Art Institute of Chicago by Cal Poly Citizen Architects

ART INSTITUTE OF CHICAGO: THE MODERN WING

Building Analysis by Alan Maedo and Trevor Allen

ART INSTITUTE OF CHICAGO: THE MODERN WING

Chicago, Illinois Renzo Piano Building Workshop

Building Analysis by Alan Maedo and Trevor Allen Arch 341-02 | Fall 2018 Lab instructor: Jeff Ponitz

Cover image: Exterior of Art Institute of Chicago by Peter J. Sieger

TABLE OF CONTENTS 1 Project Summary

2 Place

3 Form and Assemblies

4 Perception and Performance

5 References

1 PROJECT SUMMARY PROJECT DATA ARCHITECT PROFILE: RENZO PIANO PROJECT BACKGROUND AND DESIGN PROCESS MASSING AND CONFIGURATION

PROJECT DATA PROJECT NOTES Location:

Chicago, Illinois

Year of completion:

2009

Total area:

264,000 sq. ft.

Total construction cost:

$294,000,000

Certifications:

LEED Silver

PROJECT TEAM Client:

The Art Institute of Chicago

Design Architect:

Renzo Piano Building Workshop (RPBW)

in collaboration with Interactive Design Inc.

Landscape Architect:

Gustafson Guthrie Nichol Ltd.

Structure:

Ove Arup & Partners

Services:

Ove Arup & Partners + Sebesta Blomberg

Civil Engineer:

Patrick Engineering, Inc.

A/V Consultant:

The Talaske Group

Cost Consultant:

Morgan Construction Consultants

LEED Consultant:

Carter Burgess

*all data comes from note 3

1.1 Exterior Street View: Opposite page Photo: Art Institute of Chicago

ARCHITECT PROFILE: RENZO PIANO

Renzo Piano was born in Genoa, Italy and grew up surrounded by a family of builders going back as far as his grandfather, who ran a masonry enterprise. 1 His father, Carlo Piano expanded the business and eventually passed it on to Renzo’s brother Ermanno. 1 Renzo Piano graduated from Milan Polytechnic University in 1964. 1 After graduating, he taught at the university for a few years before working for numerus iconic architects including Louis Kahn and Zygmunt Stanislaw Makowski. 1 Piano is perhaps most well known for the Centre Pompidou in Paris, which started in 1971 and finished in 1977. 1 The Pompidou center simply turned the architecture world upside down. The unorthodox approach to the museum’s design was highly progressive at the time and made Piano one of the best known architects in the world. By designing the structural and mechanical elements to be located on the exterior of the building, Piano aimed at critiquing modern practices at the time. Piano would continue his architectural career most well known for designing museums, describing them as “a secular meditation, a place of calm silence” and “a soft machine for art.” 2 Over time, Piano’s designs started to focus on daylight, and how the roof can become a complex surface that controls the way light enters a gallery space. This development became very evident in the museum he designed in Houston known as the Menil Collection (completed 1987, picture 1.3 on the next page). The roof become a complex structure made up of louvers; these louvers were held in place by white iron trusses and the roof extended beyond the galleries to become the primary visual element of the exterior. 2 Similar explorations of the roof took place with Piano’s expansion to the High Museum of Art in Atlanta. Piano created a scheme consisting of three pavilions that were sheathed in panels of white-painted enamel (completed 2005, picture 1.4 on the next page). 2 During this time period, Piano was commissioned to design the Modern Wing expansion to the Art Institute of Chicago. Looking back at Piano’s architectural history, the Modern Wing project can be seen as another project that Piano is using to continue his refinement of museum architecture and his exploration into roof systems.

1.2 Pompidou Center, Paris, 1977: Pianoâ&#x20AC;&#x2122;s first major building; the design seems to be in major contrast with the Modern Wing.

1.3 Menil Collection, Houston, 1987: The roof utilizes a complex structure of curved louvers that control both light and ventilation for the galleries.

