Museum Additions by Daniel Roman

MUSEUM ADDITIONS DANIEL ROMAN

INDEX

INDEX READINGS BUILDING COLLECTION BUILDING ANALYSIS PROGRAM ANALYSIS SITE ANALYSIS CONCEPTUAL ANALYSIS CONCEPTUAL PARTI PROJECT OVERVIEW SITE PLAN BUILDING PLANS BUILDING PERSPECTIVES BUILDING SECTION PERSPECTIVE SECTION INTERIOR RENDERING GALLERY PARTI BIBLIOGRAPHY

01 03 13 23 27 29 30 31 33 35 37 39 41 43 45 48

Towards a Critical Regionalism, Six Points for an Architecture of Resistance The specific program of an actual art museum is relatively new, only about 200 years old. It first started as a private observation pass time; eventually it became public. A very important aspect of this building type is the effects of direct lighting on the pieces of art. Obviously lighting takes a very important roll on displaying art work at a gallery. There are many different of lighting types today that we have in our disposal. But does it really matter what light we use, better yet, what type of damage is being done to the art work, by improperly displaying them. It is said that direct light will fade and affect the pigment of an art piece, but under what circumstances are these true, and is some art work better off displayed in natural light. The key word is direct sun exposure. Many architects have used skylights to illuminate an interior. Louis Khan is well known for his Skylight design in the Kimbell Art Museum. In his design he was able to incorporate skylights that allowed indirect natural light in; the skylights redirect the light so that the light be casted along the walls, never directly to an art piece. Kenneth Frampton makes the argument that it is important that one allows natural light into a space for the light will change depending on time, season, and even humidity. This means at different times of a day, or season, an art piece will look and feel different. This allows an interaction with natural and allowing it to supplement our art work. For a lot of the materials and utensils that are used come from a natural state. N . Herascu, M. Simileanu, and R Radvan, discus the ageing of material by UV radiation. A reason why such thing occurs is the usage of natural material to create the art work. It is seen that when other media that is not mostly natural, the UV rays does not have much effect on to it. Even with in just one painting there are many ways in which it can be effected such as, physical-mechanical, biological damage, and physical-chemical damage. It is understandable as to why older artist from older times, your Monet, Picasso, or Georgia O’Keefe’s 1

paintings are delicate, not only have they been through a lot of sense of physical treatments. But if exposed to sun light they would be a lot more effect do to that they were created in a time where natural material where used more. Even though museums carefully take care the importance of masterpieces, there are some that are displayed in direct light, most of the time it is with the permission of the artist. Which may bring in the question if possibly other artist whom created the masterpiece that are sought out to be protected, would they possibly wanted to display their art in natural light? Modern day artist can make those decisions of lighting because they have the resources to know what effect what light has on their pieces. One can make the argument that 100 years ago, the same sun light was probably not as strong as it is today, in other words with light pollution and the destroying of the ozone layer. UV lights are much stronger now in days than back then. Perhaps it was not as big deal back then, let alone a huge effect. Many of these painting where kept away since many artists did not become truly famous or recognized until after their deaths. One thing is for sure, and that is the effect of the UV light on natural materials is a factual event. Bibliography N . Herascu, M. Simileanu, and R Radvan. “Romanian Reports in Physics” Color change in artwork materials aged by UV radiation. National insistute of research and development for optoelectronics, 2006 Frampton, Kenneth. “Towards a Critical Regionalism Six Points for an Architecture of Resistance” Culture Versus Nature: Topographyl, context, climate, light and tectonic Form.

When the roll of an architect was created into civilization, his or her role was to create a structure that would house and serve a purpose of shelter. Along this job the architect had to work with its surrounding. Material had to be from within the region, since big machinery was not invented, sites could not be manipulated extensively as they are today. At the end of the day these first architects worked with the environmental, which allowed for sustainable architecture and had little impact on the world. As construction methods where invented and after the industrial revolution, architecture took a more modern turn. The way architects used to work with the site to optimize solar gains, and used the land to manipulate the structure so that it could be efficient. All of that went out the window as soon as the air conditioner unit was invented. After many years of non-efficient practice the consequences are showing. As stated by Frampton, architects need to know what type sustainable methods are available as oppose to building in construction methods that can harm the environment even more. Fortunately there is a lot of resources that talk and show various of ways to construct in an efficient way, but the unfortunate manner is that many architects do not do them. According to the book “Sustainable Construction”, by Sandy Halliday, there are six different guidelines to design and build in a sustainable manner; those are Enhancing biodiversity, support communities, use resources efficiently, minimize pollution, create healthy environments, and proper management of the construction process. It is relevant in the manner that one must work with its environment, and possibly use resources from which are local. The unfortunate event is that in today’s construction, materials are being brought from other states or regions of the country, just because it is cheaper than having a local provider. The argument is to how to change the

