Intermediate Terminal Warehouse No.3 Cory Harrison BFA thesis Fall 2011
this site is an emotional haven, a peaceful getaway that is in close proximity to Richmond, yet far enough to escape the congestion of city life.
design manifesto Through exploring sites similar to the Intermediate Terminal Warehouse, I have realized the importance of reacquainting Richmond with the waterfront. I believe the warehouse should be modernized so that it can once again be functional, while still preserving the history. I believe it’s important to preserve the history of the Intermediate Terminal Warehouse, as it is an important staple to Richmond’s past and holds ties to the cities rich heritage. However, rather than painstakingly preserving it to it’s original form, I propose stripping the building down to its concrete frame, quite literally the bones. The vacant lot directly adjacent to the Intermediate Terminal Warehouse could serve as a magnificent public park space, the high line and Brooklyn Bridge Park have been a major inspiration and are great examples of how defunct post-industrial spaces can be repurposed. I believe that having great public spaces is what makes a community.
“you build great cities by building a great public realm” Josh Campbell
abstract My main goal is to keep the history of the Intermediate Terminal Warehouse alive. It was once a bustling waterfront that would export goods by means of train and barge. I want to rekindle the energy that the site once had, and share it with Richmond. Literally reconnecting the city with the river. The program for the revitalized Intermediate Terminal Warehouse will be similar to the other Art Centers in Richmond, but they will be more accessible and less exclusive. I propose public work-spaces and studios, offering creative types a place to flourish, as well as outdoor spaces, taking full advantage of the vacant lots surrounding the site. This site will be a new central hub for art and design production in Richmond.
DOCKS DE PARIS LOCATION
PARIS, FRANCE ARCHITECT
JAKOB + MACFARLANE
case study
I found a building, similar in structure, to the Intermediate Terminal Warehouse, located in Paris: The Utilitarian Docks de Paris. These docks were formerly a depot for goods. Parisian architecture firm Jakob and Macfarlene were challenged with transforming the three story building into a new fashion and design center “despite its neglected state, and somewhat nondescript, utilitarian design” (Blum, 110) They wanted to stay true to the history of the building and conserve the structure, “[we chose to] take the building right back to its original skeleton and propose a new skin, it created the opportunity to give a new face to a faceless building”. Similar to what I am proposing, the program of the Docks de Paris called for shops, cafes, an exhibition space, a new home for Institut Francais de la Mode fashion school, a
rooftop restaurant, and studios that would overlook the river. Although housing all of these to fit the program is vital, the buildings most striking feature is the “plug over”, a green glass and steel structure that looks as if it’s growing off of the buildings facade. The plug over provides vertical circulation to all levels, and glows green at night, reflecting in the river. The grid of the facade helped determine the shape of the plug over. The building was over structured, and was able to hold more building “and that’s what we gave it” explained Macfarlene. I think this is the best example of re purposing a building that has fallen under disrepair; especially a riverfront building, in a way, you are re-engaging the community with the water. James Corner of Field Operations, who worked on
High Line park in New York City, makes an interesting point regarding derelict industrial areas “the whole thing [the High Line] is a sharp witted reflection of who we are as a city: strolling on the wreckage of the past while basking in the cultured and moneyed present”. He addresses an important issue, we are living among structures from our industrial past, it’s important to repurpose rather than demolish while transforming a derelict industrial area into a stylish commercial district or park. “Intuitive and Rational collide, reinforcing and inflecting one another” the architect making an interesting point about the interaction between old and new.
