TA B L E OF CONTENT S INTRODUCTION pg. 4-23 SITE STRATEGY pg. 24-33 INTEGRATION pg. 34-55 CODE pg. 56-63 STRUCTURES pg. 64-75 INFRASTRUCTURE pg. 76-83 ENVIRONMENT pg. 84-101 CONSTRUCTION pg. 102-109 The Modern Art Museum of Fort Worth, widely referred to as The Modern, is a building that consists of five linear bays made of concrete and surrounded by glass next to a reflecting pool. Designed by Tadao Ando, the building represents a simplistic balance of materiality and natural light. It stands adjacent to Louis Kahn’s famous Kimbell Art Museum, which acts as a precedent for the building also with its use of bays and natural light to define space. With over 50,000 square feet of gallery space, the design of the Modern uses materiality, reflections, and natural light to display the artwork showcased in the museum.
Imani Dixon - Alex Gormley Libby Lamb - Narek Mirzaei G a n e s h R a m a n - S a a k s h i Te r w a y
I N T RODUCTION “An Uncompromising Box� This is the main intent Ando had went he began designing the Museum of Modern Art Fort Worth. He wanted to create a box with-in a box which both protected the valuable art works within while giving the viewers an un-interrupted connection to nature. This concept can be seen as being linked to the Japanese concept of Engawa. He sought to array this box to create a series of bays, namely five, which alter the spatial perception by contrasting spatial feelings. Intended interplays of confined to free spaces where meant to allow a visitor of the museum to navigate its spaces without a map.
fig. 1.1 the modern at night fig. 3.1 pool reflections
INTRODUCTION
A RC HITECTURAL INTENT Engawa The Japanese concept on Engawa refers to the building zone the separates the exterior from the interior spaces and acts as a transitionary zone that surrounds the interior volume. A western equivalent is a veranda or even a loggia. Ando references this concept in the Modern with the glass volume surrounding the concrete interior volume. The point of this move is to protect the art works in the galleries from the harmful effects of the UV rays and also help set the basis for a circulation throughout the building.
fig. 6.1 traditional japanese house fig. 7.1 museum of modern art fort worth fig. 7.2 langen foundation
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INTRODUCTION
A RC HITECTURAL INTENT Simplicity in Material The material palette used in the Modern is not too far off the standard palette that can be seen throughout Ando’s work. The use of a specialized technique of pouring and curring the concrete is used to achieve the desired effect of a “soft” texture. The glass and aluminum facade is strategically designed to both, allow light to filter into the space as well as blocking the penetration of the harmful UV radiation and heat into the interior spaces.
fig. 8.1 fig. 9.1 fig. 9.2 fig. 9.3 fig. 9.4
materials in context aluminum mullion precast concrete gravel in pool interior gypsum
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INTRODUCTION
A RC HITECTURAL INTENT
public private semi-private
Museum without a Map Ando’s design consists of an L-scheme divided into five linear bays—two long, and three short. The basic functions of the design include the three short bays to hold the galleries and the two long bays to hold the supporting spaces, such as the classrooms, lobby, auditorium, museum shop, offices and the café. The majority of the private spaces are located in the two longer bays. At the notch of the L-scheme, the transition of the supporting spaces to the galleries can be found by a grand stair. With the articulation of the linear bays and the varied ways that natural light is being treated, the Modern was designed conceptually to reduce the museum exhaustion which many users feel at most art museums currently. This concept is somewhat lost though when the building is developed further because the linear bar organizational schema is not present in the gallery spaces.
fig. 10.1 competition model fig. 10.2 Ando’s concept sketch fig. 11.1 spatial diagram
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INTRODUCTION
F LOOR PL ANS
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1. OFFICES 2. SCULPTURE TERRACE 3. CLASSROOMS 4. GALLERIES
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INTRODUCTION
I N T EGRATED S TRATEGIES
structural systems HVAC systems environmental systems
Using the bay module taken from the neighboring Kimbell as a guiding principle for the integration of systems, Ando sought to conceal the mechanical and structural systems in the building as to not interfere with the viewing of the artwork. The structural system consisting of hidden columns and beams is used in determining the placement mechanical systems and the segregation and implementation of the spatial intent the architect had in mind for the building. The one system that impacts and changes the way the structural system would like to articulate itself is Ando’s use of natural light from above. The interactions between all these system is best seen in how they articulate themselves in one and a half of the bay modules, one containing gallery spaces, that can be used to represent entirety of the building.
fig. 14.1 Ando concept sketch fig. 14.2 building section key fig. 11.1 intregated strategies axonometric
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INTRODUCTION
T I MELINE Tadao Ando’s work, while progressing through his years of practice, maintains truth in addressing and creating a landscape which addresses the dialogue created between nature and the built environment. Always striving for a purity of form and order, Ando hopes that his rough architecture, lacking in distractions, might succeed in optimizing the humanity in visitors of his architecture. It’s evident that light is not only a physical presence. Tadao Ando investigates purity in form and order, which justifies the purity of his volumes, the rawness of his finishes, and the spirituality of his spaces.
