Contents
FOUNDATION
Executive Summary Mission Statement Client Letter Letter Review Foundation Partners Project Goals
CULTURE
6
8
Time-line 9 Global Network 11 Company ProďŹ les 12 Innovative Objects 18 Education 22 Visitors and Attractions 24 Demographics 28
PROPOSAL
Hub Concept 29 Facility Program 30 Museum Precedents 36 Space Distribution 38 Site Analysis 40 Site Experience 46 Site Climate 50 Interior Environment 53 Security 56 Lighting 57 Exhibits 60 Accessibility 65 Shipping 66 Object Unpacking 68 International Learning 70 Spatial Time-use 72
CONCLUSION
Foundation
2 3 4 5
Concluding Summary 72 Works Cited 74
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Summary Foundation
2
The CCF, consisting of several members of the local Columbus community, commissioned S.C.A.M. to design a new museum that would showcase the cultural and architectural significance of their city. S.C.A.M. analyzed the CCF始s request and the city of Columbus. Methods of analysis include research on city trends, transportation, site, city history, and environmental aspects. All observations and their importance can be found in the culture and proposal sections. The project entails the creation of hubs that act as the gathering point for visitors and presentations. The project is arranged into hubs to reduce square footage and make wayfinding more accessible. The organization of spaces was chosen to maximize daylighting and create an inviting sequence of spaces for visitors. In all, the Columbus Cultural Center for Innovation comprises exhibition, education, and management spaces, as well as secured back-of-house and entry points. The continued development of the hubs will allow for presentations, events, and ceremonies. Through our research of the city, the cultural importance of the manufacturers became the catalyst of our inspiration. We believe the Columbus Cultural Center for Innovation is an ideal opportunity to begin an internal mentor program. Numerous professionals from all over the world travel to Columbus. By integrating a mentor-based education program within the museum, students and professionals can learn from each other in a collaborative work environment. S.C.A.M. believes the following report will provide the CCF with a design that not only meets their needs but provides an opportunity for continued growth of their city始s already rich culture.
Statement
S.C.A.M. Intends to strive for excellent cultural integration through design of innovative exhibitions within Columbus, accentuating the existing community and culture while integrating its global perspective.
Foundation
3
Letter
Memorandum To: Interested Architects From: Columbus Cultural Foundation Building Committee Re: Request for Proposal, New Building Project August 26, 2013 Inspired by combination of our city’s long history or architectural excellence, industrial innovation and commitment to cultural education, we are pleased to inform you that the Columbus Cultural Foundation (CCF) is soliciting proposals for the design of a new museum for Columbus, Indiana.
Our Purpose
As the fabric of our remarkable city has proven for decades—design matters. We believe that design in it many forms is the sum total expression of the human spirit and that trying to understand design is an essential component in understanding the intellectual progress of mankind. Out town has consistently put our fait him the power of architecture to positively shape our places of learning, worship, and living—with this proposal we are asking for architects to prepare a proposal for a place to celebrate our city’s long engagement with design. Museums give us this unique cultural forum dedicated to see and learn from various “objects of design.” Museums give us this unique cultural forum dedicated to see and learn from various “objects of design.” Museums are a central part of any city’s cultural landscape— yet for the last several years Columbus has been without a museum dedicated to design. The CCF was formed as a collaborative partnership between several predominant cultural institutions in Columbus to address this particular need for our city. The CCF includes members of the Downtown Columbus Strategic Development Plan, the Columbus Museum for Art and Design directors, curators or the Columbus Architectural Archive, faculty from the Indiana University Center for Art and Design-Columbus (IU-CAD+C), and representatives from Cummins Inc. Foundation. Each partner in the CCF has been engaged in shaping the design of our region in different ways throughout the years: the city of Columbus and the Cummins Foundation have encouraged and funded architectural excellence in community buildings for 60 years, the recently opened IU-CAD+C serves as a “living laboratory” for the study, evaluation and understanding of integrated design, the Columbus Museum of Art & Design collects and displays artwork throughout the city, the archival collection has been engaged with the preservation and dissemination of our city’s important architectural history, and Cummins, Inc. has designed a series of internationally renowned innovative industrial objects and provided generous financial support for the- city’s development.
Our Mission
The CCF is looking for proposals for a high quality, environmentally progressive, and experiential engaging museum design for “innovative objects of design” that compliments and enhances the current legacy of prominent architectural designs and community spaces within the city. This collection need not focus solely on local art or innovative objects of design produced nearby—the goal is for create a broader, regional appeal and to present our museum’s collection within a larger cultural context of design. As explained in detail in the Appendix, currently there are several diverse collections of art, design, architectural history, and industrial innovation in separate locations throughout Columbus—many of the exhibits are outdated or inadequate for our needs. Our goal is to consolidate these collections together and to “reinterpret” the content of these collections to emphasize their symbiotic interrelationships in design. The CCF has been granted funding through the Cummins, Inc. Foundation to pursue additional pieces to add to the museum’s permanent collection, so programming and design ideas should suggest curatorial content and thematic focus as long as certain parts of the building remain flexible for rotating exhibit space. The building committee has been formally charged with the task of designing and constructing the new museum in downtown Columbus, Indiana. As has been out tradition in our fine city, we are looking for proposals that stimulate our natural environment, that engage in the deepest, most interesting issues of a cultural discipline of architecture
Foundation
4
Review
Upon reading the CCF proposal S.C.A.M. has come to a better understanding of what the committee desires. The CCF needs visitors to have a meaningful experience by integrating the culture of Columbus through interactive exhibits and educational programs within the museum. By creating exible spaces, the curators can have rotating displays that will continue to attract local and visiting citizens. The combination of art, design and architectural history in the permanent exhibit will provide a consolidated opportunity for visitors to experience the rich cultural history of design. The CCF values exceptional and sustainable design, accomplished through natural lighting, adjustable spaces, energy efďŹ ciency and construction with re-purposed building materials. The objects displayed in both the permanent and rotating exhibits will consist of efďŹ cient, creative and functional innovations that have changed the way people have experienced the world.
Foundation
5
Partners
An understanding of the foundation partnersʼ objectives allows us to synthesize their goals and desires with our own. The partnersʼ goals gives S.C.A.M. a foundation to start our design process. Through additional site research, S.C.A.M. can begin to propose additional benefits that go above and beyond the clients initial goals, which can result in a better design for the community
Cummins Foundation
Values: • Cummins believes a company is only as healthy as the communities where we do business. Acting responsibly will contribute to the companyʼs health, growth, profitability and sustainability. Goals: • Decision making that considers our responsibility to a full array of stakeholders. • Setting a high standard for all aspects of corporate citizenship. • Using our values, talents, resources, and global position to drive improvement in our communities and the world. • Deep commitment to the environment and sustainability • Educate Local communities about technical products and education opportunities • Reduce electricity needs • Increasing opportunity and equity for those most in need.
Foundation
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Columbus Museum for Art and Design
Values: • Art is the sum total expression of the human spirit and a continual reflection of life. • CMAD, a not-for-profit organization with a long heritage of enriching the Bartholomew County community through visual art and design experiences, promotes free visual art and design exhibits that collectively engage all Bartholomew County residents. CMAD, in collaboration with other local arts organizations, seeks local and national financial support to fund and display unique exhibits in venues throughout Bartholomew County. • Art inspires. Art challenges. Art thinks. Goals: • Promotion and encouragement of the understanding of art • Create great experiences with great art for everyone. • Committed to providing for all who visit our exhibits, the young and the mature, the novice as well as the expert, a broad range of art programs of the highest quality.
Downtown Columbus Strategic Development Plan
Values: • Unexpected and unforgettable experiences in the city
Goals: • Increase commercial spaces within the city • Increase parking city wide • Create outdoor gathering space that touches the street
Columbus Architectural Archive
Values: • Collection of Columbus, Indianaʼs Archival past Goals: •Continued promotion of architectural drawings •Continued promotion of engineering drawings •Continued Promotion of Art associated with Columbus environment.