mindset of the designer to design in a manner from whom which they can be more efficient and sustainable. The issue is always money, it’s always about the money and usually budgets are what determine many decisions on the job site. Possibly, it is important to educate clients in the practice of sustainable design. By educating a client, and allowing them to grasp on to the concept of sustainability and how that will benefit them in the long run, they will be willingly to be open to the idea of investing more money into a building project. Various materials are being created to manipulate construction methods and have them be more beneficial in the long run. Prefabricated concrete panels are a construction method that has been around for a long time, just with the past years it has risen to be a very versatile method of construction. As Frampton mentioned in regards to building in heavy mass walls or light frame, these prefabricated concrete forms have become the best of both worlds. They have been able to fabricate panels with full insulation that could efficiently wrap around a building as its skin. The use of different materials to optimize their strength, and efficiency of rapid erection, will be very beneficial. As a result money will be saved and could be reinvested into a project to allow for more ecofriendly building components. We have the technology and knowledge in regards to why and how to build in a sustainable manner. Perhaps the designer not how has to educate the client as to why invest in to it, but they must also educate themselves along the way of various methods to improve the quality of the system and environment. Bibliography Halliday, Sandy. Sustainable Construction. Amsterdam: Elsevier Butterworth-Heinemann, 2008.

READINGS

RAPPEL A L’ORDRE

MODERN WING - ART INSTITUTE RENZO PIANO CHICAGO, IL

EAST SECTION

10 8

77 7

1 1

1 1 1

1 9 9

9 10

first level

1 1

BUILDING COLLECTION

6 5

second level

KEY 9

12 8 1

third level

12345678910 11 12

GALLERY CAFE CHECKROOM WILL CALL GIFT SHOP STUDIO CLASS ROOM ELEVATOR RESTROOMS - FAMILY ROOM - NICHOLS BRIDGEWAY - TERRACE - GALLERY SPACE - OTHER

LOUVRE MUSEUM I. M. PEI PARIS, FRANCE

1 1 1 1 1 1 1

NAPOLEON HALL PLAN

KEY 1 2 3 4 5 6 7 8

GALLERY RECPTION AREA INVERTED PYRAMID SHOPPING MALL STAIRS ELEVATORS PARKING AUDITORIUM

SITE PLAN

EAST SECTION

5 6 2 5 1 1

LOWER GROUND FLOOR PLAN

1 1 1 1

1 1

1 5 6 2 5 1

8 2

BUILDING COLLECTION

INVERTERD PYRAMID DETAIL dIAGRAM

MILITÄRHISTORISCHES MUSEUM DANIEL LIBESKIND RESDEN, GERMANY

BUILDING ELEVATION

BUILDING COLLECTION

1 1 1

GROUND FLOOR PLAN

1 3

FIRSTFLOOR PLAN

2 1

SECOND FLOOR PLAN

KEY 1 2 3 4 5

5 1

3 1

1 2

3 1

GALLERY STAIRS ELEVATOR GIFT SHOP RESTROOMS

- GALLERY SPACE - OTHER

1 THIRD FLOOR PLAN

FOURTH FLOOR PLAN

BUILDING SECTION

ST. LOUIS ART MUSEUM HOK ST. LOUIS, MO

4 6

1 1

KEY

FIRST FLOOR PLAN

BUILDING SECTION

1 2 3 4 5 6 7

- GALLERY - RESTAURANT - PARKING - STAIRS - GIFT SHOP - ELEVATOR - RESTROOMS - GALLERY SPACE - OTHER

SECOND FLOOR PLAN

1 1

BUILDING COLLECTION

STEDELIJK MUSEUM ADRIAN WILLEM WEISSMAN ARMSTERDAM, NETHERLANDS

BUILDING ELEVATION

BUILDING SECTION

8 1

6 9

BUILDING COLLECTION

9 7

11 2

1 GROUND LEVEL PLAN LOWER LEVEL PLAN

KEY

9 8 10

12345678910 11

GALLERY RESTAURANT COAT ROOM WILL CALL GIFT SHOP STUDIO ELEVATOR STAIRS RESTROOMS - AUDITORIUM - LIBRARY - GALLERY SPACE - OTHER