DAYLIGHT MUSEUM (1997-1998)
LANGEN FOUNDATION (1994-2004) concrete daylighting
VITRA SEMINAR HOUSE (1987-1993)
HYOGO MUSEUM (1997-2001)
nature engawa fig. 16.1 fig. 16.2 fig. 17.1 fig. 17.2 fig. 17.3 fig. 17.4 fig. 17.5
CHURCH OF THE LIGHT (1987-1989)
MUSEUM OF MODERN ART (1997-2002)
church on the water church of the light vitra seminar house langen foundation hyogo museum the modern timeline of Ando’s works
CHURCH ON THE WATER (1985-1988)
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INTRODUCTION
C O NTEXT Locally the proximity to the Kimbell Art Museum, a historic work of Kahn, and the Amon Carter by Phillip Johnson, demands an architectural position on how to stand within the presence of both. For the Modern, it is clear to see the influences of the Kimbell in the new design both in the use of bays and how natural light form above is treated within the gallery spaces. Ando has chosen to reduce the ‘face-to-face’ comparison of the Kimbell and his building by orienting his building’s central pond element to face away from the building. In the initial concept, the building took on a must starker difference from the Kimbell. Contrasting with the solid, enclosed Kimbell, the Modern was meant to be light and free with a ‘brise soleil’ or a glass and steel roof which allows for huge amounts of natural lighting to flood the galleries. This more open and glass filled vision seemly references both Mie’s Houston art museum and Piano’s Menil Collection. The later can be seen in how in the Menil, Piano treats the harsh sunlight and environmental conditions of Texas with shading and diffused lighting over his brise soleil.
fig. 18.1 fine arts museum of houston fig. 18.2 menil collection fig. 19.1 kimbell and the modern in context
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north-south orientation six-bays one-story plus basement INTENT PRECEDENT
K I MBELL AR T MUSEUM Louis Kahn 1972
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Being one of the signature works of Louis Kahn, the Modern’s location demanded that this museum be addressed. Ando choose to honor the Kimbell by including the various lighting principles seen in the Kimbell and throughout the rest of Kahn’s work to inform his design. Also the use of the bay module was a conscious design intent that transfer from the Kimbell to the Modern and the initial concept for the new museum included the same number of bays.
east-west orientation
five-bays two-stories plus basement
fig. 20.1 Kahn in kimbell fig. 21.1 kimbell section and plan fig. 21.2 modern section and plan
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INTENT PRECEDENT
The Kimbell Art Museum serves as a precedent for the Museum of Modern Art. Tadao Ando used many of Louis Kahn’s concepts for spatial organization and daylighting. The linear bays of the Kimbell Art Museum help to organize and separate spaces and provide natural lighting effects. The narrow skylights at the top of the archways also let in the diffused natural light for the artworks from above. The repeating forms allow visitors to read the structure and follow along so that they can be aware of their position in the building and in the bays while walking through. In both the Kimbell and the Modern similar conditions can be seen throughout the buildings. These conditions can be compared and contrasted between how theoretically similar yet different they are in implementation. These conditions are the ways in which the natural light entering from above is treated in the lobby and gallery spaces, as well as the edge conditions of the bay modules.
fig. 22.1 fig. 22.2 fig. 23.1 fig. 23.2 fig. 23.3 fig. 23.4
kimbell lobby the modern lobby kimbell gallery space the modern gallery space kimbell end condition detail the modern end condition detail
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S I T E S TRATEGIES The site of The Modern Art Museum was idealized as an oasis for art. The goal was to connect the museum and nature, while still protecting the art itself. For landscaping, a ten year arbor plan was introduced to echo those at the Kimbell, which appear to rise from the wooded site like a grove of trees.
fig. 25.1 view from pool
SITE PRECEDENT
C H URC H ON WATER Tadao Ando 1988 “You cannot simply put something new into a place. You have to absorb what you see around you, what exists on the land, and then use that knowledge along with contemporary thinking to interpret what you see.� This concept becomes very apparent in this church placed within the natural context of a forest and the creation of a pond is used to add to the phenomenological principles of the church.
fig. 26.1 site plan of church on water fig. 27.1 view from church on water to pool fig. 27.2 view from the modern to pool
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C O N CEPT “A formal landscape treatment relating to the building is used for parking arrangement and street edges. An informal central Texas native landscape is used on the East and North sides of the building, responding to Ando’s “building in nature” character for the project” -SWA Landscape Architects The naturalistic landscape on the North and East side tend to pull the building away from the busy intersection of Camp Bowie Blvd. and University Dr. and all the noise that would be associated with it. It can also be inferred that this move could be used to bring the building closer to the Kimbell, however the placement of parking and multiple other factors lead to the assumption that this was not an important factor. The pond becomes an important factor and it serves environmental purposes, while adding to the tranquility of the museum.
fig. 28.1 ‘natural’ texas landscape fig. 29.1 rendered site plan
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O RIENTATION While the Modern and the Kimbell Art Museum have conceptual similarities, one of the most visible differences in the two buildings is the orientation of the bays. The Kimbell Art Museum is oriented to track the sun from the north and south, and the Modern is oriented to track the sun from the east and west. Part of Ando’s intent was to show similarities to the Kimbell in the way the lighting and material affects the space, but Ando consciously made the decision to organize the bays in the opposite direction as the Kimbell Art Museum which seems to be an important decision. With the Kimbell facing the north and south, the lighting quality stays the same throughout the day. Louis Kahn’s use of diffusing skylights and the material used in the Kimbell were designed for a specific type and amount of light to be shined on the artwork. By orienting the Modern to face the east and the west, Ando has allowed for the lighting effects to change in the building throughout the day. This seems to allow for a variety of light to be shined throughout the building. Although the Kimbell and the Modern are both art museums that serve similar functions, the types of art that they house are very different with different needs in lighting and orientation. The Kimbell is much more restricted by featuring more traditional art sculptures and paintings, while the Modern features art that can be displayed in different types of spaces.