“playing machine edged relics against diverse, seemingly wild landscapes”. BROOKLYN BRIDE PARK LOCATION
BROOKLYN, NEW YORK LANDSCAPE ,=ARCHITECT
MICHAEL VAN VALKENBURG A new project in Brooklyn is underway, located in a defunct shipping complex along the East River. Brooklyn Bridge Park was created to reconnect the city with its waterfront: “New York City and other cities have shifted from manufacturing to service economies” explains Sarah Amelar. The new park has utilized abandoned shipping docks, creating new green spaces that were not previously inhabitable to the community. The park also provides breathtaking panoramic views of Manhattan across the “800 acres of water” that is the river. The goal of this project was to stay true to the original purpose of these industrial docks “the decisively industrial character of the Brooklyn and Manhattan bridges with their structural underbellies fully revealed, is key to Brooklyn Bridge Park’s dialogue with its past. Van Valkenburgh does not recreate nor fabricate an untouched primal landscape”. It’s fantastic what was done with the park: rather that omitting existing conditions and eyesores, they were embraced. A great example of this would be the partially submerged pilings from old piers, “artifacts
of marine infrastructure”, now a bird and fish habitat. A large steel frame structure, a skeleton of a piers shed, was re purposed acts as armatures. It will house swings, create shade for a pavilion, and provide lighting at nigh (Amelar, 82). Not everything in the park was kept as is; a major challenge was noise pollution from the Queens expressway. Rather than building an unsightly sound barrier with steel and concrete, rolling hills were built- “rather than slavishly preserving the monotonously flat, impervious hardscape, the park introduces undulant topography and lush native vegetation, playing machine edged relics against diverse, seemingly wild landscapes”. This creates an interesting juxtaposition, and takes full advantage of the defunct space. As a closing note, I will provide a quote from the landscape architect, Van Volkenburgh: “One big distinction between landscape architecture of the 19th and 20th centuries is how much we accept the imprint of our prior inhabitations”.
case study
TORONTO CENTRAL WATERFRONT LOCATION
TORONTO, CANADA ARCHITECT
WEST 8 VALKENBURG
case study
In Toronto, architecture firm West 8 has created waterfront walkways and benches “where the city kisses the river”. These boardwalk-like structures give Toronto residents access to the waterfront that was previously blocked by a major road. “We want to make sure as we march along and revitalize the waterfront, that the waters edge is recaptured by the people, legally, physically, and psychologically”-Josh Campbell, the president and CEO of Toronto’s waterfront, explains the docks importance to the community, “you build great cities by building a great public realm”. These undulating docks were literally built over the water, on pilings, because all of the
land on the waterfront was either paved with road or had an obstructing building. The founding principal of West 8, Adriaan Geuze, wanted to capture the essence of the waterfront and make it something truly unique and special for Canadians: “I wanted to define Canada’s newfound amenity by referencing a collective national memory: the beautiful view, large trees on the shore, and a rustic cabin and dock perched on the edge of the lake-this is what Canadians share” (Arvidson, 34). There is a lesson to be learned from this design that I would like to apply to my thesis, the idea of reacquainting Richmonders with the waterfront, not just physically, but emotionally as well.
“the waters edge is recaptured by the people, legally, physically, and psychologically�
precedent study
“something to look at and to look from�
THE ORANGE CUBE LOCATION
LYON, FRANCE ARCHITECT
JAKOB + MACFARLANE
In Lyon, France, a building has been erected known as the “orange cube”. Located in an area that is being redeveloped-post industrial-the orange cube offers scenic river and hillside views, and, as Roland Barthes noted, apropos the Eiffel Tower “something to look at and to look from” Jakob and Macfarlene. The building has rental office space as well as ground-level retail space. The office spaces above “mark the transformation of the site” so, they decided to push the envelope to its limits and give the project “optimal physical presence on its formerly industrial site”. This “hypothetical or virtual Cartesian volume”, a box of a building, is interrupted by 3 conical volumes. The orange color, although it may seem frivolous and unnecessary, was derived from the color of lead paint that is common to the local industry of dock lands and factory zones in this region of France, making a contextual reference. The structure was about exploring and discovery “it explores volume as a rhetorical strategy yet tweaks that geometry to opportunistic ends”. The decision of color and shape of the building may seem meaningless, but the reality is contrary. These were conscious decisions and the architect was very careful in making these choices “the pursuit of iconicity has frequently resulted in meaningless gestures, The Orange Cube, to the contrary, can be inductive and subtle, almost organic in form. It is a pragmatic commercial building that appears, in the light of the day, to be surprisingly alive” (Ryan, 57).