TOP FLOOR PLAN

BUILDING ELEVATION

ART INSTITUTE OF CHICAGO MODERN WING CHICAGO, il RENZO PIANO 2009

FIRST FLOOR PLAN

PEDESTRAIN TRAFFIC 13

BUILDING ANALYSIS FIRST FLOOR PLAN

TREES REPRESENT THE FOOTPRINT OF THE BUILDING 14

THE LOUVRE MUSEUM GLASS PYRAMID PARIS, FRANCE I.M.PEI 1989

EAST SECTION

PEDESTRAIN VIEW TOWARDS

EAST SECTION

PEDESTRAIN VIEW TOWARDS 15

BUILDING ANALYSIS

ORIGINAL CONTEXT

NATURE 16

BUNDESWEHR MILITARY HISTORY MUSEUM BUNDESWEHR, GERMANY DANIEL LIBESKIN 2011

BUILDING ELEVATION

addition i to its ori

BUILDING ELEVATION

a lit up addi

BUILDING ANALYSIS

is a complete contrast ginal context

context representation will contrast nature by being lighting illuminated tion will contrast to nature 18

STEDELIJK MUSEUM ARMSTERDAM, NETHERLANDS BENTHEM CROUWEL 2012

BUILDING ELEVATION

verticle

BUILDING ELEVATION 19

wooden replicat

BUILDING ANALYSIS

masonry element

element made to e masonry accent

ST. LOUIS ART MUSEUM EAST WING ST. LOUIS, MO HOK 2013

BUILDING SECTION

BUILDING ANALYSIS

skylights to provide abundant but controlled natural light to the galleries

skylights to mimic the ground and allow light for the theoretical tree roots

MUSEUM ADDITION PROGRAM ENTRY VESTIBULE - ENTRY WAY TO THE BUILDING

50 sf

RECEPTION/LOBBY 300 sf - AREA IN WHICH VISITORS CAN INTERACT WITH STAFF, MEET OTHER PEOPLE AND GATHER BEFORE OR AFTER THEIR TOUR SECURITY 150 sf - A ROOM IN WHICH SECURITY WILL BE ABLE TO BE HOUSED TO PROPERLY CONDUCT THEIR JOB, A SPACE TO OVER LOOK THE SURVEILLANCE CAMERAS. GIFT SHOP 350 sf - AREA IN WHICH MERCHANDISE CAN BE DISPLAYED AND SOLD. COAT CHECK 200 sf - GUEST WILL BE ALLOWED TO DROP OFF THEIR COATS AND ITEMS AND PICL THEM UP AFTER THE TOUR IS OVER. MEN’S TOILETS - PRIVATE AREA

200 sf

WOMEN’S TOILETS - PRIVATE AREA

200 sf

JANITOR’S CLOSET 50 sf - A CLOSET FOR THE USE OF JANITORS UPKEEP AND MAINTENANCE DESIGNATED AREA. TOTAL

1,500 sf

GALLERY 2,500 sf - A TOTAL OF FIVE SMALL GALLERIES THAT WILL MAKE UP THE SQUARE FOOTAGE, EACH GALLERY WILL PREVIEW EACH OF THE BUILDINGS ON DISPLAY. GALLERY ART STORAGE 300 sf - A ROOM WHERE WORKS OF ART CAN BE PUT AWAY FOR FUTURE USE GALLERY FURNITURE STORAGE 300 sf - A ROOM WHERE FURNITURE CAN BE PUT AWAY FOR FUTURE USE.

FOOD SERVICE 800 sf - A SMALL REAURANT, POSSIBLY A COFFEE SHOP WITH A LOUNGE JANITOR’S CLOSET - A CLOSET FOR THE USE OF JANITORS TO UPKEEP AND MAINTENANCE DESIGNATED AREA.