1.4 High Museum of Art, Atlanta, 2005: Piano continues to explore roof design in his museum projects. Photo: RPBW

PROJECT BACKGROUND AND DESIGN PROCESS

The new Modern Wing of the Art Institute of Chicago begin in autumn of 1998, when the director and president James N. Wood proposed an addition that was principally to provide gallery space for the display of South Asian and contemporary art. In January 1999, Renzo Piano visited the museum for the first time, and the Art Institute’s Board of Trustees approved Piano as Architect of the addition. Selecting Renzo Piano was seen as a bold move due to his global status: not only was he regarded by many as one of the world’s leading architects, having been awarded the Pritzker Prize the previous year, but he was generally regarded as the best museum architect of his generation. 2 Initially, Wood and Piano struggled with the original site for the proposed addition; one of the more challenging elements of the project at the time was how to deal with the railway tracks. Piano wanted to build over them, but that was recognized as complicated due to legal issues with air rights, which would be constraining and more expensive. Eventually, the plan was abandoned, essentially erasing over a year of work. The site was relocated to another part of the museum, specifically where the former Goodman Theatre was located, which allowed Wood and Piano to rethink the new building’s program. 2 Consequently, the project crew from 70,000 square feet to 265,000 square feet over the next two years. At the same time this project was developing, Frank Gehry’s music pavilion in Millennium Park was being constructing. With this in mind, Piano and Wood emphasized that the new building would engage with Millenium Park and with Gehry’s music pavilion, acknowledging the link between the new Art Institute and the park. With the new design developing, the Art Institute underwent a change in leadership; in 2004, James Cuno succeeded Wood following his retirement. With Cuno’s involvement, the design was approaching its conclusion. The most dramatic design element that was added to the project was a pedestrian bridge that soared over Monroe Street, integrating the museum and park. The project received approval from the Board of Trustees, and it broke ground on May 31, 2005. 2 The Modern Wing is dominated by a three-story section, roughly square in plan, that faces Monroe Street and Millennium Park. The design uses a mix of glass and metal and stone to posses the “dignity and clarity of classicism, and the crisp, tensile energy of Modernism.” 2 The canopy serves as a key part of the process of controlling daylight into the galleries, and it serves as a powerful visual composition in itself with its broad overhand. 2

1.5 Design process: models and diagrammatic sections and plans Renzo Piano Building Workshop (RPBW)

MASSING AND CONFIGURATION

GROUND FLOOR PLAN 1/32” = 1’-0”

SECTION A-A 1/32” = 1’-0”

Composite diagram

GRAPHIC SUMMARY

Program

Structure

Envelope: Glass

Envelope: Limestone Mass

Envelope: Shading Screens

Thermal and Ventilation

Circulation

Egress

2 PLACE REGIONAL RESOURCES CONTEXT CLIMATE ANALYSIS AND RESPONSE

LANDFILL

ENERGY

WASTE

COAL PROCESSING PLANTS STICKNEY WASTEWATER TREATMENT PLANT/WATER RECLAMATION PLANT

AGRICULTURAL USES

NATURAL GAS PROCESSING PLANTS WASTE MANAGEMENT CENTERS CHICAGO CITY GRID

SITE

NUCLEAR POWER PLANTS

CHICAGOâ&#x20AC;&#x2122;S BLUE-CART RECYCLING PROGRAM

Art Institute of Chicago: Modern Wing

SOUTH WATER PURIFICATION PLANT

JAMES W. JARDINE WATER PURIFICATION PLANT

RAINWATER

LAKE MICHIGAN

WATER

REGIONAL RESOURCES The city of Chicago gets most of its potable water from Lake Michigan, which is its most significant geographical landmark. Water from Lake Michigan is then treated in purification plants, mainly the James W. Jardine Water Purification Plant. 4 Afterwards, potable water is then distributed throughout the city, finally reaching the Art Institute of Chicago. Illinois has three main sources of energy: natural gas, coal, and nuclear. 4 Power/processing plants use these forms of energy to generate electricity, which is then put on the Chicago City Grid and available for use by the Art Institute of Chicago. The largest wastewater treatment plant resides in Chicago, known as the Stickney Water Reclamation Plant (SWRP). 5 At the Plant, waste is filtered out and can be used as bio-solids for agricultural uses, such as farming, green spaces, planters, etc. Chicago also has a Blue-Cart Recycling Program that can reuse reusable waste found at waste management centers. 5