THE ORANGE CUBE ANALYSIS
PLAN SECTION SITE
Mezzanine
Sixth Floor
Ground Floor
Fifth Floor
Circulation
Outdoor Space
Office Space
Gallery/Gallery Mezzanine
Void
Parking Garage access
Private balcony
Public staff area
Offices
Gallery Parking Relationship diagram in Section
Location
Section
VMFA
precedent study
LOCATION
RICHMOND, VA ARCHITECT
SMBW Architects
VMFA LOCATION
RICHMOND, VIRGINIA ARCHITECT
SMBW + RICK MATHER I met with Megan Liles, the Youth and Family Studio Programs Coordinator at the VMFA Art Center. She was extremely knowledgeable and had a big part in the design of the Art Center from the programming and conceptual phase all the way to completion. In designing the Art Center, the Architect thought about access and ease when space planning. It has direct access to the museums galleries, including the new wing, but it’s private enough that visitors to the museum do not interrupt the programs that are being held. The studio spaces are used for an array of programs. Schools from the Richmond and surrounding areas come to tour the Museum and Art center everyday.
changed by the studio teachers and administration that work in the Art Center. Along the walls there is a long vertical recess, with built in lighting. This is the student “Gallery” space. Its not technically a gallery, since the recessed wall runs along the circulation path, but it’s brilliant because visitors to the Museum and Art Center can view them as they pass, and the students in the program are able to display their art. Megan gets plenty of positive feedback about the student exhibition space.
There are two large studio rooms, connected by a corridor that has access to two storage rooms. Both studios house AVA equipment, including a projector. The studios have durable rubber floors, and There are over 100 programs, and in the painted drywall walls. Single stainless steel summer season 3,800-4,000 students attend sinks are located in both studios; Megan has these programs. Megan said that the art found that a deeper, double stainless steel center tries to offer some free sink would have been more functional with programming, for underprivileged families, the amount of students that attend classes. but it is hard to fund. However, most of the There is also no backsplash behind the sinks, free events are sponsored. and paint has splattered and soaked into the wall. A simple stainless steel backsplash The architect added a coat room, with could solve this. storage cubbies under a built in bench system. Megan says this has been extremely The studios have retractable glass dividing beneficial as it keeps everything organized walls, which can be opened up into the and clean. circulation space/student exhibition space. The retractable glass wall is great for open There is a teacher gallery space that is part houses and events, however there is a of the Art Center, but can be viewed by any fishbowl effect when programs are going on, visitors to the VMFA. The teaching gallery is visitors that are passing by can gaze in, and it a “rotating gallery”, meaning that every so can be distracting to the students. often (about every month) the exhibition is
As far as storage goes, Megan has realized that shelving storage is not adequate enough; she prefers drawer-bins that can hold a variety of art supplies. As far as storage goes, Megan keeps hazardous chemicals that need to be separated from regular supplies in a locked storage closet. Megan went on to show me the different kinds of seals that are placed on supplies such as paint. AP or CL means that the paint is non-toxic and non-allergenic. I had some questions about how the VMFA went about marketing classes/art programs, since there are over100 available to such a broad age group. There is a studio brochure that is mailed out every semester, this has the classes listed, and similar to a classified ad in a newspaper, so that one can simply circle the classes they’re interested in. Megan also puts a posting in Style Weekly, and sometimes in Richmond Family Magazine. Richmond Family Magazine will often give her a free advertisement by posting “how to” articles and editorials. As far as social media goes, Megan has found that printed materials seem to be more effective, especially for moms and older generations. She mentioned that the Art Center would sometimes send out press release PDF flyers via e-mail. “We like to focus on our audience, but we try to reach out as much as possible.”