50 sf

TOTAL

4,250 sf

CURADOR - PRIVATE OFFICE FOR THE USE OF THE CURATOR

200 sf

(2) ADMINISTRATOR (2) 120 sf - TWO OFFICES FOR ADMINISTRATORS TO AID THE CURATOR MAINTENANCE 160 sf - AN AREA TO HELP MANAGE AND RUN THE OFFICE, IT WILL HOUSE PRINTERS AND MATERIALS. BUSINESS 140 sf - PRIVATE OFFICE FOR THE PERSON IN CHARGE OF RUNNING THE BUISNES ASPECT OF THE MUSEUM. CONFERENCE - A ROOM TO BE USED FOR MEETINS AND OTHER EVENTS

320 sf

RECEPTION - AN AREA TO AID THE FLOW OF THE OFFICE SPACE

100 sf

BREAK ROOM - AN AREA FOR EMPLOYEES TO REST DURING THEIR BREAKS

350 sf

STORAGE - STORAGE FOR OFFICE SUPPLIES THAT ARE NOT BEING USED

50 sf

MEN’S TOILETS - PRIVATE AREA

60 sf

PROGRAM ANALYSIS

WORKSHOP 300 sf - MUSEUM CRAFT WORKERS WILL BE ABLE TO CREATE FURNITURE FOR DISPLAYS IN THE MUSEUM.

MUSEUM ADDITIONS WOMEN’S TOILETS - PRIVATE AREA

60 sf

TOTAL

1,680 sf

PARKING 15,000 sf - EITHER AN UNDERGROUND OR EXTERIOR LOT TO HOUSE CARS OF GUEST AND EMPLOYEES. BUS

500 sf - A DRIVE WAY TO ALLOW BUSSES TO DROP AND PICK UP PEOPLE

KISS AND DROP OFF 500 sf - A DRIVE WAY TO ALLOW CARS TO DROP AND PICK UP PEOPLE

TOTAL

EQUIPMENT - AN AREA WHERE GROUNDS MACHINERY WILL BE KEPT.

16,000 sf

800 sf

GROUNDS STORAGE 300 sf - STORAGE FOR GROUNDS KEEPING STORING EXTRA MATERIAL WILL BE KEPT. SHOP - A SHOP FOR GROUNDS KEEPERS TO BUILD ITEAMS.