0’

20’

50’

100’

2.1 Aerial view of Chicago’s River South Neighborhood: Google image edited by the authors.

CONTEXT The Art Institute of Chicago: The Modern Wing is located in Chicago, Illinois south of the Chicago River and barely inland east of Lake Michigan. The Art Institute is situated in a “buffer zone” between the city’s field of skyscrapers and the Lake, denoted by some major landscaping parks and gardens. To the north of the Art Institute is Millennium Park (which has the “Bean” and the Jay Pritzker Pavilion by Frank Gehry). To the south is the Buckingham Fountain Flower Gardens.

Psychrometric Chart

Wind Rose

CLIMATE ANALYSIS AND RESPONSE According to the Psychrometric Chart, Chicago has a very humid climate that varies largely in temperature throughout the year. That may explain the use of limestone as an exterior material, which acts a thermal mass for the museum by absorbing heat energy during the summer months and warming the interior during the winter months. According to the wind rose, most of the prevailing winds occur from the west. This may have influenced the placement of the outdoor courtyard of the Modern Wing to face east and use the West Pavilion as a wind shield from the prevailing winds. However, the winds were probably not taken advantage of for passive cross-ventilation due to the danger of exposing artwork to the exterior environment. Therefore, an ample of active systems were used to regulate the internal environment of the building, which is explained in more detail in the â&#x20AC;&#x153;Thermal and Ventilation Systemsâ&#x20AC;? section.

Sun Path Diagram

1) SUMMER SOLSTICE: SUNRISE: 4:16 A.M. AZIMUTH:127°W of S ALTITUDE: 0° NOON: 12:00 P.M. AZIMUTH: 0°S ALTITUDE: 71° SUNSET: 7:29 P.M. AZIMUTH: 127°E of S ALTITUDE: 0°

2) SPRING/VERNAL EQUINOX: SUNRISE: 5:54 A.M. AZIMUTH: 92°W of S ALTITUDE: 0° NOON: 12:00 P.M. AZIMUTH: 0°S ALTITUDE: 48° SUNSET: 6:03 P.M.; 88 AZIMUTH: 92°E of S ALTITUDE: 0°

3) WINTER SOLSTICE: SUNRISE: 7:15 A.M. AZIMUTH: 59°W of S ALTITUDE: 0° NOON: 12:00 P.M. AZIMUTH: 0°S ALTITUDE: 25° SUNSET: 4:22 P.M. AZIMUTH: 59°E of S ALTITUDE: 0°

3 FORM AND ASSEMBLIES PROGRAM STRUCTURE ENVELOPE: GLASS CURTAIN WALL ENVELOPE: LIMESTONE MASS ENVELOPE: SHADING SCREENS

7 9

9 9 9 4

9 9 4

9 6

9 9 4

2 5 3

1 Administration 2 Storage/Archives 3 Shop

4 Education 5 Conference Room 6 Outdoor Terrace

7 Restaurant 8 Bathroom/Utilities 9 Galleries

PROGRAM The Modern Wing is made up of two programmatic masses - (1) the east pavilion and (2) the west pavilion - that are divided by a double-height horizontal circulation axis known as Griffin Court. The most prominent spaces in the Modern Wing, or for any museum, are the Art Galleries, which have about 64,000 square feet of allocated exhibition space. 6 Based off the concrete structural system that Renzo Piano sets up, the main gallery spaces, located under the carpet roof, are divided by the limestone mass wall into three segments on the second and third floors. And on the first floor, the education space, which has 20,000 square feet of allocated space, is spatially divided in a similar fashion. Most of the service, or private, spaces are located near circulation cores, within the limestone mass walls, and in the underground level. 6