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N Shepard Street Parking Separate student entrance Roundabout Boulevard
VMFA SITE PLAN
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Student Gallery Corridor Studios Teaching Gallery
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Orientation Room Coat Room Circulation between studios Storage
Versatility of Spaces
CIRCULATION STUDY
Low circulation High circulation
“We tried to make architecture by making as little architecture as possible�
precedent study
KRAANSPOOR LOCATION
AMSTERDAM ARCHITECT
OTH ONTWERPGROEP A similar structure to the Docks de Paris is the Kraanspoor building, located in Amsterdam. Originally, this concrete structure housed two cranes along the waterfront, used to moore ships while they were assembled. Designer Trude Hookyaas wanted to place a glass “box” on top of the structure, for her firms new location. The size and type of construction of this glass box was determined by the load-bearing capacity of the original concrete base. “Some of the concrete had deteriorated, so, for the sake of lightness and transparency, Hooykaas designed a three story box and glass and prefab steel with floors of concrete slabs only about 2 3/4 inches thick” (Metz, 80). The box is supported by slender steel H-profiles, which rest on the concrete columns of the original structure. There is a ten-foot gap between the old structure and the new “that is essential to mark both the contrast and the coming together of old and new”. It’s an interesting contrast that was created, the heaviness and bulkiness of the existing concrete base, and the lightness and transparency of the new box that is seemingly suspended in the air ten feet above the base. “We tried to make architecture by making as little architecture as possible” - I think they succeeded, transforming a relic into an icon.
CIRCULATION
VERTICAL CIRCULATION
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INTERMEDIATE TERMINAL WAREHOUSE NO.3 LOCATION
RICHMOND, VA
3103 East Main Street scope of work roughly 10,800 square feet second floor roof level
history The Intermediate Terminal Warehouse building is located on a wonderful piece of land that kisses the James River. Built in 1937 as a shipping depot, it’s one of Richmond’s earliest reinforced concrete buildings. It was previously used as a depot for outgoing goods. For many years the majority of cargoes exported through the Richmond port were sugar and tobacco. The sugar trade came to a halt with the 1960 embargo on trade with Cuba. Exporting tobacco from the Terminal Warehouse also died out due to quicker means of transportation, and new shipping methods. In later years, the warehouse was used to store voting machines, before more modern, compact voting machines were created. The building has been empty since the 1980’s, however it was recently purchased by Michael Ripp, whose family owns 18 Arby’s establishments as well as Can Can brasserie in Carytown. The Ripp family plans to transform the Terminal Warehouse into a restaurant, and in doing so continuing to revitalize the waterfront.
site
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Richmond Site Map
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Oregon Hill VCU/the Fan Carver Jackson Ward MCV Downtown/Shockoe Bottom
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Mayo Island Belle Isle Manchester Church Hill Rockett’s Landing Intermediate Terminal Warehouse
one of the four loading docks facing East Main Street, each has a corrugated metal awning above opposite: detail of the loading dock door
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There is plenty of green space surrounding the Intermediate Terminal Warehouse
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Space to pull off of Main Street, this used to be the original entrance to the Intermediate Terminal Warehouse. Four loading docks and one entrance door are located here.
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A creek runs under East Main Street and the Wharf street bridge and connects to the James River
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A large vacant lot where a second Terminal Warehouse used to stand, this large vancant lot could serve as a public park with access to the James River.
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There is ample space for parking in this vacant lot
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Wharf Street runs directly under the Intermediate Terminal warehouse
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East Main Street runs along the James River
site specific The history of Richmond and that of the Intermediate Terminal warehouse was very influential in picking this site. The city was essentially born from the James River, and I believe that over time, Richmond has become disconnected from the waterfront. This site used to be a bustling expo for goods, but smaller, containerized shipping has rendered the once state-of-the-art facility obsolete. I want to reconnect the city with the waterfront, by revitalizing this site, Richmonders can reclaim what is rightfully theirs.
railroad ties that run parallel to Wharf Street and connect to a defunct industrial lot. They are still utilized but only to store extra train cars.
building analysis
East Elevation
North Elevation
Second Level
West Elevation
South Elevation
view of downtown from the vacant lot immediatley adjacent to the Intermediate Terminal Warehouse
building analysis
Second Level 2 1 2 3 4 5
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exit locations loading docks freight elevator to all levels window locations structural columns 5
21,600 square feet total 12’ ceilings on both levels circa 1937
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long view of the underbelly, showing the structural elements
detail shot showing the water pipe grid that is mounted to the concrete structure and freigth elevator with sliding aluminum door.