fig. 30.1 richard serra torque sculpture fig. 31.2 pool and lawn fig. 31.1 diagrammatic site plan
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PA RKIN G AND WATER
parking zone traffic noise
The reflection pool plays a critical role in the development of the site as it is central to Ando’s architectural concept of creating a weight-less building. The pool is located to the north-side of the building and is meant to reflect sunlight back into the gallery spaces in the adjacent bays. The water also reflects upon the underside of the concrete roof slab, creating an experience for the observer below. Parking on the site seems to be an afterthought as there is seemly no poetic narrative to it. It is simply placed in front of the South and West Facades where ease of access is key. It could be postulated that this parking zone could act as a buffer between the Modern and the Kimbell.
fig. 32.1 richard serra torque sculpture fig. 32.2 pool and lawn fig. 33.1 diagrammatic site plan
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I N T EGRATED S TRATEGIES Integration for the Fort Worth Museum was achieved by the use of diffuser systems, structure, daylighting, and infrastructure collaborating to achieve a fully integrated building. While the systems seem like they effortlessly work to accomplish this, in fact, Tadao Ando took deliberate moves to make the systems work as one. Whether it daylighting with structure, or infrastructure and code, integration was accomplished.
fig. 35.1 curve gallery space
INTEGRATED STRATEGIES
BA Y MODULE
structural systems HVAC systems environmental systems
The internal walls perform the function of bearing the ‘Y’ columns that support the natural diffused lighting system, while also integrating the mechanical systems as needed. The walls act as a housing for pipes to carry rainwater drainage from the roof to the storm water management system. The periphery of the walls at the ground level house the air intake, while the walls at the ceiling level contain diffusers that disperse air into the interior.
fig. 36.1 double height gallery space showing bay fig. 36.2 interior gallery space fig. 37.1 integrated systems axonometric
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BA Y MODULE
structural systems HVAC systems
This bay module shows the integration of the mechanical system with the structure. The structural concrete walls in the gallery spaces, where the concrete texture is not needed to be exposed, become columns and beams. The mechanical units are located in a full height storey floors which is accessible through a service corridor. The vertical ducts originated from basement floor are run through the 3 feet hollow walls, which are perpendicular to the main structure of the building, into the gallery spaces in the first and second floor. The linear diffusers and intakes are built into the walls through the perimeter of the walls.
fig. 38.1 gallery with structural and thick walls fig. 38.2 articulated structural and thick walls fig. 39.1 mechanical and structures diagram
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BA Y MODULE The internal Y-columns house aluminum louvers within the clerestory windows on the second floor of the Modern. These louvers diffuse light into the space and wash the gallery walls with natural light in an ordered fashion. In addition, the skylights on the rooftops, composed of aluminum mullions that carry fluorescent lamps at their base, perform the function of balancing the natural and artificial light to create a uniform lighting condition within that space at any given time.
fig. 40.1 40 ft gallery space showing concrete structure fig. 40.2 grand staircase with diffused lighting fig. 41.1 detailed bay section
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INTEGRATED STRATEGIES
PG. 54-55
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INTEGRATED STRATEGIES
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INTEGRATED STRATEGIES
LO BBY WALKWAY At the main entrance of the building, the lobby space contains multiple circulation options, including a pedestrian walkway on high columns. This bridge connects program spaces on the upper level. The bridge acts as a connecting corridor linking the private and semi-private program spaces on that level. Integrated technologies are embedded into this pedestrian walkway, namely, lighting systems, fire safety sprinkler systems, and various security devices.
Metal Handrail Tempered Glass Tempered glass is defined as toughened glass that has been treated by heat or chemicals to increase its strength. Tempered glass has many benefits and uses which makes it a popular glass used in many home and commercial building projects.
Metal Channels and Glass Fitting Terrazo Floor Surfacing A floor finish made by setting marble or other stone chips into a layer of mortar and polishing the surface.
Concrete Subflooring A rough concrete floor upon which a finished floor is laid
Structural Concrete A special type of concrete that is capable of carrying a structural load or forming an integral part of a structure
Integrated Sprinkler System Its an integrated system of underground and overhead piping designed in accordance with fire protection engineering standards.
Gyspum Board fig. 46.1 underside of walkway fig. 46.2 lobby view of walkway fig. 47.1 lobby walkway detail
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INTEGRATED STRATEGIES
BA Y WALL S The linear diffuser and intake are build-in parallel to the structural walls. The architect tried to keep the gallery interior spaces minimalist and simple by using gypsum board in order to hide ducts.
Concrete Beam A concrete beam is a load-bearing unit that can be used to carry both horizontal and vertical loads.
Base Plate Concrete Wall
Metal Studs Linear Diffuser The linear diffuser brings air through a plenum box or duct with a rectangular opening; louvers divert the down-flowing air.
Gypsum Wall Board
Intake Slot
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Ribbed Concrete Slab A reinforced concrete panel composed of a thin slab reinforced by a system of ribs.
fig. 48.1 linear intake bay walls fig. 48.2 linear intake bay walls in between bays fig. 49.1 bay wall diagram
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T H I C K WALL S The shafts which let vertical ducts get to the interior spaces from the basement are perpendicular to the main concrete walls. They are about 3 feet thick, which consists of gypsum boards that hide the ducts. Concrete Wall
The HVAC vertical ducts originated from basement run through the 3 feet hollow walls which are not structural, and are perpendicular to the main structural walls of the building. The diffuser and intake slots are build-in the walls.