2 3 1

1. Modern Art 2. Contemporary Art 3. Architecture and Design 4. Photography 5. Temporary Exhibitions

3.1 Art Galleries

2 1

4 1

4 3 1

1. Studios 2. Education Centre 3. Family Room 4. Classrooms

3.2 Education Spaces

â&#x20AC;&#x153;Flying Carpetâ&#x20AC;? Canopy Layered Steel Frame System

West Pavilion - Steel Structural System Vertical: Wide Flange Steel Columns Horizontal: Steel joists, Wide Flange Steel Beams, and Steel Cable Trusses

East Pavilion - Concrete Structural System Vertical: Concrete Columns Horizontal: Precast Double Tee Concrete Beams

STRUCTURE The Modern Wing utilizes two structural systems: (1) concrete framework for the east pavilion and basement and (2) steel framework for the west pavilion. For the east pavilion of the Modern Wing, thin concrete columns are concealed within the limestone veneer in order to support the concrete slabs and beams, which is indicated in the construction photos on page 23. The basement level of the museum uses a column grid layout to provide solidity to the foundation. The horizontal gravity load system of the east pavilion primarily utilizes precast double tee concrete beams that support the floor slabs of the galleries and connect to the concrete columns. The concrete beams are spaced relatively close together in order to create the nearly 50-foot-wide, clear-span bays of the east pavilion gallery spaces. 6 The west pavilion of the Modern Wing uses a structural steel framework consisting of wide flange beams, girders, and columns as well as steel joists and steel trusses. 6

3.3 Construction of East Pavilion: Construction photo reveals the concrete structural system of the east pavilion.

3.4 Construction of West Pavilion: Construction photo reveals the steel structural system of the west pavilion.

ENVELOPE: GLASS The glass curtain walls are mainly used on the northern facade and some on the south (in the courtyard area) to bring as much natural daylight as possible to the gallery spaces. Very little is placed on the east and west facades, which use limestone as the exterior material. Much of the gallery spaces on the north side of the modern wing uses daylight to illuminate the interior spaces, indicated by the large window walls. Skylights are placed in the third floor galleries and Griffin Court to naturally illuminate the spaces. 3.5 Skylights in Griffin Court: Skylights naturally illuminate the double-height space to give an even greater expanse to the main circulation.

ENVELOPE: INDIANA LIMESTONE MASS Around the art gallery spaces, there is a significantly higher amount of square footage on the exterior facades allocated to glass compared to limestone. And around the administration spaces, the vice versa os true. Formally, the limestone gives the building its mass and thickness, which contrasts pleasingly with the glass walls and thin mullions and other linear structural elements. 3.6 Exterior view: the photo on the opposite page shows the meeting of the thick limestone to light and transparent glass facade.

Flying Carpet “This Carefully constructed sunscreen comprises rows of thin, curved plates, called lamellas, open northward to allow only north light to enter the building’s skylights for the illumination of third-floor galleries, while the addition of fins perpendicular to the lamellas would help prevent eastern, southern, and western light from striking the skylights. Now made of extruded aluminum, these thin plates were originally to be fabricated out of laminated glass, and later fiberglass, and attached to a base framework comprising four structural “fractural” layers.” 6

ENVELOPE: SHADING SCREENS A secondary envelope system of shading screens/devices encases the glass-limestone envelope beneath it. This is most present on the northern facade, which has glass-mullion screens offset from the glass wall behind it to give a sense of depth and thickness to a transparent material. In addition, the “flying carpet” canopy is made out of a series of thin louvers that together seem as if it was one surface.