natural light study
Second Level
little or no natural light high amount of natural light
building code
3103 East Main Street Richmond, Virginia 23223
Construction Type Type-1 concrete structure with cmu curtain walls Occupancy Classification F-1 Allowable Area Unlimited Alowable Stories Unlimited Plumbing 1 W/C per male and female 1 water fountain Fire Exits One more greater than 91’ away from the entrance
the vacant lot immediatley adjacent to the Intermediate Terminal Warehouse, where a second Warehouse used to stand. The James river is directly beyond this opposite: view of the Intermediate Terminal Warehouse facing towards East Main street
Art Center relationship diagram
office relationship diagram
studios relationship diagram
event space relationship diagram
adjaceny matrix
Lobby Reception Offices Gallery Event Space Restrooms Studios Cafe Kitchen Staff Lounge Green Roof Storage
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studio equipment needs
$
$
5 Tables (for 6 students at each table)
2,000.00
Compasses
65
30 chairs
1,500.00
Rulers, t-squares, protractors, etc
250
Color wheel Packs (1 Large, 30 small)
15
6 glue guns
250
Plastic 'wells' and covers
150
Clipboards and drawings boards
365
Disposable paper containers
30
Paints, papers, pencils, etc.
Detailer writers
50
Tapes and dispensors
500
Art clotheslines
20
Cutting matts
500
Smocks/Aprons
200
AV equipment
5,000
Disposable gloves
20
Containers for supplies
Paper dispenser and paper
500
Printing materials
1,000
Paper cutter
550
Small printing press
1,000
Drying rack
1,530
Rolling cart
10,000
750
Wire and foiling materials
600
300
Yarns, fibers, textiles
500
Laminator
300
Self-portrait mirrors
Storage Cart
305
Cubbies
4,000
Art rack
250
Misc.
4,000
Pencil sharpeners
100
Paint brushes
950
Aluminum table easles
480
Mat Cutter and replacement blades
600
High frame easel (2 for demos)
260
Staplers
275
Assorted scissors
500
Paper punch
40
500
Total for each studio $41,000.00
programming
Space
Size
Adjacencies
FF&E
Views
Notes
Art Center Areas Lobby Reception
1,200 Located centrally 500
Immediatley adjacent to Lobby
Wall niches for Art, Seating
Main Street
Entry counter with multi-level surfaces
Main Street
space for one receptionist
Gallery
800
Medium Adjacency to Lobby
Wall niches for Art, as well as adequate space for installations Main Street
Event Space
900
Medium Adjacency to Lobby
Folding wall that will open to the Gallery space
Urban/River storage for funtion seating/tables
Open space for various classes, dual sinks, wall storage
River
Restrooms
1,000 Located centrally
Studios
3,000 Adjacent to Gallery
expandable space/multifunctional
can be opened into one large studio
Café
2,000 Medium Adjacency to Green Roof Standard table and bar seating, wall booths
River
Green Roof
5,000 Vertically Adjacent to Second Floor Standard table seating, Lounge seating, Plant beds
Urban/River will house a small bar/café for events
Storage
1,200 Immediatley Adjacent to Studios
Vertical Wall Storage
1,200 Vertically Adjacent to Studios
Standard Office Furniture
River
Directly Adjacent to Offices
Lounge Seating
Main Street
Staff Areas Offices Staff lounge
600
Staff Kitchen
500
Medium Adjancey to Lounge
Fridge, and Pantry space
Conference Room
450
Directly Adjacent to Offices
One Conference table with standard seating
Restrooms
500
Centrally located
Urban/River
located on both levels
space needs
Gallery This should be a flexible gallery space with lighting, security, and environmental controls necessary to display works of art
Event Space • • • • • • • •
The space must me sufficient to hold 100-200 people for an array of events Multifunctional seating to include some lounge seating Platform/podium area (can be movable) Projector enclosure Slide projection screen Room must be able to darken • Built in AV system and lockable AV storage Computer hook-up capabilities for multimedia use
• • • Offices • • • • • • • •
Bookshelves 6 large filing cabinets Computer center with Internet access and telephone Xerox machine 8 lockers 2 worktables Pushpin friendly wall surface Large conference table with 8 chairs
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Studios Clean-up areas: deep sinks with tall, gooseneck faucets to accommodate filling buckets; hot/cold water with handicapped-accessible handles. Correct drain and trap is very important for studio use, i.e. able to handle paint, clay, plaster, etc. Two sets of sinks in each studio. Lighting: track lighting, adjustable, multi sets with dimmer. No low hanging fixtures Easily cleanable and scrub-able floors, countertops, wall surfaces Wall surface needs to be pushpin friendly so that posters, student work, etc. can be easily tacked up and taken down In-studio storage needs: studio cabinets and drawers, horizontal paper storage and drying racks as well as tall broom closets in each studio Window treatment: studios need to be able to darken for showing videos, slides, etc.