Indiana University Center for Art and Design - Columbus -
Values: •Continued Education of the community through outreach programs, workshops, and classes. Goals: • To establish a center in downtown Columbus that will specialize in teaching art and design. • It will also accommodate design studios, a gallery for art and design exhibitions, model workrooms, faculty and administration offices, and technology support labs.
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Goals
•Integrate the perspectives of international companies into the Columbus community. •Create a collaborative environment for mentorship. •Incorporate the significance of Columbus on an international scale. •Create flexible and multifunctional spaces that encourage interaction. •Show the relationship between art, design, architecture and industrial innovation through building form.
Foundation
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Time-line
The following time line provides basic historical knowledge of Columbus with a focus on industr y. It helps us understand what our museum will exhibit from Columbusʼs past.
1931 Noblitt Sparks Company moves to Columbus and later renamed as Arvin Industires.
1919 Cummins Engine Company founded by Clessie Cummins and William Irwin.
Early 1800’s Indians that had been displaced by settlers began to move to the area now known as Columbus.
1888 The Reeves Brothers found Reeves Pulley Company, manufacturing pulleys and variable speed transmissions.
1819 Joseph and Mary Cox were the first settlers and had ten sons and one daughter. Joseph built one of the first grist mills along the Haw Creek.
1875 The Reeves Brothers established Hoosier Boy Plow Company, later to manufacture agriculture machinery.
1820 Grist mills, saw mills, woolen mills and distilleries became prevalent along flowing water sources. Rivers and creeks would also be used to transport the goods from the mills.
1873 Dunlap and Co. started and is still a major builder and contractor today.
1820
1872
John Tipton purchased 30 acres which would later become downtown Columbus.
Republic newspaper is first published by Issac Brown.
1821
1867
After being named Tiptona political differences resulted in a renaming of the town to Columbus.
Cerealine Mill was built along Jackson Street which is now part of the Cummins Corporate Head Quarters building.
1837 Columbus became an official town and trustees were elected.
1852 1844 First railroad was built through Columbus coming from Madison. The rail caused the flatboat industry to become nearly obsolete as a transportation source.
Culture
1850
B.F. Jones & Co. was established as one of the first banks in Columbus. One year later Kentucky Stock Bank taking over B.F. Jones & Co.
Ulrich Block building is built at 4th and Franklin. It is currently on of the oldest commercial buildings in downtown Columbus.
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1935 Columbus Specialties founded by B.F. Hamilton later becoming Hamilton Cosco Inc.
1983 Cummins Corporate Office building was built at 500 Jackson St.
1991 • Rightway Fasteners opened. • The American Institute of Architects ranked Columbus 6th in the nation for cities with the highest architectural design quality and innovation.
1947 George Utz was founded.
1994 1950
Columbus receives the All-America City Award.
1981
Enkai was founded.
A new Columbus City Hall was built at 2nd and Washington.
1996 Columbus adopts a landscaping ordinance mandating a minimum level of landscaping that must be planned prior to a new development.
1953 Cummins Foundation Architecture Program is started by J. Irwin Miller. It was established to encourage innovative architecture for public buildings. The money was first used for the Lillian C. Schmitt Elementary School in 1957.
1969 Columbus Regional Hospital Mental Health Center is built spanning Haw Creek next to the Hospital and Lincoln Park.
2000 Columbus has six more buildings designated to the National Historic Landmark registry.
1957 J. Irwin Miller home built. It was designed by Eero Saarinen and later designated a National Historic Landmark.
1965 Republic Newspaper building constructed at 333 2nd street.
2002
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1958
1960
Founders of COSCO provide funding to build Hamilton Center Ice Arena in Lincoln Park.
Mabel McDowell Adult Elementary School is built and has been designated as a National Historic Landmark.
Sunright America is founded by the owners of Rightway Fasteners.
1959
2005
• Lindal Group is established. • St Paulʼs Episcopal Church is built at 2651 California Street.
• Columbus is named as one of “Americaʼs Dozen Distinctive Destinations” by the National Trust for Historic Preservation. • Columbus Learning Center is built.
Network
The map shows the international companies that have chosen to expand their business into Columbus. Among these companies are Toyota, Enkei, and several other prominent firms. The recurrent selection of Columbus as a U.S. home for international companies shows the significant role that Columbus plays in the international business realm. The foreign businesses see Columbus as a major historical contributor to development in industr y and engineering. Columbus始s rich industrial histor y has led to a community that understands the needs of these businesses, who have a skill set to push the company in the right direction. The local community relies on these companies for jobs and economic development, while the companies need the community for their skills and international perspectives, creating a symbiotic relationship.
Year Established
Culture
2010-2013 2005-2009 2000-2004 1995-1999 1990-1994 1985-1989 1980-1984 1935
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Profiles
The following four companies have historically influenced the industrial nature of Columbus. It is important to address the histor y to clarify our museum program.
Cummins Inc. Goals and Values • • • • •
Culture
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Deep commitment to sustainability and the environment Educate local communities about technical products Reduce demand for electricity Contribute to the growth of local communities Positively improve local communities around the world
1919
1930
Company founded.
Developed their first engine to compete in the Indy 500.
1931
1937
Developed First year the first of profit. diesel engine to break 10k miles.
1940 Offers 100k mile warranty of engines.
1956
2010
First foreign manufacturing plant.
Global leader in power manufacturing. Producing $13 million profit.
Continues to innovate power generators and . improve local communities.
Reeves Brothers Inc.
Goals and Values • •
Revolutionize the transportation industry Create a safer workplace for the blue collar
1875
1879
1888
1905
Reeves Brothers founded Whoʼs Your Boy Plow Company in Columbus, Indiana
Milton Reeves develops the first variable transmission to safely cut . lumber.
Company name changed to The Reeves Pulley Company. Manufacturing changed to car production.
Began production on the first air cooled, valve in head car motor.
1911
1912
Founded Founded Sexto-Octo Sexto-Auto Company, Company, which which manufactured manufactured y luxury 8-wheel luxury 6-wheel cars. The cars. The company later company later failed. failed.
1918 Reeves Brothers sell their engine business to Cummins Machine Company
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Arvin Meritor
Goals and Values • • • • •
To exceed customer satisfaction with innovative products. To continue to diversify their product line. To become the leading aftermarket for commercial vehicles. To educate local communities. Provide local support for schools.
1919
1921
1927
1931
1950
1961
2000
2007
Arvin Industries founded in Columbus Indiana. The goal was to produce high quality tire pumps. .
Began selling air pumps on a national level. Company name changed to Noblitt-Sparks.
Every major car manufacturer is using Arvin car heaters.
First major deficit in earnings.
Name changed back to Arvin Industries.
First manufacturing plant outside of Indiana built.
Arvin Industries is sold and renamed to Arvin Meritor Inc.
Arvin Meritor begin production on light weight axels for armored personal vehicles.
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To deliver on their commitments while maximizing value for their shareholders, customers and employees.
Cosco Products Goals and Values • • • •
Invested in the education of parents, new and old. Investment in health of children through hospitals. Safe, innovative and valued designs. Education of staff and local communities on how to live healthy lifestyles.
1939
1941
1988
2000
Cosco Products is founded in Columbus, Indiana.
Introduced patented all-metal kitchen stools product.
Acquired by Dorel Industries for Coscoʼs premiere juvenile products.
Cosco and Safety First, another Dorel subsidiary are merged to form the Dorel Juvenile Group.
2009
Continue to lead the industry of folding furniture, step stools and ladders.
Cosco introduces BridgePort, a highly innovative business furniture supplier.