3.7 “Flying Carpet” Canopy

3.8 North Facing Facade: Secondary envelope provides thickness and insulation to the facade system.

PERCEPTION AND PERFORMANCE ENERGY AND DAYLIGHTING PERFORMANCE THERMAL AND VENTILATION SYSTEMS CIRCULATION EGRESS AND LIFE SAFETY

ENERGY AND DAYLIGHTING PERFORMANCE According to our analysis, the Art Institute of Chicago is quite successful at lighting interior spaces. Our daylighting analysis shows that most of the building gets mild, indirect daylight that illuminates interior spaces without heating interior spaces too dramatically. The layered roof system bounces light while providing the building with solar gain during cold winter months. Our energy analysis shows that the building’s highest consumer of energy comes from heating, which is a product of the climate in Chicago. Interior lighting only accounts for 21% of energy use because of Piano’s ability to introduce natural light into interior spaces. From this we can infer that Piano was concerned with maximizing natural light indoors which came at the cost of good insulation. He primarily did this in the Art Gallery programmatic spaces of the Art Institute, but he did not naturally light up the southern end, which can be seen in the Daylighting Model as the dark blue blobs. This was due to the lack of glazing in that portion of the building, but since those spaces were programmatically administration, it was probably not a necessary space for Piano to naturally light. In addition, Piano used limestone in parts of the building in order to create a thermal mass which stores heat while acting as a structural element. The massive limestone walls formally created a grid system that divided the main Art Galleries into a tripartite partition. Also, the limestone walls were so big, that they actually housed most of the mechanical systems of the Gallery Wing, creating a design systems solution due to Piano’s architecture. The building’s orientation is also conducive to solar gain in winter months, which helps with heating costs. But, due to the large glazing on the north facade of the building, that likely contributed to a large amount of heat loss. In addition, the southern facade of the building is largely shaded, so not a whole lot of passive heating is occurring. As a result, this building ended up with an EUI score of 30, which was significantly less than the baseline of 47 but still a ways to go from our target of 10.

Energy Model

Daylight Model

Vertical Shafts

Ducts (Distribution)

Air Vents (Delivery)

Basement Mechanical Room (Plant)

THERMAL AND VENTILATION SYSTEMS The main passive thermal systems utilized in the Modern Wing are day-lighting strategies, which is most prominently expressed through the building’s “flying carpet” canopy. The canopy bounces light and creates an ambient glow for interior spaces while preventing harsh direct light from heating up interior spaces. 7 The use of natural light for the third floor galleries help reduce overall energy consumption by eliminating the need for excessive interior lights. The windows on the south facing façade allows the building to receive some solar gain which would help reduce heating loads during cold winter months. 7 However, it is unlikely that the Modern Wing has any passive cross-ventilation as any large openings to the exterior would be harmful to the artwork housed within the museum. Despite the careful articulation of the building envelope, the Modern Wing utilizes a large amount of active systems to maintain the interior environment, which is indicated by the gigantic mechanical space (primary plant) in the basement level. Due to the programmatic nature of a museum, the internal environment needs to be heavily regulated in order to preserve the artworks. Consequently, it would be reasonable to assume that thermal comfort and ventilation are achieved through an air-based system in order to control the temperature of the galleries and respond to museum population reasonable quickly. It seems that Piano conceals the vertical shafts of the HVAC system within the thickened gallery partition walls, which are strategically placed on top of the mechanical room, working with the structural system already set up. The horizontal distribution of the HVAC system are most likely located within the deep floor plates. The air is then delivered to the galleries via air vents that are subtly placed near the top of the walls as thin horizontal band which also serve as a spatial separation between walls and ceiling. This can be seen in the images on the next page.

4.1 Air vents in Griffin Court: A string of air vents are located at the top of the atrium walls before extruding out to meet the skylight.

4.2 Air vents in gallery spaces: A small gap separates the top of the gallery wall from the ceiling. In that space, a sliver of air vents are located.