Vertical Ducts Ducts that are used in HVAC to deliver and remove air vertically
In the corridor spaces located between the concrete walls and the glasswalls, the HVAC ducts run underneath the corridor. Metal Studs
Gypsum Wall Board
fig. 50.1 thicken wall in gallery space (background) fig. 50.2 thicken wall in upper gallery space fig. 51.1 thicken wall diagram
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BA Y GALLERY DIFFUSER
Concrete Wall Finished Floor Concrete Slab
In order to keep the concrete appearance in the exterior of the building, In the engawa spaces, the spaces between the gallery and the glass walls, Ando used different system for mechanicals. The ducts run underneath the floor slab of the corridor, and the air gets diffused through the diffusers build on the floor slab.
Horizontal slabs of steel reinforced concrete used to construct floors or celings
Diffuser The diffuser brings air through a plenum box or duct with a rectangular opening; louvers divert the down-flowing air.
Glass fig. 52.1 engawa gallery fig. 52.2 key plan highlighting engawa space fig. 53.1 diffuser detail
Mullions Concrete Wall
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INTEGRATED STRATEGIES
N A TURAL LIGHTIN G Glass Skylight
The skylight system runs on a linear path embedded in the concrete slab roofs of all five bays. They work to bring in the changing light, ranging throughout the day. Once sunlight is brought through the skylight, it is diffused through a light diffuser, which has a grid embedded within that works to filter the light evenly and to keep the desired footcandle amounts needed for a museum. The grid system moves a majority of the light to the sides of the diffuser, which then disperses onto the space. When the light levels begin to fall in the evening,
A framed opening in a roof or ceiling, fitted with glass, for admitting daylight
Mullions Concrete Wall Fluorescent Lighting When light levels begin to diminish, the lights work to keep the light levels consistent, so it seems as though daylight was entering the space.
Roof Drain
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Bituminous membrane water polystyrene insulation board
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fig. 54.1 in-between gallery space natural lighting fig. 54.2 in-bay natural lighting fig. 55.1 lighting condition diagram
A concrete beam is a load-bearing unit that can be used to carry both horizontal and vertical loads.
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C O DE The modern is a beautiful building, visually and experientially, even if it is not perfect. As in many recent museums, Ando has devoted a substantial amount of space to the entry and circulation. Arriving visitors gaze through the glass- enclosed, double height lobby to the reflecting pond and the garden beyond. The Modern’s galleries remain a powerful and memorable part of the experience of the building. They are simple, well proportioned, white spaces that are strong but not in the competition with the works of art.
fig. 57.1 grand staircase
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C L A SSIFIC ATION & ACCESSIB I L I T Y
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CODE CLASSIFICATIONS:
Multiple circulation paths give an impression of promenade and discovery rather than a predetermined exhibition itinerary. There are numerous places where visitors can step out of the exhibition, take a short break, and gaze at the landscape, the downtown skyline or the sculpture garden. A dramatic linear stair that climbs the north side of the building links the upper and the lower galleries and assures the continuity of the visit without backtracking.
User Group: Assembaly group A-3 Construction Type: Type-02 Sprinkled: Yes Total Height: 40 feet Levels: 2 Project Area: 10.96 acers
Having two delivery areas, the building’s west elevation presents an unfriendly backside to Louis Kahn’s Kimbell Art museum located just across Van Cliburn Way, while its east elevation, particularly at ground level, gives a second less-than-friendly impression to the University Drive. There is a certain logic that the Modern’s main delivery would face the Kimbell’s main delivery area. All delivery areas are not equal, however. Kahn very skillfully integrated this necessity into the concrete base of his building and aligned the loading dock door within one of the vaulted modules in a way that is compatible with the general order of his building. It hardly seems like a sacrificed side of the building. At the Modern the delivery area has no obvious relationship to the pavilions or the overall scheme. It seems like the back of the building.
Total Gallery Area: 275,000 sq.ft. Accessibility - Exterior: ADA accessible ramps and steps Interiors: Elevators and Staircases
EGRESS: Horizontal Paths: Max. travel distance Group A: 250’ Group B: 300’ Horizontal Paths: Max. deadend corridoor Group A: 20’ Group B: 100’ Width Per Person: Staircase: 0.2” Others: 0.15” Vertical paths: Fire Staircases: 5 Total Staircases: 9 Elevators: 3
fig. 59.1 egress diagram
(Information According to Fire Code 2003)
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S PATIAL ORGANIZATION
1. galleries 2. modern shop 3. cafe 4. auditorium 5. coat check 6. elevator 7. stairs 8. restroom 9. pond
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Ando spoke of the urban condition in Japanese cities that logically leads to the walled projects as well as his admiration for courtyard buildings such as the Alhambra in Granada, Spain. Yet in Fort Worth, the trade-off for a serene, introverted walled garden with its impressive horizontal reflecting pool is a take away from the sub-urban context and an uneasy insertion into a site that was not all that flat (slope of 7m) from one end to the other.
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As the plan indicates, the spaces between the “pavilions� are actually the larger and more important areas. Even the entry hall and the auditorium are locate in a space between. This leaves the interior organization somewhat distorted. At the Kimbell, the location of elements such as stairs, elevators and restrooms can be predicted in relation to the gallery spaces, and they are found in Khan’s flat roofed servant zones. At the Modern there is a reversal, and stairs, elevators, freight elevators, and restrooms are most often, but not always, located in spaces parallel walls that form the outside appear as primary pavilions but from the inside seem secondary. The planning of the building seems casual. On arriving at the top of the grand stair, for example, an opening on the right allows the visitor to apprehend the layout of the galleries in enfilade, while an identical opening on the left leads to the rest room.