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These companies show a small variety of what products and components are manufactured in the city. Through studying these smaller companies, we have come to an understanding of what trade specialties the population of Columbus has.
George Utz
Enkei Goals and Values • Continue to expand world wide aluminum trade. • Reestablish aluminum quaries. • Expand small business startups.
Goals and Values • Ensure consistently excellent quality in product manufacturing. • Turn all product lines into multiple use products. • Continue to set benchmarks and industrial Standards.
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1950
Mishima-Cho patent company established in Hamamatsu City.
1947
George Utz founded in Zurich-Hongg
1984
Enkei International established in Troy, Michigan. First presence in United States
1958
Invention of first injection molding machine.
1985
Enkei establishes aluminum wheel plant in Columbus, Indiana.
1973
First production of plastic and pallet boxes.
1989
Company name changed to Enkei Corporation.
1985
First production with vacuum forming.
1989 1989 2013
Highest year-over-year profit margin.
2000 2003 2013
New production of large parts in Switzerland.
Enkei Wheels establishes base of operations in India. Continued expansion of manufacturing buildings around the World.
Opening of manufacturing plant in Columbus, Indiana. First presence in North America. Continued development of their recycling program by taking back products at the end of their life span.
Rightway Fasterners Inc.
Lindal Group Goals and Values • • • • •
Deliver competitive advantage to consumers To innovate sensation with dispensing technology To create long-term value for our stakeholders To create a sustainable future To build and trustful relationship with consumers 1959 Lindal Group Founded.
1965
First expansion facility opens in Oldesloe, Germany.
1997 1998
Lindal purchases Rexam Valves. Expands aerosol production in Europe. Lindal expands its manufacturing to Brazil. First presence in the western hemisphere.
2007 2013
New Production site in Columu, Indiana. First presence in the Unid States. To continue the expansion of the company so that Lindal may become a worldwide leader in aerosol dispensers.
Goals and Values • • • • •
Provide simple yet practical products Expand metal forming business Create the same quality products faster Support our community with technical knowledge Expand corporate supplies to additional car manufacturers
1991
Company established as Indiana Metal coatings in Columbus.
1995
Company name changed to Rightway Fasteners Inc. Began major facilities expansion.
1998
Zinc plating facility opened.
2003
Through a joint venture, started Sunright America.
2011 2013
Received approval and installed HA-05 heat treatment furnace. Grow manufacturing and shipping business through joint ventures and expansion of current industrial zone.
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Objects
Innovative objects are products that inspire people to live and think differently about how they interact with the world. Innovative objects have taken basic concepts and transformed them into a prevalent product. Companies that have recently shown exemplar y abilities at designing innovative objects are Apple, IDEO and Dyson. Historically many companies in Columbus have developed successful innovative products. Companies such as Reeves Brothers Inc. and Ar vin Industries paved the way for innovation in Columbus. Cummins Inc. and COSCO are currently leaders in creating innovative products in Columbus. These images show example objects, artwork and drawings existing in Columbus that will be displayed throughout our museum.
Innovative objects of Columbus
Cummins Diesel Engine
Foundation
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Arvin Portable Radio
Reeves Wood Transmission
Reeves Grinder
Cosco Step-Stool
Cosco High Chair
Artwork from Museum of Art and Design
George Bellows and the American Experience
Think Outside the Brick
Strings Attached
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Columbus Architectural Archive
Sergio Santos
Hand Drawings
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St. Bonaventure
Rotating exhibit of current innovations
Aerogel
iPad
Seating
Camera
Carbon Fiber
Phones
Prosthetics
Clocks
LED Lights
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Education
By analyzing locations and statistics of local schools in Columbus, we gain an awareness of the total number of students near our site. We understand better what programs may be lacking within Columbus schools, in order to determine what we can include in our museum design. Students in elementar y, middle, and high schools can benefit from out-of-classroom programs that we integrate within the museum.
Elementary Schools ......................................................... Grade ....... Ttl. Abc Learn Center Stewart Elementary School. ..................... PK-6 ......... 206 Children INC number Two School ....................................... PK-K ......... 29 Clifty Creek Elementary School ......................................... Pk-6 ......... 564 Fodrea Community School ................................................ PK-6 ......... 320 L F Smith Elementary School ............................................ PK-6 ......... 432 Lillian Mitt Elementary School .......................................... PK-6 ......... 787 Lincoln Elementary School ............................................... K-6 .......... 230 Mount Healthy Elementary School ..................................... K-6 .......... 388 Parkside Elementary School ............................................. PK-6 ......... 708 Rockcreek Elementary School ........................................... PK-6 ......... 327 Saint Peter Lutheran School ............................................. K-8 .......... 424 Southside Elementary School ........................................... PK-6 ......... 905 St Bartholomew School .................................................... PK-6 ......... 375 W D Richards Elementary School ....................................... PK-6 ......... 618 White Creek Lutheran School ............................................ K-8 .......... 108 Middle Schools Central Middle School ..................................................... 7-8 .......... 800 Northside Middle School .................................................. 7-8 .......... 895 High Schools Columbus East High School .............................................. 9-12 ......... 1509 Columbus North High School ............................................ 9-12 ......... 2035
Culture
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Tech schools Highschools Middle Schools Elementary Site
1000m
2000m
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Attractions
Attractions throughout Columbus express the culture of city, acting as destination points for visitors. Proximity of attractions shows us where to adequately locate our museum. A new museum design should learn from and reiterate strategies used by local attractions to create a building that addresses visitor始s needs.
Sculptures
Bartholomew County Memorial for Veterans First Baptist Church
Site Eos, sculpture by Dessa Kir
Culture
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First Baptist Church was designed by Harry Weese without windows in 1965. It features include a high pitched roof and skylight.
The North Christian Church was designed by Eero Saarinen and held its first worship in 1964. The hexagonal shaped building includes a 192-ft (59m) spire and houses a Holtkamp organ. North Christian Church
Site First Christian Church
First Christian Church was designed by Eliel Saarinen with a 160ft (49m) tower and was dedicated in 1942. Among the first Modern religious buildings in America, it includes a sunken terrace and a 900-person sanctuary.
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Site Miller House and Garden Irwin Union Bank Mabel McDowell School
The Miller house and Garden was constructed in 1957 and was designed by Eero Saarinen and landscaped by Dan Kiley. One of the few residential designs by Saarinen, the home is a representation of international style wand was built for J. Irwin Miller.
Irwin Union Bank was designed by Eero Saarinen and includes an addition by Kevin Roche. The building was dedicated in 1954 and is possibly the first financial institution in America to use glass walls and an open floor plan.
The Mabel McDowell School opened in 1960 and was designed by John Carl Warnecke early in his career using his “early comprehensive diverse approach.� The architect fee was the second to be funded by the Cummins Engine Foundation.
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The Original Bartholomew Consolidated School Corporation Headquarters (formerly Arvin-Meritor Headquarters) was designed by Charles Sparrell in 1896 as a four-room schoolhouse. In 1989, Ratio Architects renovated the headquarters into a headquarters including a 29,000 square feet addition. The School corporation purchased the building.
The Irwin House was built in 1864 for Joseph Irwin and has been enlarged and redesigned over the years. Seen today is the 1919 remodel by Architect Henry A. Phillips of Massachusetts. The old brick exterior was covered by tapestry brick with stone trim, and several new chimneys - which are now a prominent feature of the house. The roof was recovered in slate and the pitch was altered, providing for a more spacious third floor. On the east a raised terrace was added to line the home to the adjoining garden. The home now operates as a privately owned inn. Bartholomew Consolidated School Corporation Headquarters Site Irwin House Site Bartholomew County Courthouse
Isaac Hodgson designed the Bartholomew County Courthouse, which was completed in 1874. The Second Empire-style building continues to serve the community well. Michael Van Valkenburgh developed a master landscaping plan for the Court House Square in 1997 in conjunction with the Bartholomew County Memorial for Veterans, which is located on the courthouse square.
