MUSEUM ADDITIONS DANIEL ROMAN
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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.
MODERN WING - ART INSTITUTE RENZO PIANO CHICAGO, IL
EAST SECTION
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LOUVRE MUSEUM I. M. PEI PARIS, FRANCE
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1 1 1 1 1 1 1
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NAPOLEON HALL PLAN
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KEY 1 2 3 4 5 6 7 8
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GALLERY RECPTION AREA INVERTED PYRAMID SHOPPING MALL STAIRS ELEVATORS PARKING AUDITORIUM
SITE PLAN
EAST SECTION
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1
5 6 2 5 1 1
LOWER GROUND FLOOR PLAN
1
1
1 1 1 1
1
1
1 1
1 5 6 2 5 1
8 2
MILITÄRHISTORISCHES MUSEUM DANIEL LIBESKIND RESDEN, GERMANY
BUILDING ELEVATION
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ST. LOUIS ART MUSEUM HOK ST. LOUIS, MO
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4 6
2
4 6
3
7
5
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1 1
1
1 1
1
1 1
1
1
1 1
KEY
FIRST FLOOR PLAN
BUILDING SECTION
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1 2 3 4 5 6 7
- GALLERY - RESTAURANT - PARKING - STAIRS - GIFT SHOP - ELEVATOR - RESTROOMS - GALLERY SPACE - OTHER
SECOND FLOOR PLAN
1
1
1 1
STEDELIJK MUSEUM ADRIAN WILLEM WEISSMAN ARMSTERDAM, NETHERLANDS
BUILDING ELEVATION
BUILDING SECTION
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ART INSTITUTE OF CHICAGO MODERN WING CHICAGO, il RENZO PIANO 2009
FIRST FLOOR PLAN
PEDESTRAIN TRAFFIC 13
THE LOUVRE MUSEUM GLASS PYRAMID PARIS, FRANCE I.M.PEI 1989
EAST SECTION
PEDESTRAIN VIEW TOWARDS
EAST SECTION
PEDESTRAIN VIEW TOWARDS 15
BUNDESWEHR MILITARY HISTORY MUSEUM BUNDESWEHR, GERMANY DANIEL LIBESKIN 2011
BUILDING ELEVATION
addition i to its ori
BUILDING ELEVATION
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a lit up addi
STEDELIJK MUSEUM ARMSTERDAM, NETHERLANDS BENTHEM CROUWEL 2012
BUILDING ELEVATION
verticle
BUILDING ELEVATION 19
wooden replicat
ST. LOUIS ART MUSEUM EAST WING ST. LOUIS, MO HOK 2013
BUILDING SECTION
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BUILDING SECTION
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.
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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
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2,750 sf
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
30° 40°
20:22 300
05:35 06 05:42 06
50° 20:21
60° 70° 80°
18 18 W
E
12 12
15
240 16:42
09 09
15
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
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20:22 300
10° 20° 30° 40° 50°
20:21
60°
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
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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.
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 World’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 68’ 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
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
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main trail
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ART INSTITUTE OF CHICAGO MODERN WING CHICAGO, il RENZO PIANO 2009
SITE PLAN
main road
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STEDELIJK MUSEUM ARMSTERDAM, NETHERLANDS BENTHEM CROUWEL 2012
THE LOUVRE MUSEUM GLASS PYRAMID PARIS, FRANCE I.M.PEI 1989
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KEY
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FIRST FLOOR PLAN
KEY 123456-
vestibule lobby security gift shop coat check toilets
7- janitor’s closet 8- gallery 9- gallery storage 10- gallery workshop 11- curator 12- administrator
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buisness 19conference 20reception 21breakroom 22storage grounds equipment
grounds storage shop mechanical parking
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SITE PLAN
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vehicular entrance pedestrian entrance
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