. “Critical Conversations and New Directions in Science Centres and Science Museums.” February 7, 2013. Web.

Section 3.1

1.“About the Museum | Chemical Heritage Foundation.” About the Museum | Chemical Heritage Foundation. 2.“Making Modernity: A Gallery Preview | Chemical Heritage Foundation.” Making Modernity: A Gallery Preview | Chemical Heritage Foundation. 3.“Museum and Conference Center” Chemical Heritage Foundation.” SaylorGregg Architects.

Section 3.2

1. “The Franklin Institute.” Mission & History. Web. 2.“The Franklin Institute.” Directions & Parking. Web. 3. “Science and Art.” Nicholas and Athena Karabots Pavillion. Web. https://www.fi.edu/sites/default/files/documents/resources/Nicholas%20and%20Athena%20Karabots%20Pavilion%20 Science%20and%20Art.pdf

Section 3.3

1. “A History of Griffith Observatory.” Griffith Observatory. Web. 2. “Griffith Observatory.” - About. Griffith Observatory. Web. 3. ”Griffith Park.” Griffith Observatory. Web. 4.LeBlanc, Rena. “Hollywood’s Enduring Superstar - The Griffith Observatory.” Discover Hollywood - Hollywood’s Enduring Superstar - The Griffith Observatory. 2011. Web. 5. “Renewing a World-class Institution: The Renovation and Expansion of Griffith Observatory.” Griffith Observatory. Web. 6. ”The Guide to L.A.’s Griffith Park.” Discover Los Angeles. 13 May 2013. Web

Section 3.4

1. “Adler History.” Adler Planetarium. Web 2. “Adler Mission.” Adler Planetarium. Web. 3. “City of Chicago, Chicago Park District Break Ground on New Wheel-Friendly Area in Grant Park.” Grant Park. Web. 4. “FAQ.” Adler Planetarium. Web 5. “History & Architecture.” Adler Planetarium. Web 6. “History.” The Field Museum. 23 Feb. 2011. Web. 7. “The Universe: A Walk Through Space and Time.” Architect. Web. 8. ”Welcome Gallery / Thomas Roszak Architecture.” ArchDaily. 28 Feb. 2012. Web.

Section 4

1. ”A Practical Guide for Exhibitions.” British Council. http://www.britishcouncil.in/sites/default/files/guidelines_for_ museum_display.pdf. 2. Jacobson, John W. “From Red Dinosaurs to Green Exhibitions.” National Association For Museum Exhibition. 2009. http://name-aam.org/uploads/downloadables/EXH.spg_09/4 EXH_spg09_From Red Dinosaurs to Green Exhibitions_ Jacobsen.pdf. 3. Lueder, Rani, and Valerie J. Berg Rice. “Designing Products and Places for Toddlers to Teens.” Ergonomics for Children. 2008 http://jkainc.com/wp-content/uploads/Ergonomics_for_Children.pdf 4. ”Museum Collections Security and Fire Protection.” National Park Service. 2002. http://www.cr.nps.gov/museum// publications/MHI/Chapter 9.pdf. 5. ”Museum Lighting-Pure and Simple” Nouvir Lighting. http://www.nouvir.com/pdfs/MuseumLighting.pdf. 6. Scottish Museums Coucil. “THE EFFECTS OF STORAGE AND DISPLAY MATERIALS ON MUSEUM OBJECTS.” http://d1vmz9r13e2j4x.cloudfront.net/NET/misc/00027850.pdf

161

162

Section 4 continued

7.”Smithsonian Guidelines for Accessible Exhibition Design.” Smithsonian Accessibility Program. http://accessible. si.edu/pdf/Smithsonian Guidelines for accessible design.pdf. 8.Weintraub, Steven. “The Museum Environment: Transforming the Solution into a Problem.” Art Preservation Services. 2006. http://www.apsnyc.com/The Museum Environment_Transforming the Solution into a Problem_Steven Weintraub. pdf.

Section 5

1. “Color Rendering Properties of Light Sources.” Solar Power for Ordinary People. June 11, 2013 2.Hawkey, Roy. Learning with Digital Technologies in Museums, Science Centres and Galleries. London, England: NESTA Futurelab, 2004. 3.“Introduction | Light Sources and Color | Lighting Answers | NLPIP.” Lighting Research Center. 2004. 4. Jakobsson, Anders, and Eva Davidsson. 2012. Understanding Interactions at Science Centers and Museums : Approaching Sociocultural Perspectives. Rotterdam: Sense Publishers, 2012. eBook Academic Collection (EBSCOhost), EBSCOhost. 5. “Light and Color.” Sylvania. 2005. https://assets.sylvania.com/assets/documents/FAQ0060-0605.89de4345-f5b54dc5-96dd-afb34e5697c6.pdf. 6. Munley, Mary Ellen. “Early Learning in Museums.” Smithsonian Institution. April 1, 2012. http://www.si.edu/Content/ SEEC/docs/mem literature review early learning in museums final 4 12 2012.pdf. 7. Sunal, Dennis W. “Impact of Technology on Informal Learning.” In The Impact of the Laboratory and Technology on Learning and Teaching Science K-16. Charlotte, North Carolina: IAP/Information Age Pub., 2008. 8. “What Is Color Rendering Index (CRI)?” Topblub. Web.

Section 6

1. “Arts and Culture.” University City District. 19 Sept. 2011. Web. 2. ”Philadelphia, Pennsylvania.” (PA) Profile: Population, Maps, Real Estate, Averages, Homes, Statistics, Relocation, Travel, Jobs, Hospitals, Schools, Crime, Moving, Houses, News, Sex Offenders. Web. 3. ”Top 10 Most Visited Attractions In Philadelphia — Visitphilly.com.” Philadelphia. Web. 4. ”University City.” District. 23 Aug. 2011. Web.

Section 8

1. International Building Code 2012 2. “National Historic Landmarks & National Register of Historic Places in Pennsylvania”. CRGIS: Cultural Resources Geographic Information System. “National Register of Historic Places Inventory Nomination Form: 32nd St. and Lancaster Ave. Philadelphia Armory” (PDF).