4.3A Staircase from Ground Floor to Mezzanine See bottom picture on next page

A suspended staircase, or passerelles, leads the occupants from Griffin Court to the second floor mezzanine, which leads to the contemporary art galleries. The staircase, made from steel and wood, seems to float in mid-air due to its suspension in the vast double-height space of Griffin Court. 6

4.3B Griffin Court See bottom picture on next page

“This entry will lead directly into Piano’s most important public space, a 300-foot-long, 30-foot-high, 30-foot-wide axis that extends southward to join the existing building. It is more than the main circulation spine for the Modern Wing; it is an interior public street for the entire museum, a place that, however great its collections and however pleasing some of its galleries, has never been clear in its layout, or had a corridor that functioned as a kind of “main street,” a spine from which all other parts of the museum could be logically accessed.” 6

4.4 Nichols Bridgeway See top right and left pictures on next page

“... the punctuation mark of a soaring pedestrian bridge designed by Piano to take visitors from the park across Monroe directly into the upper levels of the New Art Institute wing. The 620-foot-long Nicols Bridgeway complements another footbridge on the other side of Millennium Park designed by Frank Gehry, which makes this surely the only place in the world with a Piano bridge and a Gehry bridge as neighbors.” 6

Circulation through Art Galleries

Main Entrance

Elevator Cores

CIRCULATION The main entrance of The Modern Wing is off Monroe Street, which leads directly into the main circulation space known as Griffin Court. The double-height elongated atrium serves as the “main street” from which circulation starts. A suspended stairwell then takes the users from the ground floor to the second floor mezzanine where additional art galleries are located. The second floor provides access to an outdoor balcony café and connects to the old Art Institute of Chicago. The second set of suspended stairs guides the users to the third floor art galleries where people can view art under the beautifully articulated “flying carpet.” Elevators near the stairs provide ADA complaint access to all floors. A key design feature that was included in the Modern Wing late in the design process was the Nichols Bridgeway that crosses over Monroe Street, providing access from Millennium Park to the third floor of the West Pavilion of the Modern Wing.

Exit Stairway (shown in picture on next page)

Exit Stairways

Exit Access Routes

Exit Discharge

Exit Discharge Exit Discharge Exit Discharge

EGRESS AND LIFE SAFETY The exit stairways of the Modern Wing are expressed by extrusions from the rectangular masses of the east pavilion and west pavilion, as seen in the diagram and in the picture on the next page, with one additional exit stairway sandwiched between the east pavilion and Griffin Court. The exit stairways are strategically located at the perimeters of each corner of the Modern Wing to allow for a relatively short exit access route from any point within the museum. In addition, because the exit stairways are located along the perimeters of the building, the stairways open out to, or very close to, the public way, allowing for safe exit discharge. The only times that egress and experiential circulation overlap occur near the two exit stairways located on the north end of Griffin Court close to the main entrance. These exit stairways run parallel to the main circulation as well as the elevators, creating compact vertical cores that allow for vertical circulation and structural stability.

4.5 East Pavilion Egress Staircase: The Egress Staircase is highlighted by a simple extrusion on the side of the major rectangular form. While being encased in fire-rated walls, Piano designs a meticulous louvered facade on the egress staircase to highlight the formal extrusion.