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40
20
0
60
80
100
Demographics
Percentage of Population
Work Transportation Other/Work at Home Public Transportation
By understanding the population of Columbus, we as designers can design well-defined strategies to encourage the population to visit the museum. This could range from marketing material to specific cultural exhibits in the museum.
Columbus Population Other/Work at Home Public Transportation
Indiana Population
Carpool
Drive Alone
40
20
0
60
80
Industry Influence
Population by Race
100
Mestizos Asian Black
Agriculture
Manufacturing
Professional Services/Other
Industry
Other
Caucasian
Columbus Industrise
Columbus Population
Indiana Industries
Indiana Population
Other Mestizos Asian
Agriculture
Manufacturing
0
Industry
20
0
<$10k
28
Carpool
Percentage of Population
<$10k
Culture
Drive Alone
$10k-$25k
$10k-$25k
20
Caucasian
Profesional Services/Other
40
60
80
100
40
20
0
Black Other
60
80
Percentage of Population
Percentage of Population
Household Income
Population by Age
$50k-$75k
$25k-$50k
$75k-$100k
18-24
<17
>$100k
Columbus Population
Columbus Population
Indiana Population
Indiana Population
$25k-$50k
40
$50k-$75k
60
$75k-$100k
80
100
Percentage of Population
0
20
40
Other/Work at Home Public Transportation
Carpool
>65
45-64
25-44
Percentage of Population
Work Transportation Drive Alone
18-24
<17
>$100k
45-64
25-44
60
100
>65
80
100
Concept Proposal
Hub Concept Diagram
The hubs in S.C.A.M.始s museum proposal act as the primar y way finding method in the project. We designed the museum around a hub system to create spaces where groups can gather before entering an exhibit and as a space to rejoin a group if one gets separated. By having all hubs connected to each other, navigation from public to semi-public to private can be easily secured and/or locked down. In addition to acting as a way finding initiative, the exhibits can also work as a presentation space for local events, exhibit openings, workshops, and temporar y art installments.
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Program
General Space Organization Our initial idea for spatial organization was to divide the museum up into five sections. The sections are oriented from public to exclusive space, to private space. This organization allows rapid access for visitors and restricts them from entering the private back-of-house area. Entry/Vestibule Atrium Space Exhibit Space for Innovative Objects Columbus Art and Design Collection Rotating Exhibit Space Architectural Archives and Exhibit International Education Mentorship Spaces Museum Shop and Cafe Administration and Support Spaces Back-of-House
4.5m 2 300m 2 - 400m 2 740m 2 -930m 2 140m 2 -280m 2 140m 2 -230m 2 325m 2 -460m 2 250m 2 -300m 2 200m 2 -300m 2 300m 2 -400m 2 400m 2 -500m 2
Total: 30,100m 2 -39,875m 2
Proposal
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PUBLIC ENTRY Entry/Vestibule 4.5m 2
Clear point of entry that has a clear security process of ticketing and control of the museum. In addition, there needs to be a bag/coat check near the entry, as they are not allowed in the museum. The security hub is responsible for ensuring foreign objects are not brought into the museum and that there is safe movement between each of the exhibit rooms.
Museum Shop and Cafe 200m 2 -300m 2
To increase publicity and profitability of the museum, a cafe and shop with shared back-of-house will be required. By bringing these two spaces to adjacency, wayfinding between public, semi-public, and private spaces will be easier. While the cafe need not be a large restaurant, it will still need its own means of sanitary food preparation. Thus while it shares a back-of-house with the shop, a means of separation will still be needed to ensure proper food quality.
Administration and Support Spaces 250m 2 -300m 2
While kept in the back-of-house section of a museum, S.C.A.M. believes that the most optimal placement of the space will be near the entry of the museum. Bringing the support spaces to the front will allow staff to quickly respond to any problem that occurs within the museum. Quick access to the back-of-house will still be needed for when rotating exhibits are being prepared for delivery/shipping. Finally, the mentors from the international mentorship will be given workspaces to meet with mentees privately and work on their own research/innovations.
Circulation/Other
Because the museum is a public attraction, there is a need for public restroom, custodial closets, and mechanical service rooms. While it is not required, a multi story building will need an elevator for both public and back-of-house vertical movement. The freight elevator for back-of-house may be used by the public so long as it is located in a convenient location. There will be two restroom areas in the museum. The first will be located in the same space as the entry, cafe, and gift shop. This will allow anyone who wants to use the free spaces to access to a restroom. The final restroom area will be adjacent to the atrium space for optimal usage.
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Exhibition Space Exhibit Space for Innovative Objects 740m 2 -930m 2
The main exhibit that will be sharing the culture significance of Columbus will feature innovative objects of industrial design that were invented by the many manufacturers of the city. As a permanent exhibit, the volumetric space needed will be an area of keen consideration as the innovations of Columbus range in size from chairs up to diesel engines for tractors.
Rotating Exhibit Space 140m 2 -230m 2
For the rotating exhibit space, S.C.A.M. believes that the use of contemporary design innovations would be most ideal for this space. Already there is a clear timeline of historical innovation happening between the other two exhibits. By have a frequently changing exhibit of innovations, not only will visitors be more enticed to revisit the museum, but the opportunity of learning about what the future holds will further entice the (insert student population) students in the surrounding area to learn what the future holds. As it is unknown what this exhibit will feature in thirty to forty years, the space must will be flexible with adjustable walls and lighting. In addition the space itself must be large to accompany the breath of innovation that is sure to come.
Architectural Archives and Exhibit
Atrium Space 300m 2 - 700m 2
The atrium space will serve as the core of the museum where each of the main exhibits connects to. The atrium is an open plan that will allow for presentations, art To bring together two historic collections of art that represent the architectural significance of the city, a second vestibule or interior entry will be needed to installations and a gathering location for groups. ensure that the work is properly ventilated and secured through normal operating Columbus Art and Design Collection hours. Since the work is of architectural background, pieces will include scale 140m 2 -280m 2 models, construction drawings, sketches, and correspondence letters. The The collection of art supplied by the Columbus Museum for Art and Design consists models will need to be displayed in glass display cases with an ample amount of of mostly two-dimensional art, which will require a maximization of wall space for its lighting. For the exploration of architectural drawings, not only will they need display. To allow for the periodical switching of art with the Indianapolis Museum for to be properly stored, but the tools needed for safely handling and reading the Art, walls must be adjustable to allow for the maximization of space and curatorial archived works will be needed. In total, this space will need to include a library movement through the space. The adjustable walls will also allow for larger pieces of space for storage and organization of the written work, a seating area for casual art and design to act as centerpieces to the art collection when needed. Finally, the use reading of books and reference materials, and a workroom to allow for the careful of diffused light will be critical as it can reduce the demand for electricity. Through reading of the more degraded work. careful and precise directing of the light, the natural light can complement the low-watt halogen bulbs, which will significantly reduce the degradation of the art work. 325m 2 -460m 2
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Education Space International Education Mentorship Program 250m 2 -300m 2
The international education mentorship program requires its own set of spaces, separate from the rest of the museum. A central gathering space will act as a socialization area for large group assemblies and events. This space is accessed through a separate entrance but allows for connections to the rest of the museum. Adjacent to this space is a midsized lecture hall, which seats up to 150 people. The lecture hall would be primarily used by students and mentors with the program, but has the potential to open up lectures to visitors in the museum. Branching off from the central space would be small group meeting rooms and studios for the education program. The meeting rooms will be flexible to accommodate both one-on-one sessions between students and mentors, as well as small group sessions with 15-20 students. Studio spaces will promote both 2D and 3D creation of objects, in tangible forms as well as digital forms. Multiple types of studio spaces may be needed, such as a woodworking shop, metal shop, painting and drawing studios, and a computer lab.