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Furniture needs: each studio should have 6 tables that can be folded up and removed. The studio will need durable chairs, think about long-term. Equipment: each studio should have lockable AV cabinet or built in, ceiling mounted projector, wall mounted TV monitor, sound system, computer with Internet access, telephone, retractable projection screen. Storage room in studio: There needs to be a lockable door for this space Metal storage cabinets with adjustable shelving that is wall mounted, easily viewed, and accessible Easy-clean flooring and shelving.
bibliography
Amelar, S. (2011). Brooklyn bridge park. Architectural Record, 199(9), 82-89. Arvidson, A. (2011). New wave: Public space/collective memory/urbanism. Metropolis, 208(7), 34-35. Barrientes, R. (2011, Octoboer 15). Interview by T Harrison [Personal Interview]. Art center: Visual art center studios. , Richmond, Virginia. Blum, A. (2008). Utilitarian docks de paris makes a fashion statement. Metropolis, 159(4), 110-111. Frasier, P. (2011, Octoboer 11). Interview by T Harrison [Personal Interview]. Studio spaces. , Richmond, Virginia. Liles , M. (2011, October 23). Interview by T Harrison [Personal Interview]. Vmfa: Art center. , Virginia Museum of Fine Art. Metz, T. (2011). Kranspoor. Architectural Record, 198(8), 52-57. Ryan , R. (2011). The orange cube; lyon, france.Architectural Review, 1212(3), 80-84.
photo credits
pages 8-9 Blum, A. (2008). Utilitarian docks de paris makes a fashion statement. Metropolis, 159(4), 110-111. page 10-11 Amelar, S. (2011). Brooklyn bridge park. Architectural Record, 199(9), 82-89. page 13 Arvidson, A. (2011). New wave: Public space/collective memory/urbanism. Metropolis, 208(7), 34-35. pages 14-17 Ryan , R. (2011). The orange cube; lyon, france.Architectural Review, 1212(3), 80-84. pages 22-25 Metz, T. (2011). Kranspoor. Architectural Record, 198(8), 52-57. pages 33, 36, 38, 78-82 www.maps.live.com
appendix
questionnaire Robert Barrientes: Visual Art Center 1. For youth workshops or classes, what size the week to allow peers to work outside studio space do you believe works best? of their classes/workshops? If so, please list some pros + cons (safety issues, A. smaller studio with two or less precautions, etc.) instructors 7. Do you rent out studio spaces for practicing artists to utilize? What are the B. Larger studio space with two or more restrictions on these spaces (i.e. key card instructors access? Do the artists have 24/7 access? etc.). For teen classes? (12-16 age group) Do the size of these studios vary, or do they Adult classes? (16+) all have a general footprint? 2. Do the 16+ workshops function better with the participants working individually in their own spaces/at their own desks, or together at large tables/groupings of desks? (Or both)
Can equipment be rented? (i.e. printmaking equipment)
3. Do you find it beneficial to have separate studio spaces tailored for certain activities (i.e. painting, pottery, mixed media), rather than multipurpose spaces that can cater to all of these activities?