5 REFERENCES NOTES BIBLIOGRAPHY IMAGE CREDITS

NOTES 1. “Renzo Piano.” Inexhibit. Accessed December 01, 2018. https://www.inexhibit.com/architects-artists/renzo-piano/ 2. Cuno, James, Paul Goldberger and Joseph Rosa. The Modern Wing: Renzo Piano and the Art Institute of Chicago. Chicago, Ill.: Art Institute of Chicago, 2009. 3. Webb, Michael. “Art Institute of Chicago, Chicago, USA: Renzo Piano Building Workshop.” Architectural Review 226, no. 1349 (July 2009): 48– [53]. http://search.ebscohost.com/log in.aspx?direct=true&db=bvh&AN=635956&site=ehost-live. 4. “Illinois State Profile and Energy Estimates.” U.S. Energy Information Administration. https://www.eia.gov/state/?sid=IL 5. “Stickney WRP.” Metropolitan Water Reclamation District of Greater Chicago. https://www.mwrd.org/irj/portal/anonymous/stickney 6. Cuno, James, Paul Goldberger and Joseph Rosa. The Modern Wing: Renzo Piano and the Art Institute of Chicago. Chicago, Ill.: Art Institute of Chicago, 2009. 7. Nicholson, Louise. “Art of light: Renzo Piano as the Art Institute of Chicago: Renzo Piano’s newly unveiled Modern Wing at the Art Institute of Chicago is both ingenious and practical, as well as an elegant addition to America’s second-largest art museum.” Apollo, July-August 2009, 66+. Academic OneFile (accessed September 26, 2018).

BIBLIOGRAPHY Buchanan, Rosemarie. “Creating a New Face for the Art Institute of Chicago, Renzo Piano Shows Plans for $200 Million Museum Addition.” Architectural Record 189, no. 6 (June 2001): 33. http://search.ebscohost.com/login.aspx?direct=true&db=bvh&AN=202963&sit e=ehost-live. Cuno, James, Paul Goldberger and Joseph Rosa. The Modern Wing: Renzo Piano and the Art Institute of Chicago. Chicago, Ill.: Art Institute of Chicago, 2009. Kamin, Blair. “The Modern Wing: Where a Familiar Type Soars. Architectural Record, 19 August 2009, https://www.architecturalrecord.com/ articles/8185-the-art-institute-of-chicago-the- modern-wing. Keegan, Edward. “Painting with Light.” Architectural Lighting 23, no. 5 (Jul, 2009): 19-20,22. http://ezproxy.lib.calpoly.edu/login?url=https://search. proquest.com/docview/199442679?accountid=10362. Minutillo, Josephine, and Blair Kamin. “Renzo Piano Building Workshop Bridges a Historic Structure and a Grand Public Space with Its Trademark Classicism at The Art Institute of Chicago’s Modern Wing.” Architectural Record 197, no. 8 (August 2009): 52–59. http://search.ebscohost.com/ login.aspx?direct=true&db=bvh&AN=638171&site=ehost-live. Nicholson, Louise. “Art of light: Renzo Piano as the Art Institute of Chicago: Renzo Piano’s newly unveiled Modern Wing at the Art Institute of Chicago is both ingenious and practical, as well as an elegant addition to America’s second-largest art museum.” Apollo, July-August 2009, 66+. Academic OneFile (accessed September 26, 2018). Webb, Michael. “Art Institute of Chicago, Chicago, USA: Renzo Piano Building Workshop.” Architectural Review 226, no. 1349 (July 2009): 48–[53]. http://search.ebscohost.com/log in.aspx?direct=true&db=bvh&AN=635956&site=ehost-live.