300 sf

MECHANICAL - MECHANICAL SPACE THROUGHOUT THE STRUCTURE

850 sf

DOCK - A DOCK FOR INCOMING AND OUTGOING LOADING

500 sf

TOTAL

2,750 sf

BUBBLE DIAGRAM KISS AND DROP-OFF VESTIBULE

COAT CHECK

ENTRY RECEPTION

JANITOR’S CLOSET

PARKING

GIFT SHOP

WOMEN’S TOILETS

SECURITY

MEN’S TOILETS

CAFE

JANITOR’S CLOSET

ADMIN

GALLERY ART STORAGE

ADMIN CURATOR

GALLERIES

MEN’S TOILETS

WORKSHOP

MAINTENACE WOMEN’S TOILETS

CONFERENCE

RECEPTION

GALLERY FURNITURE STORAGE

BREAKROOM

BUISNESS

DOCK

CIRCULATION MECHANICAL

SHOP

GROUNDS STORAGE

EQUIPMENT

PROGRAM ANALYSIS

BUS DRIVEWAY

Clim ate Carbo nd ale

90°F

6inch

5inch 70°F 4inch

50°F

3inch

2inch 30°F 1inch

10°F Dec

Nov

Oct

Sep

Jul

High

Aug

Jun

Apr

Low

May

Mar

Feb

Jan

0inch

Precipitation

source: U.S. Climate Data - Climate Carbondale

N 10° 20°

330

30° 40°

20:22 300

05:35 06 05:42 06

50° 20:21

60° 70° 80°

18 18 W

12 12

240 16:42

09 09

120 09

15 12

150

210 S

SOLAR PATH

key WIND SUNPATH WATER DRAINAGE RETAINING WALL GRASSY RD

key WIND SUNPATH WATER D RETAININ GRASSY N 330

SITE ANALYSIS

20:22 300

10° 20° 30° 40° 50°

20:21

60°

SITE ANALYSIS

H DRAINAGE NG WALL RD

05:35 06 05:42 06

conceptual statement THERE ARE MANY VARIATIONS OF A WAY TO APPROACH A BUILDING ADDITION, THE TWO MORE OBVIOUS ONES ARE, EITHER ONE DESIGNS A STRUCTURE TO MIMIC AND COLLABORATE WITH THE ORIGINAL STRUCTURE OR JUST COMPLETELY CONTRAST IT. AT THE END OF THE DAY AN ADDITION TO A BUILDING THEORETICALLY SPEAKING WILL NOT BE ABLE TO STAND BY ITSELF IF TAKEN AWAY FROM ITS ORIGINAL CONTEXT. IF IT’S CONTRASTING OR SIMILAR IT IS STILL COMPLIMENTING THE ORIGINAL, IT IS A CONNECTION BETWEEN THE OLD AND THE NEW. BY TAKING THE ADDITION AWAY FROM THE ORIGINAL BUILDING, AND PLACING IT ON A DIFFERENT SITE THAT IS DRIVEN BY NATURE, THE SITE BECOMES THE CONTEXT. IT GOES FROM BRIDGING THE OLD AND NEW TO ASSOCIATING THE NEW WITH NATURE. NATURE BECOMES WHAT DRIVES THE IDEA OF THE CONTEXT, AND THAT’S WHERE THIS BECOMES CHALLENGING, IN REPRESENTING EACH AUTHENTIC STRUCTURE IN A CONCEPTUAL WAY SO THAT IT DOES NOT TAKE AWAY FROM THE ADDITION. THE SITE LENDS ITSELF TO MANIPULATION IN SUCH WAY THAT THERE IS A LOT OF OPEN SPACE TO BE ABLE TO REPRESENT THESE BUILDINGS. THERE NOT BEING A COMPLETELY FLAT SITE REALLY PUSHES THE IDEA OF PLACING BUILDINGS ON THEIR OWN PEDESTAL, PERHAPS HAVING TWO TRAILS, ONE THAT LEADS YOU FROM ONE MUSEUM TO ANOTHER, AND THE SECOND PATH BEING IN THE INNER CIRCLE ALLOWING PEOPLE TO WALK AROUND AND JUST VIEWING THE MUSEUM WITHOUT HAVING AXSEST TO THEM. WHEN THE BUILDINGS ARE PLACED ON THE SITE, NO TWO RENDITIONS OF THE ORIGINAL BUILDINGS WILL BE THE SAME. THEY WILL BE BASED ON RESEARCHED FOUND OF THEIR ORIGINAL CONCEPT, BUT WILL HAVE TO TIE BACK

TO THE IDEA OF BRIDGING THE NEW WITH NATURE, HAVING THE TWO COLLABORATE IN HARMONY. THERE ARE A FEW IDEAS, THE MODERN WING IN CHICAGO BY RENZO PIANO IS THE ADDITION TO THE ART INSTITUTE OF CHICAGO, THE ADDITION ITSELF IT A PRETTY LARGE STRUCTURE THAT ONE MIGHT BE ABLE TO ARGUE THAT IT COULD STAND BY ITSELF. THOSE THAT STAND TO ARGUE THAT IDEA KNOW THAT GENERALLY PEOPLE DO NO TO ENTER THE ART INSTITUTE THROUGH THE MODERN WING ADDITION, BUT PEOPLE ENJOY ENTERING BY THE ORIGINAL MAIN ENTRANCE ALONG WITH THE TWO MASSIVE LIONS. BY REPRESENTING THE CONTEXT WITH TREES THAT I WILL BE LAYED OUT IN A GRID SYSTEM, ALLOWING PEOPLE TO WALK THRU THAT OUTDOOR SPACE AND WHEN ONE LEAST EXPECTS IT ENTER THE MODERN WING, IT WORKS JUST AS IF ONE WAS WALKING AROUND IN THE REAL ART INSTITUTE. WHEN VISITING THESE TYPES OF MUSEUMS WITH ADDITIONS, ONE CAN GO FROM NEW TO OLD IN MANNER OF SECONDS BUT THE CONTRAST IS STRONG ENOUGH TO BE ABLE TO KNOW THAT YOU ARE NO LONGER IN THE SAME BUILDING YOU HAD ENTERED, THIS BEING EITHER IF YOU HAD ENTERED THRU THE OLD OR NEW BUILDING. THESE ADDITIONS VARY IN CONCEPTUAL CONCEPT BUT EVERYTHING TIES BACK TO THE IDEA OF BEING ABLE TO FASTEN THE OLD WITH THE NEW, DERIVING THE IDEA OF ASSOCIATING THE NEW WITH NATURE, AND HAVING NATURE DRIVE THE CONCEPTUAL REPRESENTATION OF THE INITIAL CONTEXT.