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Private Workspace Back-of-House 400m -500m 2
The back of house is an employee only area that is responsible for the delivery and shipping of all exhibition material for the museum. Back-of-house consist of a loading dock, receiving/unpacking bay, temporary exhibit storage, workshop, and a preservation room. For the back of house to be the most optimal, all back-of-house spaces connect to the receiving/unpacking bay. This bay is also one of only two areas that has a door to the public space of the museum. By connecting all spaces to the receiving bay, exhibits can be placed into any space without traveling through any other spaces.
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Outdoor Sculpture/Garden/Walking Path
2
There is currently a popular walking path that runs along the west and north boundary of the city. Because of the linearity of the path, fewer people take the time out of their day to come into the city. By addressing the street with green space for sculptures and relaxation, the museum can act as a catalyst of revitalization by encouraging other developments to see the need to integrate the city of Columbus with the walking path.
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Precedents
Precedent museum studies help us understand how various architects have programed their spaces to fit different needs, including spatial distribution, lighting, environmental conditions and methods of display.
BMW Museum
Architects: Atelier Br端ckner Location: Munich, Germany Date: 2003-2008 Total Budget: $108 millio n Gross Floor Area: 12,200 m2 Objects on Display: Cars, Motorcycles, Aircraft Engines, Racing Engines Programmatic Design Aspects: -Translate the dynamic language of BMW automobiles into the museum -Display innovative technology and desig n -Maintain the original spatial and experiential characteristics of the musuem -Unite old sections with new permanent exhibitions
Nelson Atkins Museum of Art Architects: Steven Holl Architect s Location: Kansas City, MO, USA Date: 1999-2007 Total Budget: $200 millio n Gross Floor Area: 15,300 m2 Objects on Display: Flat art and sculptures Programmatic Design Aspects: -Complement the original building with contrasting experiential qualitie s -Create a fluid transition between architecture and landscape
Proposal
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North Carolina Museum of Art Architects: Thomas Phife r Location: Raleigh, NC, USA Date: 2010 Total Budget: $62 millio n Gross Floor Area: 12,600 m2 Objects on Display: Flat art and sculpture
s
Programmatic Design Aspects: -Expand the original building to add more permanent exhibition space. -Use daylight to light gallery spaces while protecting artwork from UV rays -Create a non-sequetial movement throughout the spaces, allowing visitors to move freely from gallery to gallery and from indoors to outdoor s
Kimbell Art Museum Architects: Louis Kahn Location: Fort Worth, TX, USA Date: 1967-1972 Total Budget: $6.5 millio n Gross Floor Area: 6,700 m2 Objects on Display: Flat art and sculpture
s
Programmatic Design Aspects: -Use natural lighting as a significant design element, to enrich the artwork on displa y -Create courtyards to increase light and air ventilation through interior and exterior spaces -Form flexible rooms with movable walls, which allow visitors to experience artwork on an intimite level
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Distribution
The following museum precedent studies assist us in understanding overall building layout and area distribution. Obser ving how current examples organize spaces and create adjacencies gives us a starting point to determine our own space demands.
BMW Museum
Fifth Level
Gross Floor Area: 20,000 m 2
Fourth Level
Public Gallery Space: 5,000 m 2
Third Level
Other Public Space: 5,400 m 2 Private Admin Space: 2,520 m 2 Private Service Space: 7,080 m 2
Second Level
First Level
Lower Level
Nelson Atkins Museum of Art Gross Floor Area: 15,300 m 2 Public Gallery Space: 4,330 m 2 Other Public Space: 4,880 m
Third Level
2
Private Admin Space: 200 m 2 Private Service Space: 5,890 m 2
Second Level
First Level
Proposal
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Lower Level
North Carolina Museum of Art Gross Floor Area: 6,510 m 2 Public Gallery Space: 4,380 m 2 Other Public Space: 1,930 m 2 Private Admin Space: 200 m 2 Private Service Space: 0 m 2
First Level
Kimbell Art Museum Gross Floor Area: 6,700 m 2 Public Gallery Space: 1,670 m 2 Other Public Space: 1,790 m 2 Private Admin Space: 1,450 m 2 Private Service Space: 1,790 m 2
First Level
Lower Level
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Analysis Proposal
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The following maps of Columbus provide detailed descriptions of the locations of certain types of buildings and main transportation routes through the city. They provide a technical depiction of the structures within the city that we will continue to develop through our design of a museum.
Downtown Districts
Downtown Building types Single Family Residential Multi Family Residential Commercial Services Commercial Goods/Food/Ent
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Columbus Transportation Map
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Downtown Transportation Map Red Rout Blue Rout Green Rout Orange Rout Bike Path
Site
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Columbus Entertainment District
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Zoning Specification: Commercial Downtown Support (CDS) The CDS, Commercial, Downtown Support zoning district is intended to serve as a transitional area between the urban downtown and the suburban commercial areas at the edges of downtown . this district provides that transition by allowing uses that would be appropriate in either setting and the flexibility for new development to be either suburban or urban in character; with the intent being a market driven conversion of the district to a pedestrian oriented urban setting that facilities the gradual expansion of the downtown area. This district is primarily intending to be applied on a case-by-case basis to near downtown properties previously zoned CC, Community Commercial in instances where flexibility to create development with urban characteristics is deemed appropriate.
CCS Lot Standards Minimum Lot Area •3,000ft2 (278.71m2) Minimum Lot Width •20ft (6.1m) Minimum Lot Frontage •20ft (6.1m) Maximum Lot Coverage •100%
Minimum Front Setback • Arterial street or road: 0ft • Collector street or road: 0ft • Local street or road: 0 ft * 25ft (7.62m) for any auto service bay, auto fuel pump canopy or other similar vehicle access points to structures.
Minimum Side Setback •Primary structure: 0ft • Accessory Structure: 0ft Minimum Rear Setback • Primary structure: 0ft • Accessory structure: 0 ft
Maximum Height • Primary structure: 125ft (38.1m), except when within one-half block of any single-family residential zoning district, in which case the maximum height is 50ft (15.24m)
Single Family Residental adjacent to site. 15.25m 10.75m
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Experience
Our personal experience on-site shows us actual scale of the lot and surrounding buildings, as well as textures vegetation and overall atmosphere.
4
2
The dimensions of our site measure 45m wide by 165m length. Part of the width will have to be taken up by the expansion of the alley on the East side. City ordinances require 60ft right of ways centered over the roadways. Franklin which runs North-South on the West side and 7th which runs East-West on the North side both measure 30ft in width. This means our site will also have 15ft of city right-aways that will have to be taken into consideration for our designs.
3 1 5 N
1
Proposal
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View from the Southeast corner. The book drop and loading dock ramp for the library are located on this corner. Decisions must be made to keep these or provide alternate methods for the libraryâ&#x20AC;&#x2122;s delivery systems.
2 Mid view from the East side. The site currently has a alley on its East side shown above. It measures 3.7m wide however we will be expanding it to 12m accommodate two lanes of traffic.
3 Mid view from the West side. Sixth St, the East-West Street this picture is taken from could be extended across our site to allow traffic to cross.
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4 View from the Northwest Corner. The surrounding buildings towards this end have stark contrast in texture due to this historic church pictured above to the mirrored phone switch station across the street on the adjacent page.
5
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4
5 View from the Southwest Corner. The surrounding buildings towards this end of the sitre are primarily brick contrasted by the softness of much vegetation.
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Climate
Temperature Range
Analysis of the climatic conditions of Columbus provide understanding of what environmental issues we need to address within our building design to create comfortable spaces.
Proposal
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Illumination Range
Wind Diagrams January - March
Wind rose diagrams help us design buildings that fully take advantage of natural ventilation which will help reduce heating and cooling costs.