IMAGE CREDITS Cover image: photograph © Peter J. Seiger “Art Institute of Chicago: The Campus and Modern Wing.” Chicago Architecture Center. Accessed December 01, 2018. https://www.architecture.org/tours/detail/art-institute-of-chicago-the-campus-and-modern-wing/ 1.1: photograph © AVA Consultants, LLC “The Art Institute of Chicago Modern Wing.” May 2009. AVA Consultants, LLC. Accessed December 01, 2018. http://www.avaconsultants.net/portfolio/the-art-institute-of-chicago-modern-wing/ 1.2: photograph © Paul Warchol Cuno, James, Paul Goldberger and Joseph Rosa. The Modern Wing: Renzo Piano and the Art Institute of Chicago. Chicago, Ill.: Art Institute of Chicago, 2009. 1.3: photograph © Archiscapes/Wordpress “Renzo Piano - Menil Collection, Interior View.” December 3, 2014. Archiscapes, Wordpress. Accessed December 01, 2018. https://archiscapes.wordpress.com/2015/01/23/illustrated-library-of-architectural-details/3a536c5d91e0cb00b1574feb30a83036f944ab 8b/ 1.4: photograph © Jonathan Hillyer/High Museum of Art “Extension of the High Museum of Art in Atlanta.” September 2006. DETAIL Inspiration. Accessed December 01, 2018. https://inspiration.detail.de/extension-of-the-high-museum-of-art-in-atlanta-103626.html?lang=en 1.5: all images © Renzo Piano Building Workshop (RPBW) Cuno, James, Paul Goldberger and Joseph Rosa. The Modern Wing: Renzo Piano and the Art Institute of Chicago. Chicago, Ill.: Art Institute of Chicago, 2009. 2.1: photograph © Google Images 3.1: photograph © Paul Warchol Cuno, James, Paul Goldberger and Joseph Rosa. The Modern Wing: Renzo Piano and the Art Institute of Chicago. Chicago, Ill.: Art Institute of Chicago, 2009. 3.2: photograph © Paul Warchol Cuno, James, Paul Goldberger and Joseph Rosa. The Modern Wing: Renzo Piano and the Art Institute of Chicago. Chicago, Ill.: Art Institute of Chicago, 2009. 3.3: photograph © Paul Warchol Cuno, James, Paul Goldberger and Joseph Rosa. The Modern Wing: Renzo Piano and the Art Institute of Chicago. Chicago, Ill.: Art Institute of Chicago, 2009. 3.4: photograph © Paul Warchol Cuno, James, Paul Goldberger and Joseph Rosa. The Modern Wing: Renzo Piano and the Art Institute of Chicago. Chicago, Ill.: Art Institute of Chicago, 2009. 3.5: photograph © iGuzzini “The Art Institute of Chicago.” iGuzzini. Accessed December 01, 2018. https://www.iguzzini.com/us/projects/project-gallery/the-art-institute-of-chicago/

3.6: photograph © Chuck Choi “The Modern Wing, Art Institute of Chicago.” Chuck Choi. Accessed December 01, 2018. http://www.chuckchoi.com/portfolio/art-institute-takes-wing 3.7: photograph © Chuck Choi “The Modern Wing, Art Institute of Chicago.” Chuck Choi. Accessed December 01, 2018. http://www.chuckchoi.com/portfolio/art-institute-takes-wing 3.8: photograph © Chuck Choi “The Modern Wing, Art Institute of Chicago.” Chuck Choi. Accessed December 01, 2018. http://www.chuckchoi.com/portfolio/art-institute-takes-wing 4.1: photograph © Paul Warchol Cuno, James, Paul Goldberger and Joseph Rosa. The Modern Wing: Renzo Piano and the Art Institute of Chicago. Chicago, Ill.: Art Institute of Chicago, 2009. 4.2: photograph © Paul Warchol Cuno, James, Paul Goldberger and Joseph Rosa. The Modern Wing: Renzo Piano and the Art Institute of Chicago. Chicago, Ill.: Art Institute of Chicago, 2009. 4.3: photograph © Paul Warchol Cuno, James, Paul Goldberger and Joseph Rosa. The Modern Wing: Renzo Piano and the Art Institute of Chicago. Chicago, Ill.: Art Institute of Chicago, 2009. 4.4: photograph © Chuck Choi “The Modern Wing, Art Institute of Chicago.” Chuck Choi. Accessed December 01, 2018. http://www.chuckchoi.com/portfolio/art-institute-takes-wing 4.5: photograph © Paul Warchol Cuno, James, Paul Goldberger and Joseph Rosa. The Modern Wing: Renzo Piano and the Art Institute of Chicago. Chicago, Ill.: Art Institute of Chicago, 2009. Back Cover image: photograph © Peter J. Seiger “Art Institute of Chicago: The Campus and Modern Wing.” Chicago Architecture Center. Accessed December 01, 2018. https://www.architecture.org/tours/detail/art-institute-of-chicago-the-campus-and-modern-wing/ All other images were created by the authors