1. galleries 2. sculpture garden 3. terrace 4. elevator 5. grand stair 6. restroom 7. pond
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grand stair from second floor engawa stair first floor egress diagram second floor egress diagram
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The building’s grand mail entrance and Richard Serra’s remarkable sculpture seem a bit lost in the parking lot of the south side of the building. Ando’s preliminary design called for an underground parking lot that unfortunately was abandoned as the project developed. The 130 car, on-grade parking lot that was realized is softening as the Cyprus trees planted among the cars mature.
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Assembly Group A: A1 : Auditorium A2 : Cafe A3 : Galleries, lecture Halls and Waiting Area B : Educational occupancies for students above the 12th grade : Staff Support : Office Area
Ando spoke of the urban condition in Japanese cities that logically leads to the walled projects and of his admiration for courtyard buildings such as the Alhambra in Granada, Spain. Yet in Fort Worth, the trade-off for a serene, introverted walled garden with its impressive horizontal reflecting pool is a take away from the sub-urban context and an uneasy insertion into a site that was not all that flat (slope of 7m) from one end to the other.
S2 : Mechanical Space : Parking Garage
fig. 63.1 occupancy diagram
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S T RUCTURE The structure is composed as a box-inside-a-box; a glass box on the outside (skin) with massive concrete forms inside it. The main structure is made of reinforced concrete and pre-stressed concrete. Massive Y-columns make their mark as an exterior signature of the building while holding up long cantilevering concrete roof slabs.
fig. 65.1 three bays seen over pond
STRUCTURE
C O N CEPT “The Engawa (Veranda)� Ando continues the concept of engawa from his previous buildings. It is comprised of forty foot high transparent walls of glass framed in metal surrounding the concrete envelope. The Engawa is an integral part of the exhibition space; it draws light, greenery and water into the exhibition space while transmitting elements of the exhibition areas to the exterior*.
*Ando, Tadao, and Massimo Vignelli. Tadao Ando: Light and Water. New York: Monacelli, 2003. 234. Print.
fig. 67.1 The north stair showing concrete/glass engawa
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The double-skin glass-concrete structure is composed in a way that it softens the impact of large concrete forms. The structure is an ordered composition assembly of mutiple elements of varying materials that act in unison to create breathtaking lighting effects and moments of space throught the program in the building.
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LEGEND fig. 69.1 Sectional Perspective
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Roof Drain GRFC Tube Aluminium Louvres Skylight
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Flourescent Lamps Translucent Fabric Clerestory Window Concrete Bearing/Shear Wall
13. White Oak Planks 14. Concrete Precast
STRUCTURE
C O MPOSITION The double-skin glass-concrete structure is composed in a way that it softens the impact of large concrete forms. The structure is an ordered composition assembly of mutiple elements of varying materials that act in unison to create breathtaking lighting effects and moments of space throught the program in the building.
Second Floor
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T-beam/Slab system Bending Moment and Shear Force Diagrams Positive Bending Moments & Shears Forces Negative Bending Moments & Shears Forces
Foundation system Bending Moment and Shear Force Diagrams due to soil pressure
fig. 94.1 Sectional Perspective: Bending Moment and Shear Force Diagrams
Positive Bending Moments in foundation slab Negative Bending Moments at supports
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P RECEDENT S THE CONCRETE-GLASS ENGAWA According to Masataka Yano, a long-time collaborator of Ando, the Modern has the closest relationship to the Langen Foundation (1994-2004) in Neuss, Germany in terms of the double-skin, concrete-glass-box-in-a-box. The Hyogo Prefectural Museum which was built around the same time as that of the Modern, also shares a close relationship with the latter. Especially in terms of the overhanging slabs of the ‘form’ that continues outside the building. Significantly, the form in the Langen foundation is nested completely, while in the others, it resembles Ando’s previous works in the Otemae Art Centre and the Matsutani House.
fig. 73.1 The Langen Foundation (1994-2004) Neuss, Germany fig. 73.2 The Hyogo Prefectural Museum, Hyogo, Japan. fig. 72.3 The Modern, Fortworth, USA.
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STRUCTURE
P RECEDENT S THE Y-COLUMNS In many of Ando’s architecture a dramatic structural element in the form of Y-columns is introduced. In the Modern, tt supports the roof structure of the building, clearly signifying the outside support for the box-within-a-box configuration of the building. In all of Ando’s buildings, the structural material of the Y-column is the same as the main structural material of the ‘form’, connecting the interior of the building with the exterior environment, continuing the language of the building and the concept of engawa in-between them. Structurally, the Y-shaped columns hold up the roof overhangs; architecturally, they are there to draw the eye upwards*.
fig. 12.1 The Modern (2002), Fortworth, USA fig. 12.2 The Otemae Art Centre (1992), Hyogo, Japan. fig. 12.3 The Matsutani House (1979), Kyoto, Japan.
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I N F RAS TRUCTURE The mechanicals are located in the basement floor which are accessible through the service corridor. In the lobby spaces the ducts run through the vertical shafts in the auditorium and behind the reception. In the gallery spaces the ducts run through the 2 feet thick walls which are perpendicular to the main structural walls of the building. The air diffuser and intake are built into the wall. There is a Condenser unit outside located in back of the building.
fig. 77.1 hidden diffuser in gallery space
INFRASTRUCTURE PRECEDENT
V I T RA CONFEREN CE CENTER Tadao Ando 1993 The concept was to provide a zen-like environment that allows for complete focus on the tasks and discussions at hand. By treating the walls with acoustical wood treatsments and hiding the various mechanical systems so that they rarely expose themselves this project can be seen as a key precedent for the Modern.