CONCEPTUAL STATEMENT/PARTI

MUSEUM ADDITIONS The project on hand brings many challenges that we need to solve in an efficient manner. With local site, it brings us easy access, to create an open air museum to cater to the local population. The theme through out the museum will be museum additions. The following museum additions will be showcased; The Louvre in Paris, the Modern wing in Chicago, Bundeswehr Military museum, East wing in St. Louis and Benthem Crouwel wing in Amsterdam. Each museum addition was designed by high profiled architects. The challenge of bringing in additions from across the world is being able to display these buildings on their own. These structures where constructed to stand out appose to their older counter part, and in other occasions they where created to compliment the other structures. Bringing these additions, an abstract version of the each older building is going to be created. The ideal solutions will not have two that look the same. Each structure has something individual that other additions do not have. There are various ways to break down each structure, from analyzing floor plans, full building sections. An interesting factor is how the original buildings where created, because those stories and factual information helped design the additions in some occasions. After analysis the floor plans, certain things became aware for the creation of the welcoming/informational center. A program was created to outline the necessities that a building with this program requires. Various readings prior to selecting the five buildings set the foundation to this research project. The Art Institute of Chicago was built for the Worldâ&#x20AC;&#x2122;s Columbian Exposition of 1893. The Art Institute of Chicago was one of the only few buildings that were left. Everything else was torn down from the white city. The Art Institute became a land mark to the city of Chicago, with two large lion statues welcoming guest from across the world. In 2009 the opening to its new addition, The Modern Wing, gave the Art Institute more floor space to display art. Renzo Piano was the architect of the project. A total of 264,000 square feet was added 31

to the plan, it houses predominantly art galleries. It displays a monumental stair that allows guest to indulge themselves in the space. A bridge connects the Modern wing to Millennium Park to be part of the larger expansion and renovation of downtown Chicago. It ties multiple worlds together, along with the architecture that came with it. A building that ties two other worlds together is the addition to the historical Louvre Art Museum, the center pyramid designed by I. M. Pei, is another landmark in Paris France. The expansion and actual space of the gallery actually takes place below ground. When commissioned to design an addition, I. M. Pei had a main concerned and asks that the only way he would do it, if he had permission to construct below. He was granted permission and went ahead and did it. Galleries are mostly housed in the new area. Various pyramids are displayed throughout, with the tallest point toping at 68â&#x20AC;&#x2122; feet tall. There is one main one, with three smaller ones around it in a diamond shape design. There is an inverted pyramid that meets with a solid pyramid inside. The pyramids also work in a way to allow natural lighting into the lower level. As to allowing light flow it also allows guest to look up into the glass and steel structure and look at the original building. The viewing angles allows to tie the old with the new, a concept that is seen on different buildings in the selection. There is a building that you can apply the same concept, but it is more noticeable, or at least standout, is the addition to the Bundeswehr Military History Museum. A design by Daniel Libeskind, it opened for business in 2011. After the addition it became the largest museum in Germany. With a clear addition to the museum the building owners and curators used the space to mostly display art and to look over from the museum. Daniel Libeskind is well known for designing buildings in this style that stands out. With four floors that are each vary to accommodate the original building, and the new design. The ratio between gallery space and other space is more gallery heavy, which is also a theme

of gallery space is really determine if someone wanted to show case much art work inside or not, the main show case are the buildings outside and no much should take away from that. That being said, there should always be a nice preview to lead to the main show case. With basic utensils such as toilets, storage capacity, and gift shop area, there are other unique spaces that an open air museum requires. An open air museum being in nature there are many grounds keeping needs. A special shack or section to the building should cater to keeping and functioning as a grounds keeping shop. It is very interesting how five different building, all built in different parts of the world, and may have many things in command. It comes down to the knowledge that the architects had, and the understanding of how a building with this type of program works. Taking from their solutions are a way to be able to build something that can work in an efficient way. The layout will have to be based on the site analysis, and as to what abstract form is going to be created for each will vary on the location of the site. It all falls right back on the site and its ability to be manipulated to work well with it.