July - September
April - June
October - December
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The sun is lower in the sky in winter than in summer and it allows us to plan and construct buildings that capture heat in Winter and reject heat in Summer. The orientation of the whole building plays an important part in ensuring that this 驶passive始 process works correctly. This Diagram shows the sun angle from SE to SW, During Winter solstice, equinox, and Summer solstice.
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Environment
An understanding of the types of materials on display determine how to condition the indoor environment. We need to look at humidity and temperature to create ideal conditions for both types of objects on display and the visitors in the museum.
Temperature • If temperature is too high: •Chemical reactions may increase •Biological activity may increase •Materials become softer •If temperature is too low: •Cracking may occur in some materials. •Many materials may become brittle and deteriorate
Relative Humidity • If relative humidity is too high: •Chemical reactions may increase •Materials may deteriorate faster, such as metals corroding or dyes fading. •Wooden materials may warp and swell •Paper materials may buckle •Biological activity may increase • If relative humidity is too low: •Wood and other materials may shrink, warp, or crack. •Paper and fibrous materials may dry up. • If relative humidity is inconstant: •Materials may repeatedly swell and contract to adjust to the environment •Deterioration may occur incrementally, and go unnoticed for long periods of time •Sudden damage may occur in some materials
Summer Comfort Zone Winter Comfort Zone Desired Range for Museum Ideal Museum Temperature and RH
CERAMIC GLASS METAL PAINTINGS PAPER PHOTOGRAPHS STONE TEXTILES WOOD
0%
10
%
80
% 60
%
40
%
20
0%
Proposal
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Passive Cooling Strategies
Active Cooling Strategies
• Maintaining the building envelope • Limit the total number of people in a room, to reduce additional heat gains. • Use sun shading devices to reduce heat gain from the sun • Store objects in well-designed cases, boxes, or folders, to provide a buffer from temperature and relative humidity changes. • Create a micro-environment for objects that acts separately from the general museum space.
• A well designed HVAC system will be able to maintain RH, temperature, and filter out any unwanted gasses from the environment. •A system must be practical to both preserve the collections in the museum and create a comfortable space for visitors.
Our Recommendations • Temperatures and humidity levels should be within a consistent range, without changing abruptly. • To balance comfort with protection of objects, we recommend an indoor temperature at 70°F (21°C), not to exceed 75°F (24°C) in the exhibition, conservation, and storage spaces. Spaces that require less protection of objects (auditorium, classrooms, offices, etc.) should be maintained at 75°F(24°C) year round. • We recommend a relative humidity level of 50%, not to exceed +/- 5% from this set point, within all general gallery and display spaces. The humidity may need to be adjusted in galleries with delicate or sensitive objects.
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Nelson Atkins Museum of Art -Green roofs improve insulation and control stormwater -â&#x20AC;?Breathing Tsâ&#x20AC;?allow light into galleries while creating spaces fro HVAC ducts -Air between the glass panels is heated by the sun to passively heat the space in the winter, while ventilating and cooling in the summer. -Translucent insulation in between the glass walls control heat transfer while still allowing daylight into the space. -Service space extends continuously through the lower level, creating easy access points to the Breathing Ts and HVAC systems.
Kimbell Art Museum -Air ducts and other mechanical services are hidden within the structure and ceiling, in the spaces where the edges of vaults almost meet, creating more elegant gallery spaces for visitors to experience -Large HVAC machinery is located centrally on the lower level, making it easier to connect to all museum spaces above -Long, narrow spaces extend continuously along the entire length of the museum, creating a path for air movement.
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Security
Museum security is a kind of art form unto itself. A way to all at once create safety and accessibility. To bring us as close as possible to inspiration while preventing theft. Saturation security is the most important technology used in any given exhibit space. The overlapping of security measures makes it harder to steal or damage this artwork. Vibration sensors placed behind a painting can detect the lightest fingertip. Multiple sensors can be customizedâ&#x20AC;&#x201D;one as a backup, another to detect if someone tries to access the painting through the wall. A tripped alarm signals the control room and describes the problem.
Closed circuit cameras prevent unauthorized users from accessing or tampering the camera feed. Anti-integration (using multiple camera brands) makes things difficult for thieves; it means they will have to break numbers systems instead of one.
Motion detection devices beamed directly over the painting sound a chirping alarm (like a smoke detector) to startle the too-close observer and alert security.
Proposal
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There are multiple ways to create a boundary between the art and the viewer. Material differentiation or raised floors are among the most commonly used methods today. The different space implies viewers are not welcomed in.
Glazing protects some paintings and is commonly used with objects d'art shown on pedestals. It is used judiciously since artists and scholars prefer as little interference as possible when viewing the art. Non-glare glazing with static-free poly-carbons works with all art but pastels and charcoal.
Security guards are a constant presence in the museum at all hours. They must patrol briskly and pay as much attention to fire exits as they do the art itself. They also communicate with the security control center, which dispatches staff to suspicious situations.
Lighting
Lighting within museums needs to access both the visual methods of display and the conser vation needs of the object.
Daylight
Advantages: • Natural feel and look • Provides very high intensities without high heat content • Can be environmentally sustainable • No heat in light beam Disadvantages: • Difficult to control the intensity • Light output vaires with weather and seasons • Hidden costs through construction and maintenance of windows and fittings • Can be energy expensive for building operation
Halogen
Advantages: • Variety of beam widths and wattages available • Provides a wide spectrum of light • Lifetime change in output is minimal Disadvantages: • Bulbs can get very hot, with a high heat output • Total cost per hour can be high • Fixtures can be expensive
Incandescent
Advantages: o Cheap to purchase o Easy to manipulate beam spread Disadvantages: • Too bright at close distances • High heat output
Fluorescent
Chicago Field Museum, exhibit with LED lights
Advantages: • Low heat output from tubes •Low energy consumption • Easy maintenance Disadvantages: • Can be too bright at short distances • Difficult to direct in a sharp beam • Lighting typically looks flat Interactive exhibit with incandescent lighting
White LED
Proposal
Advantages: • Useful at short distances • Low energy use • No heat in light beam Disadvantages: • Color rendering index can be highly variable • Consistency of color in beam can be poor
Victoria and Albert Museum, exhibit with daylighting
Installation at Sydney Biennale, lit with fluorescent lights
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Lifetime DAYLIGHT
UV Output
FLUORESCENT
FLUORESCENT
HALOGEN
HALOGEN
INCANDESCENT
INCANDESCENT
LED
LED 60 0
0
/lm W
/lm W
/lm W
/lm
0W
0
50
40
30 /lm
/lm W
0W
0
20
10
/lm
0W
s ur ho
s ur ho
s ur ho
s ur ho
0+
00
0
0
0
00
00
00
s ur ho
s ur ho
0
00
30
25
20
15
10
00
s ur ho
50
0
Price per Lamp
Color Temperature
DAYLIGHT
DAYLIGHT
FLUORESCENT
FLUORESCENT
HALOGEN
HALOGEN
INCANDESCENT
INCANDESCENT
LED
LED 0
00
12
0
00
K
K
K
Cool
10
00
80 K
Certain types of lighting can be harmful to objects within a museum, causing distinct degradation effects on different materials: • Stiffening and cracking of plastics, rubber, and paint • Shifting and fading colors in paints, papers, textiles, and wood • Weakening of textiles and paper
00
K
K
Deterioration caused by lighting
60
00
40
00
K
20
0
0+
$6
0
$5
0
$4
0
$3
0
$2
0
$1
$0
Warm
Our Recommendations
DAYLIGHT
• To preserve the various objects that are contained in our museum, we need to choose our lighting types based on the materials in each exhibit. Multiple types of lights will be used throughout the museum. • In areas with light-sensitive objects, we need lights with low UV output, such as LED and incandescent lights, avoiding direct sunlight on the objects • In areas with non-light-sensitive objects, we are able to use brighter lighting systems, such as fluorescent or direct daylight. • We need to combine area lights, for illuminating paths of travel, with spotlights, for visually defining the displayed objects.