fig. 78.1 exterior of conference center fig. 79.1 main vitra meeting room fig. 79.2 detailed shot highlighting vent fig. 79.3 the modern’s hidden diffuser
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H VAC
basement mechanical vertical ducts diffuser
The Modern’s basement level houses separate art storage for photos, paper artifacts, and paintings with appropriate climate control for each. Boilers, chillers, air handlers, a backup generator, and general storage are also located in the basement. An “L” shaped service corridor provides access to all spaces.
intake
The HVAC vertical ducts originated from basement run through the 3 feet hollow walls which are not structural, and are perpendicular to the main structural walls of the building. The diffuser and intake slots are build-in the walls. In the corridor spaces located between the concrete walls and the glass walls, the HVAC ducts run underneath the corridor.
fig. 80.1 first floor hvac plan fig. 80.2 second floor hvac plan fig. 81.1 hvac diagram
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INFRASTRUCTURE
P L UMBIN G
basement mechanical plumbing
The plumbing system is a stacked one. The plumbing are run through two sets of stacked resrooms in the first and second floor, and also the kitchen of the cafeteria. That is to say, the plumbing are in the portion of the building where the public activities take place.
fig. 82.1 first floor plumbing plan fig. 82.2 second floor plumbing plan fig. 83.1 plumbing diagram
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E N VIRONMENT The site of The Modern Art Museum was idealized as an oasis for art. The goal was to connect the museum and nature, while still protecting the art itself. For landscaping, a ten year arbor plan was introduced to echo those at the Kimbell, which appear to rise from the wooded site like a grove of trees.
fig. 85.1 view from pool
ENVIRONMENT
C H ALLEN GES Since The Modern is home to priceless works of art that must be preserved, keeping the correct range of foot-candles was of the highly importance. However, Tadao Ando desired natural light to play an integral role in developing the atmosphere for The Modern. Merging the use of natural daylighting in the gallery spaces, while preserving the art drove many design decisions. Initially, the design concept began with a glass box with a concrete box within, because of environmental factors for the Fort Worth, Texas area, new design strategies had to be implemented to keep a stable thermal comfort zone. The multiple entrances given to light had to be integrated with structural strategies, but at the same time, not to take away from the integrity of the structural concrete.
fig. 86.1 natural lighting in engawa gallery space fig. 87.1 Ando in conversation
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ENVIRONMENT
DA YLIGHTIN G
sunrise solar noon sunset
Lighting is an integral factor in the visitor’s experience at The Modern. The Modern is oriented so that the light quality changes through the course of the day, especially in the circulation spaces between the bays. Types of lighting strategies utilized to produce a dramatic lighting effect for the visitors consists of reflected light, filtered light, walls washed with light, light that greets visitors in the glass-sandwiched lobby, and darkened passages and spaces that enhance one’s experience of light. To effectively produce a successful lighting plan, lighting consultants were brought in to build to-scale models of the galleries.
direct normal global horizontal
On the facing page, the site illumination diagram shows levels surpass the acceptable illumination suggested for the interior of a museum, between five and thirty foot-candles. The concrete box within the glass box works to protect priceless works of art from harmful illumination levels as well as act as a buffer zone.
fig. 88.1 fig. 88.1 fig. 89.1 fig. 89.1
July 21st
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sun path diagram july sun path diagram january illuminace diagram (footcandles) axonometric sun path diagram
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ENVIRONMENT
DA YLIGHTIN G Utilizing natural light was the design intent of The Modern. Because the museum has a priceless collection of artwork inside, the control of daylight was crucial for Tadao Ando. To avoid issues with regards to lighting, a lighting consultant firm was hired to build, produce, and test to-scale models of all the galleries spaces, as well as different lighting techniques. Louvres were integrated into the concrete roof slab to shade direct sun and avoid hotspots, as well as avoid shadows lines that would take away from the effortless effect of the natural daylight. Clerestory windows are installed below the louvres. Light is bounced off the gypsum board walls and brought into the galleries. In the 40 ft gallery, the artificial light acts as a barrier to avoid direct lighting from above. The skylights in the 20 ft. bays are diffused by a gridded screen system embedded in the diffuser to increase light gain on the side and decrease light in the middle. The louvres protect from light. They also keep hot spots from occurring on the gypsum and concrete.
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curtain wall clerestory windows louvres skylight flourscent lights light diffuser
The 40 ft. gallery’s light quality was tested by a hired lighting consulting firm in Germany. Between ten and twenty lighting models were produced until the ideal lighting was produced. The 20 ft. gallery is lit by light diffusers that diffuse 94% of the direct daylighting. The light diffuser has a gridded screen to diffuse light and enables more control. The grid allows less light in the middle, and more light allowed in on the sides. fig. 90.1 fig. 91.1 fig. 91.2 fig. 91.3
louvre photo during construction 40 foot gallery photo 40 foot gallery photo daylighting section diagram
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20 FT
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ENVIRONMENT
I N T ERN ALLY DRIVEN HEATING AND COOLING DEGREE DAYS 2012 65Âş BASE TEMPERATURE
The concept of a concrete box within a glass box was Ando’s solution for protected the priceless works of art in The Modern from direct radiation. One issue that arises from that concept is the engawa space between the two boxes. Because The Modern is an internally loaded building found in a climate that has more cooling degree days then heating degree days, shading was needed to aid the mechanical system in cooling the circulation spaces within the boxes. Stabilizing the interior environment of the building, overhangs from the suspended roof were designed to relieve the cooling systems during the summer months. The direct sun light receiving happens during the winter months, when the sun is lower in the sky, the direct sun during the summer months are mostly avoided. Additionally, the cloudiest days of the year occur during the winter months, when the sun is lowest, around one hundred thirty-three days.