research summary PROJECT OVERVIEW

along with the other four buildings. 1 The East Building addition to St. Louis art museum is a simple building that from the outside looks simpler but from the outside it really carries a large role to the working factor of the original museum. The original museum was designed by Cass Gilbert in 1902, alike to the art institute the museum in St. Louis was also designed as a temporary building to be used in their Columbian Exposition. Doors open to the addition on June 29, 2013. HOK was the art of records on the job. With an interior lit up with a special ceiling that redirects light so that no direct light enters the room. A natural sense of light lights up the space, a grid system lays out the galleries that make up most of the space. With hidden steel columns, the simplicity really shows. The Benthem Crouwel Wing is the addition to the Stedelijk Museum in Amsterdam, Netherlands. Doors opening in September 23, 2012 allowed guest to enjoy a modern building to an original building which originally opened on September 14, 1895. The design of the space really allows people to flow from one side of the building to the other in a natural flow. The floor plans compared from the original to the addition are very different, so the fact that they both work well together is very interesting. Mostly because the original building plans called for an open space for gathering space, this addition is one of the only one that the ratio between gallery and other is mostly driven by the other space. The respectable notion that all of these five additions are created with an artistic hand, in other words they were created to be a piece of art, which fits the profile of making these buildings the center pieces of this open air gallery. When analyzing certain things that were required for a museum to be able to function, certain things came up. The amount

PROPOSED ENTRY BUILDING MAKANDA, il DANIEL ROMAN 2015

ST. LOUIS ART MUSEUM EAST WING ST. LOUIS, MO HOK 2013

BUNDESWEHR MILITARY HISTORY MUSEUM BUNDESWEHR, GERMANY DANIEL LIBESKIN 2011

main trail

ART INSTITUTE OF CHICAGO MODERN WING CHICAGO, il RENZO PIANO 2009

SITE PLAN

main road

STEDELIJK MUSEUM ARMSTERDAM, NETHERLANDS BENTHEM CROUWEL 2012

THE LOUVRE MUSEUM GLASS PYRAMID PARIS, FRANCE I.M.PEI 1989

SITE PLAN

5 4 2

2 4

21 10

13 12 19

66 7

18 17

KEY

FIRST FLOOR PLAN

KEY 123456-

vestibule lobby security gift shop coat check toilets

7- janitorâ&#x20AC;&#x2122;s closet 8- gallery 9- gallery storage 10- gallery workshop 11- curator 12- administrator

131415161718-

buisness 19conference 20reception 21breakroom 22storage grounds equipment

grounds storage shop mechanical parking

2 4

21 10

13 12

66 7

18 17 20

SITE PLAN

vehicular entrance pedestrian entrance

BUILDING PLANS

VISITORS

BUILDING WALK FLOW

EMPLOYEES

PERSPECTIVE PLAN

BUILDING MASS PERSPECTIVE

BUILDING SECTION

PERSPECTIVE SECTION

INTERIOR RENDERING

GALLERY PARTI

PARIS http://greatergreaterwashington.org/post/14328/ tour-the-white-house-with-google-street-view/ h t t p : / / e d e q u i t y. o r g / s z l a g . p h p ? q = l o u v r e facts&page=4 h t t p : / / w w w. a v i e w o n c i t i e s . c o m / g a l l e r y / showpicture.htm?key=kvefr3833 CHICAGO http://www.artic.edu/images http://www.turnerconstruction.com/experience/ project/1E3/art-institute-of-chicago-modern-wingand-nichols-bridgeway

ARMSTERDAM http://www.amsterdamnow.com/en/stedelijkmuseum/ http://www.archdaily.com/350843/stedelijkmuseum-amsterdam-benthem-crouwel-arch itects/5152748cb3fc4b5fe5000058_stedelijkmuseum-amsterdam-benthem-crouwel-architects_ jhml1210-1187-jpg/ https://commons.wikimedia.org/wiki/ File:Amsterdm-stedelijk-museum-130313-1.jpg

http://www.turnerconstruction.com/experience/ project/1E3/art-institute-of-chicago-modern-wingand-nichols-bridgeway GERMANY h t t p : / / w w w. a r c h d a i l y. c o m / 1 7 2 4 0 7 / dresden%25e2%2580%2599s-military-historymuseum-daniel-libeskind

http://www.snipview.com/q/Military%20and%20 war%20museums%20in%20Germany http://www.snipview.com/q/Military%20and%20 war%20museums%20in%20Germany ST LOUIS http://news.stlpublicradio.org/post/watch-listeninside-saint-louis-art-museums-expansion http://news.stlpublicradio.org/post/watch-listeninside-saint-louis-art-museums-expansion http://archrecord.construction.com/proj ects/lighting/2013/1308-saint-louis-art-museumdavid-chipperfield-architects-arup.asp 48

BIBLIOGRAPHY