Light Standards CERAMIC GLASS METAL PAINTINGS
Controlled lighting
PAPER
• Yellowing of varnishes and papers
TEXTILES WOOD
0 30
0 25
0 20
0 15
x lu
x lu
x lu
x lu
x lu
x lu
0 10
50
x lu
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STONE
0
• Strategic placement of sun shading devices and window coverings • Tinted or colored light filters • UV filtering materials over windows and lights • Use of flood lights instead of spot lights • Turning off lights when unused, through motion detectors or timers • Covering objects with dust protectors when museum in closed
PHOTOGRAPHS
Nelson Atkins Museum of Art -Several layers of translucent glass make up the walls, letting light in during daytime and create a glowing volume at night -Incorporation of daylight makes the spaces dynamic, changing with the time of day and with the seasons -Mechanical screens controlled by computers allow optimum levels of daylight into gallery spaces, depending on the type of art on display -Interior curved walls allow a mixture of both north and south light to move through the galleries, further creating a dynamic indoor experience
North Carolina Museum of Art -360 skylights are incorporated throughout the gallery space to bring in daylight -Rounded forms on roof capture daylight and direct it into the spaces below -Gallery spaces are able to be showcased entirely with natural lighting from 10 am to 3 pm, reducing the total energy load. -4 layer skylight system: Outer fixed louver, two layers of glass, final layer of fabric -Daylighting system maximizes natural light while reducing glare and protecting from harmful rays, to create a suitable gallery space for displaying artwork.
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Exhibits Proposal
60
Our museum will exhibit an assortment of objects of var ying sizes. The following diagrams provide several strategies in the presentation and viewing of these different objects.
Spotlights are used to create visual interest. For cars, it can draw attention to the curving Spotlights are used to create visual interest. For cars, it can draw attention to the curving form of the body. form of the body.
Spotlights are directional light that are are directional light easySpotlights to manipulate. that is easy to manipulate
Should be used to highlight the main attraction ofhighlight the exhibit. Should be used to the main attraction of the exhibit
Display Scales Both the permanent and rotating exhibits will feature objects different scales. To account for the different sizes of objects, pedestals will be used to bring all of the objects up to an easily viewable scale.
1.5m
1.0m
.5m
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Display Viewing Angle
Comfort Zones
The average viewing angle of persons determines the height and location of podium in the exhibit. By placing the artwork between the ʻrelaxedʼ and ʻnormalʼ sight line, people will have the most comfortable and best viewing angle of objects.
An understanding of comfort zones is needed when laying out spaces. Proximity of objects to people affects how people experience the object and environment.
30° Maximum angle of sustrained view
Public Space
Social Space
15° Personal Space
10° Normal sight line
Intimate
0° Space
1.75m
-10° normal sight line
.45m
1.2m 3m
-30` Relaxing sight line -45° Downward view line
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7.6m
Primary Engine Display To display one of Cummins始 most popular engine, the engine, it will be broken down into its individual components. The components will be held in place with post-tensioned cables to prevent them from moving in space. Space will be left between the engine parts to allow visitors to walk between sections of the engine. This display will allow visitors to experience how a typical engine is assembled.
post-tensioned cables
1.5m
8m
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BMW Museum
-Exhibitions feature large scale objects, including cars, motorcycles, aircraft engines, and racing engines. -Each exhibition features a primary object on display, with a central focus. Subsequent objects flow out from this central space. -Objects on display define the spatial experience. The building form semms to be designed around the objects, rather than the objects being placed within an existing space.
Kimbell Art Museum -Gallery spaces are laid out with flat artworks displayed along the concrete walls, and 3D works arranged centrally below the skylights -Spaces are simple, with light walls and floors, to put more focus on the artwork -Natural light from the vaults gradually fade down to the artwork, creating a transitional focus from the sky to the display. -Spot lighting is also used to better exhibit specific pieces of art
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Accessibility
Accessibility standards and codes are necessar y to address when designing public spaces. The ADA codes give a minimum standard that we can base our initial design proposal off of.
Walkways
Ramps When performing a 180ยบ turn at the end of a walkway, the depth must be greater than 1.2m with a 1.1m walkway width or greater than 1.5m with a .9m walkway. The minimum width of a walkway cannot go below .8m for more than .6m. In addition, for every .8m section, there must be 1.2m walkway segments
It is recommended but not required that walkways be at least 1.75m to allow for two wheel chairs to pass side by side, allowing two directional traffic.
Proposal
It is required that all ramps have a landing at both the start and the end of said landing. The landing cannot be less than 1.5m.
Ramps with a side falloff of more than 1.25cm are required to have handrails. The ramp is required to extend greater than .3m beyond the railing.
Ramps may rise at 1:16 or 1:20 slope to a maximum height of .75m. Ramps that rise at 1:16 cannot extend for more than 9m. Ramps that rise at 1:20 cannot extend for more than 12m.
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Shipping
We need to recognize the methods for shipping and receiving objects to determine how our back of house spaces will best accommodate these activities.
Box Construction for Shipping and Receiving Crate Construction Requirements • Provide a barrier against water • Absorb low-level vibration and high-impact blows • Facilitate easy handling. Ethafoam strips shock absorption
Handles for easy caring of lighter objects
Proposal
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Battens increased box durability
Runners for ease of loading w/ the forklift
1/2” AC Exterior Grade Wood Do not glue lid as it may damage the object. Use glue.
Object Box Additional foam enclosed box for added shock protection
Shipping and Arrival
Boxes weighing less than 150lbs are shipped through national carriers such as FedEx. Deliver to loading dock.
Remove Objects from the truck at the loading dock.
Items weighing over 150lbs are shipped with semis. Deliver to loading dock.
Remove objects from the truck at the loading dock.
Store objects in the back-of-house for two days to allow objects to adjust to the new environment
Store objects in the back-ofhouse for two days to allow objects to adjust to the new environment
Carefully open the box and prep for display
Store extra boxes in the museum for future reuse
Take apart crate and prep for display
Store wood boards to remake crate. Throw away damaged boards.
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Freight elevator Cart and tractor storage
12m
Unpacking
20m
Unpacking/Prep for display
Plan
9m
Loading Dock
Proposal
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This is a study completed that addressed the issue of approximate space needed to unpack and prep a Jet engine for display in a innovation museum. It includes the room needed for machiner y to move and rotate the object to orient it correctly for display.
Time-use
12
24
68
10
12
24
68
10
Outdoor Sculpture/Garden Entry Hub Restrooms Coat Check Free Exhibit Administration Security Museum Shop Museum Cafe General Storage Employee Break Room Atrium Hub Innovative Objects Exhibit Columbus Art and Design Collection Exhibit Rotating Exhibit Space Archival Exhibit Education Hub 1:1 Meeting Rooms Lecture Hall Studio Spaces Receiving/Unpacking Hub Workshop Temporary Exhibit Storage Loading Dock Box Storage Preservation
Public Access
Education Access
Private Access Occupational Density
Proposal
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12
Learning Proposal
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International Education Program External programs incorporated within the museum provide a unique quality that is found nowhere else in Columbus, giving the local community a secondar y reason for coming to the museum. An out of classroom, mentorbased learning program gives students of Columbus the opportunities to advance their interests in art, design, and industr y. International professionals connected with the city bring global perspectives into the program, advocating each student始s success.