8. What kind of space do you find beneficial for events (open air/outdoor, lobby, multifunctional studio space)
4. How do you market your courses/ workshops to the public? How would you market differently if you were in an area with less vehicle and pedestrian traffic? 5. Would an age-specific Art Center in Richmond be as successful as something that offered workshops for all ages? 6. Do you offer open studio hours during
Do these artists have a space to display work? Is it viewable by the public?
9. Do you offer studio spaces for an artistin-residence to practice? If so, are there limitations on working periods? Do you have specific housing and studio facilities for the artist? 10. How do you think the Visual Arts Center of Richmond engages its surroundings? (The Fan, Richmondas a whole) Is there anything that could be changed to improve this?
questionnaire Megan Liles: VMFA
1. For youth workshops or classes, what size 7. Do you think the VMFA could benefit studio space do you believe works best? from renting out studio spaces for practicing artists to utilize? What kind of restrictions A. smaller studio with two or less would be needed (i.e. key card access? Do instructors the artists have 24/7 access? etc.) B. Larger studio space with two or more instructors Would be able to be equipment be rented? For teen classes? (12-16 age group) (i.e. printmaking equipment) Adult classes? (16+) Would these artists have a space to display 2. Do the 16+ workshops function better work? Is it viewable by the public? with the participants working individually in their own spaces/at their own desks, or 8. What kind of space do you find beneficial together at large tables/groupings of desks? for events (open air/outdoor, lobby, (Or both) multifunctional studio space) 3. Do you find it beneficial to have separate studio spaces tailored for certain activities (i.e. painting, pottery, mixed media), rather than multipurpose spaces that can cater to all of these activities?
For an intimate cocktail party? A large gallery opening? Artist exhibition?
9. Do you provide studio spaces for an artist-in-residence to practice? If so, are Do you provide supplies for workshops and there limitations on working periods? classes? Do you have specific housing and studio facilities for the artist? 4. How do you market your courses/ workshops to the public? How would you 10. How do you think the VMFA engages market differently if you were in an area its surroundings? The Museum district, with less vehicle and pedestrian traffic? and Richmond as a whole? (take into consideration the structure itself as well as 5. Would an age-specific Art Center in visual signage outside of the VMFA) Richmond be as successful as something that offered workshops for all ages? Is there anything that could be changed to improve this? 6. Do you offer open studio hours during the week to allow peers to work outside of their classes/workshops? If not, why? If so, please list some pros + cons (safety issues, precautions, etc.)
questionnaire Peter Fraser: FDA
Do you find it beneficial to have separate studio spaces tailored for certain activities (i.e. painting, pottery, mixed media), rather than multipurpose spaces that can cater to all of these activities? Do you provide supplies for workshops and classes? How do you market your courses/workshops to the public? How would you market differently if you were in an area with less vehicle and pedestrian traffic? Would an age-specific Art Center in Richmond be as successful as something that offered workshops for all ages? What kind of space do you find beneficial for events (open air/outdoor, lobby, and multifunctional studio space?
These colors were inspired by the waterfront, the green palette was derived from the James River, the blue is reminiscent of the sky and the color that reflects from the windows on the Intermediate Terminal Warehouse, and the oranges are an exaggerated tone of the rust that is seen on the rusted galvanized steel on the building and surrounding site
cory harrison thesis fall 2011 Problem statement My main goal is to keep the history of the Intermediate Terminal Warehouse alive. It was once a bustling waterfront that would export goods by means of train and barge. I want to rekindle the energy that the site once had, and share it with Richmond. Literally reconnecting the city with the river. The program for the revitalized Intermediate Terminal Warehouse will be similar to the other Art Centers in Richmond, but they will be more accessible and less exclusive. I propose public work-spaces and studios, offering creative types a place to flourish, as well as outdoor spaces, taking full advantage of the vacant lots surrounding the site. This site will be a new central hub for art and design production in Richmond.
Program summary square feet scope of work: 2nd level: 10,800 square feet Intermediate Terminal Warehouse No.3 3103 East Main Street, Richmond VA 2 Levels [only occupying 2nd level] 21,600 square feet total
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