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inside engawa gallery engawa gallery late morning heating and cooling degree day chart cloud cover diagrams
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S U N AN GLES
Summer Sun, June 21 9AM 73.9ยบ
The intermediate spaces between the galleries is protected from the summer sun, which is the warmest, during the hottest months of the year. Overhangs allow for direct sunlight to enter the intermediate spaces between the galleries during the coldest months of the year
The intermediate spaces between the galleries is protected from the summer sun, which is the warmest, during the hottest months of the year.
Winter Sun, Dec 21 9AM 27ยบ Overhang allows for direct sunlight to enter the intermediate spaces between the galleries during the coldest months of the year
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ENVIRONMENT PRECEDENT
C H APEL ON MT. ROKKO Tadao Ando 1986 The Chapel on Mt. Rokko, like the Fort Worth Modern Art Museum, has a similar daylight progression condition, being that both recieve variations of light throughout the day due to the east/west orientation. Besides the shared lighting condition of progression, both also share a similar material palette of glass and concrete.
fig. 96.1 fig. 96.2 fig. 97.1 fig. 97.2
sun angle diagram for chapel exterior of chapel on mt. rokko entrance sequence of chapel grand stair of the modern
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SITE/ENVIRONMENT
M A TERIAL IMPLEMENTATION The use of aluminum paneling on the exterior of The Modern was increased on the southern and western facade after the design won the competition to accommodate for the direct sun exposure, which was originally proposed to be the continued glass box. The aluminum paneling system was fabricated in Holland, it was then bead-blasted in Kansas City. The paneling shares a gridded system with the mullion system. The aluminum is 5 mm thick and works as an inverted seam wall panel and rain screen. Concrete is a constant in Tadao Ando’s work. The heavy material is given lightness with the light and shadow projected onto the concrete, which is meticulously placed. The 40 foot glazed mullion system houses the concrete mass within, which houses all the precious works that must be preserved.
fig. 98.1 exterior concrete wall fig. 99.1 exterior aluminum wall fig. 99.2 exterior glazing wall
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SITE/ENVIRONMENT
E L E VATIONS west elevation
It is evident in the elevations that the western and southern faces of the facade are predominately aluminum paneling and concrete, while the northern and eastern facade faces are able to take in more light, and are predominately glass. The overhangs on the eastern facade help to protect from direct sun that is directly overhead during the summer months, and let light in during the winter months to heat the engawa space.
east elevation
south elevation
aluminum panels concrete north elevation
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C O NS TRUCTION “Ando’s Intent” A series of concrete boxes to protect the artwork, which are to be surrounded by glass, like a double skin, to still connect the building to its surroundings. The use of natural light and the way that the materials reacted to the light was most important to keep in mind during the construction of the Modern. Ando also intended this design to be an “arbor for art” and wanted to create an “oasis” where the building was located. During the construction process, he carefully picked trees that would grow into this realization in 10 years or so, not necessarily what they looked like when planted. fig. 102.1 site visit by Ando
CONSTRUCTION
C H ALLEN GES The biggest challenge was coming up with the most effective construction methods in order to bring this intent to reality. Unlike many buildings which are focused on finishes for aesthetic detail, the structure of the building IS the architecture, therefore it has to be especially precise because there is no room for disguising it. This was helped by a form fabrication shop, which was built on site to build and protect the forms. The main elements of the design which were considered during construction of the Modern were the concrete, the Y-shaped columns, and the implementation of natural light. The location of the building being in a very hot and humid climate also proved to be an obstacle for construction methods. The concrete being the most prominent main feature of the design brought on many challenges during construction. The quality of the concrete was very important to Ando—the way light hits it and brings life to it. With the way the shadows and light hit the walls, its silkiness and smoothness can be seen. In order to achieve this quality throughout the building, the concrete has to be the same mixture (same aggregate, color, and amount of water) during the entire time of construction.
fig. 104.1 cafe roof construction photo fig. 105.1 gallery roof construction photo fig. 105.2 y-column construction photo
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CONSTRUCTION
C O N CRETE PROCESS To create the form for the cast-in-place concrete, plywood with a smooth finish on both sides was imported from Finland. To make the face of the concrete walls as smooth as possible, each piece of plywood was carefully inspected for defects to ensure maximum smoothness. To hold the form together while curing, PVC tie sleeves with tie rods were placed through which make the hole patterns in the concrete—a signature in many of Ando’s concrete forms. While pouring the concrete slowly, vibrators were used to properly set the concrete into its form. The vibrating was also a challenge because there could be no under- or over-vibrating for fear of creating holes or leaving large gaps in the walls. Special care also had to be taken so that the vibrators did not hit the face of the form and potentially ruin the smooth face of the concrete walls. With the location of the building being in a very hot and humid climate, the pouring of the concrete also could only be done during a certain time. During a certain time of the year, the formwork and reinforcing steel become very hot. The reaction of the cool concrete hitting the formwork and steel would be detrimental to the form of the concrete.