Precedent Programs MIT Venture Mentor Service This program brings together emerging entrepreneurs (students, alumni, and faculty of MIT) with volunteer skilled mentors, who provide professional and practical advice to their mentees. Entrepreneurs get personal recommendations on how to improve their products and services and develop their businesses. ACE Mentor Program A program for high school students that provides a hands-on introduction to careers in architecture, construction, and engineering. Small student teams are created and are paired up with practicing professionals who show students what their career is like. Students experience directly what to expect through experience-based learning
One-on-One Meeting
Small Group Meeting
Studio Spaces
Importance: Our museum will act as a cultural center for Columbus, providing an international perspective of design, art, and industry for the local community. Professionals from around the world who are already connected with Columbus see value in the students of Columbus, who will make up the future working population. By integrating a mentorbased education program within the museum, we provide a space for these international professionals to connect with local students. Local students can enrich their learning hands-on in industrial, design, or art fields with the guidance of their mentors, fostering their success in future careers.
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Summary Conclusion
72
The Columbus Cultural Center for Innovation is a unique opportunity for the city of Columbus to teach tourists and locals about its distinctive histor y. The design proposed by S.C.A.M. will stitch together two centuries of cultural histor y into a collective exhibition. The exhibition will feature a permanent space for innovations of local companies such as Cummins, Ar vin, COSCO, and Reeves. In addition, two other exhibit spaces will feature art and architectural work from the Columbus Museum of Art and Design and from the Columbus Architectural Archive. The final display space will feature a rotating exhibit of up-and-coming innovations from around the world. The navigation through an expansive histor y such as Columbus始s can be difficult. S.C.A.M. believes the proposed design is a simple and easy to navigate space. The four multifunctional hubs of the museum are the quintessential wayfinding scheme used in our design. By having primar y spaces connect to central hubs, groups can create places to gather prior to entering an exhibit. The hubs also act as an excellent place to regroup if one were to get lost. The hubs do not just act as a navigation port, they can also be used for per formances, presentations, and innovative art inter ventions. In short, S.C.A.M. has proposed an all inclusive solution to the CCF. The design addresses all of the immediate needs of the CCF and adds additional attributes to provide international learning opportunities for students. The continued growth, captured by the Columbus Cultural Center for Innovation, is a necessity for the city to continue to attract international companies, new jobs, and culture.
S.C.A.M.
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Cited
“2010 ADA Standards for Accessible Design.” United States Department of Public Justice Civil Rights Division, 2013. Web. 12 Sept. 2013. <http://www.ada.gov> ACE Mentor Program. ACE Mentor, 2013. Web. 13 Sept. 2013. <http://www.acementor.org/>. “Art Studio Classes 12.” Photograph. Creative Art Space For Kids, 2013. Web 13 Sept. 2013. <http://www. creativeartspaceforkids.org/studio-tour/art-studio-classes-12.jpg>. “Arvin.” Arvin Industries, 2013. Web. 8 Sept. 2013 <http://www.meritor.com/default.aspx> “A Wing & Air: Museumʼs HVAC System Had to Accommodate Patrons and Vintage Aircraft.” Snips Oct. 2004: 73(10), p. 70-76. Business Insights: Essentials. Web. 12 Sept. 2013. <http://bi.galegroup.com.proxy.lib.iastate.edu/ essentials/article/GALE%7CA123602991/3205b5f76754aaa80...?u=iastu_main> Cannon-Brookes, Stephen. “New Advances in Daylighting.” Museum Practice. Museum Association, 17 Jan. 2011. Web. 13 Sept. 2013. <http://www.museumsassociation.org/museum-practice/lighting/17012011-lighting-daylight>. “Chapter 4: Museum Collections Environment.” NPS Museum Handbook, Part I: Museum Collections. Washington D.C.: National Parks Service, 1999. 4:1-:50.Museum Management Program. National Parks Service, 1999. Web. 12 Sept. 2013. <http://www.nps.gov/museum/publications/MHI/CHAPTER4.pdf>. City-Data, Columbus Indiana. Data Forum, 2013 onboard informativs. Web. 13. 2013 http://www.city-data.com/school/Columbus-Indiana.html#ML “City of Columbis.” Columbus Indiana, 2013. Web. 9 Sept. 2013. <http://www.columbus.in.gov> Columbus History Timeline. 52 weeks of Columbus Indiana, 2013. Web. 13 Sept. 2013. <http://52weeks.rickyberkey. org/columbus-history-timeline/>
Conclusion
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Columbus Indiana, Planning and Zoning. 2013 city of columbus Web. 13 sept. 2013. http://www.columbus.in.gov/planning/zoning/ “Computer Lab.” Photograph. Flowserve in the Community. Flowserve Corporation, 2013. Web. 13 Sept. 2013. <http://www.flowserve. com/files/Files/Sustainability/assets/images/photogallery/Computer_Lab.jpg>. “Cosco.” Cosco Products, 2013. Web 8 Sept. 2013 <http://www.coscoproducts.com/eng/About-Us> “Columbus (city) Quickfacts.” State and County QuickFacts. U.S. Census Bureau, 27 June 2013. Web. 10 Sept. 2013. <http://quickfacts. census.gov/qfd/states/18/1814734.html>. “Cummins.” Cummins Incorporated, 2013. Web. 8 Sept. 2013 <http://www.cummins.com/cmi/> Galgano, Kerri. “Chicago Field Museum Re-Lights the Brooker Gallery with LED Fixtures.” LightingServicesInc.com Blog. 16 Oct. 2009. Web. 13 Sept. 2013. <http://blog.lightingservicesinc.com/Blog/bid/28001/Chicago-Field-Museum-Re-Lights-the-Brooker-Gallery-with-LED-fixtures>. Historic Columbus Indiana, David Sechrest 2010, Web. 13 sept, 2013 http://www.historiccolumbusindiana.org http://www.historiccolumbusindiana.org/redevpro/redevpics.htm “International FDI.” Columbus Indiana Economic Development Board. Columbus Economic Development Board, 2013. Web. 10 Sept. 2013.<http://www.columbusin.org/business-climate/international-fdi/> Kwok, Amy. Untitled. “Rhode Island School of Design.” Archinect, 12 March 2005. Web. 13 Sept. 2013. <http://files.archinect.com/ uploads/ai/aiu_P3110001.JPG>.
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McAfee. Untitled. Photograph. “So you think you can build a press?” Craft and Concept, 2 March 2012. Web. 13 Sept. 2013. <http:// craftandconcept.com/wp/wp-content/uploads/2012/03/IMG_4651.jpg>. MIT Venture Mentoring Service. MIT, 2008. Web. 13 Sept. 2013. <http://web.mit.edu/vms/index.html>. NMAI. “Installations.” Photograph. National Museum of the American Indian. Lighting Services Inc. Web. 13 Sept. 2013. <http://www. lightingservicesinc.com/inst_detail.asp?installationID=1288#>. Rosenblatt, Arthur. Building Type Basics for Museums. New York: Wiley, 2001. Print. Russell, James S., ed. Twentieth Century Museums. London: Phaidon, 1999. Print. “Suggested Practices For Museum Security.” The Museum, Library, and Cultural Preoperties Council of ASIS Internation, May 2006. Timeline For Columbus Development. The Columbus Indiana Architectural Archives, 2013. Web. 13 Sept. 2013. <http://www. columbusarchives.org/archives-time-line.php> “The Tale of Two Brothers.” Farm Collector, 2013. Web 9 Sept. 2013 <http://gasengine.farmcollector.com/gas-engines/A-TALE-OF-T WOBROTHERS.aspx#ixzz2688n5xvi> Thomsen, Bo Stjerne. “Homographies, Rafael Lozano-Hemmer.” Performative Environments. 14 Jan. 2008. Web. 13 Sept. 2013. <http:// performative.wordpress.com/2008/01/14/homographies-rafael-lozano-hemmer/>. TripAdvisor, Columbus Tourism. TripAdvisor 2013, Web. 13 sept, 2013 http://www.tripadvisor.com/Tourism-g37027-Columbus_Indiana-Vacations.html
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