Plywood Formwork Smooth finish on both sides; imported from Finland
Studs Walers A horizontal structural support member in formwork
Form Ties
Bracing Bracings are used to support all or part of the form or structure
reinforcing bars concrete fig. 106.1 interior exposed concrete fig. 106.2 concrete formwork in place fig. 107.1 concrete formwork diagram
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CONSTRUCTION
Y- C OL UMNS The construction process for creating the 40-foottall Y-shaped columns took months to figure out with the design team. The biggest challenge was maintaining Ando’s design without creating any unwanted seams. Engineers finally came up with a process to building the columns in three stages. First, the “trunk” of the column was cast vertically to the reveal joint with protruding post-tensioning bars. Second, the forks were cast vertically on the site, also with reinforcing bars on the ends. Lastly, a lifting device was used to hold the upper part of the fork at the correct angle and position, and placed on top of the trunk at the reveal joint. The assembly was carefully lowered into place, checked for alignment, and the nuts were tightened on the post-tensioning bars.
fig. 108.1 fig. 109.1 fig. 109.2 fig. 109.3
construction photo ‘Y’ Column construction process diagram detail CAD file of ‘Y’ connection construction photo
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WORKS CITED
WORKS CITED
RE F EREN CES
F I G U RE S
Ando, Tadao, Anatxu Zabalbeascoa, and Javier Rodriguez Marcos. Tadao Ando: Architecture and Spirit = Arquitectura y Espiritu. Barcelona: G. Gili, 1998. Print.
1.1: “modern” www.fwweekly.com.jpg 3.1: www.yelp.com.jpg
Brettell, Richard R. “Ando’s Modern: Reflections on Architectural Translation.” (2003): 24-30. Web. 5 Sept. 2014.
6.1: “Fukiya_katayama_house02s3200” fr.academic.ru.jpg
Furuyama, Masao. Tadao Ando. Basel: Birkhauser, 1996. Print.
7.1: “121646213_4f7b2f50b9” flickr.com.jpg
International Building Code 2009. Country Club Hills, IL: International Code Council, 2009. Print.
8.1: “1330579479-fw3” www.archdaily.net.jpg
Jodidio, Philip, and Tadao Ando. Tadao Ando: Modern Art Museum of Fort Worth. New York: Rizzoli International in Association with the Modern Art Museum of Fort Worth, 2008. Print.
9.1: By Yi-Yun Lin, IMG_3424.jpg 9.2: By Yi-Yun Lin, IMG_3314.jpg
Making the Modern. Dir. Harry Lynch. 2003. DVD. 9.3: By Yi-Yun Lin, 018.jpg “The Modern.” Zahner. N.p., n.d. Web. 20 Oct. 2014. 9.4: “Fort Worth Modern Art Museum – Jamie House Design” squarespace.com.jpeg Self, Ronnie. The Architecture of Art Museums: A Decade of Design: 2000 – 2010. N.p.: n.p., n.d. Print. Spires, David B., Leo J. Galletta, and Leonard M. Joseph. “Insight: Creating an Arbor for Art in Fort Worth.” ArchNewsNow. N.p., 3 Dec. 2002. Web. 15 Oct. 2014.
10.1: “AndosModern_Brettell_Cite57_Page_2” offcite.org 10.2: Jodido, Philip. Tadao Ando. Tadao Ando parti sketch.jpg 12.1: offcite.org
Sveiven, Megan. “Flashback: Modern Art Museum of Fort Worth / Tadao Ando.” ArchDaily. N.p., 2 Mar. 2012. Web. 15 Oct. 2014.
13.1: offcite.org
Takase, Yoshio, Yukio Futagawa, and Tadao And0. Tadao Ando. Tokyo: A.D.A. Edita, 1987. Print.
14.1: “TadaoAndo_07242014_02” modernnow.com
United States of America. U.S. Architectural and Transportation Barriers Compliance Board (Access Board). Americans with Disabilities Act (ADA): Accessibility Guidelines for Buildings and Facilities. N.p.: n.p., n.d. Print.
16.1: “Iglesia-sobre-el-agua” blog.a-cero.com.jpg
Visitor’s Guide: Modern Art Museum of Fort Worth. N.p.: n.p., n.d. Print.
17.1: “0007” figure-ground.com.jpg
16.2: “ChurchOfLight” blog.ocad.ca:wordpress.jpg
17.2: “Langen_Foundation_Neuss_02” Wikipedia.org/modern_art_museum_of_fort_worth.jpg 17.3: “hyogo 05” myarchitecturalmoleskine.com.jpg
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WORKS CITED
F I G URES
F I G U RE S
17.4: “12bise” blogspot.com.png
30.1: “modart03” www.eubankroofing.com.jpg
18.1 http://houstonmuseumdistrict.org/museums/museum-fine-arts-houston/
30.2: “modern1” spsd.com.jpg
18.2 http://qe1pr67o4hj19lx494tvhiwf.wpengine.netdna-cdn.com/wp-content/uploads/2013/01/ menil_collection_01.jpg
32.1: “AndosModern_Brettell_Cite57_Page_3” offcite.org.jpg 32.2: “AndoModern_Brettell_Cite57_Page_5” offcite.org.jpg
19.1: “ANDO-plan001” themodern.org.jpg 34.1: “5835880657_ca6cfd777f_z” flickr.com.jpg 20.1: “1301507611-kimbell10” www.archdaily.net.jpg 36.1 http://www.imgc.allpostersimages.com 21.1: “Kimbell-Art-Museum-plans” morfae.com.png 36.2 http://www.media-cdn.tripadvisor.com 22.1: “1356758531-kimbell-01-528x352” archdaily.net.jpg 38.1 AndosModern_brettell_cite57_page_6.jpg 22.2: “1356759456-moma-11” www.archdaily.com.jpg 38.2 2737748a-1d5a-4a9b-b6a9-ee31b3c0b424_g_273 mutualart.com 23.1: “detail_1209_trav_kimbell” www.texascooppower.com.jpg 40.1 http://farm7.static.flickr.com/6205/6072668191_f2db0bc833_m.jpg 23.2: “DSCN2123” www.blogspot.com.jpg 40.2 archdaily.net 23.3: “5835874727_b4629288e8_z” www.flickr.com.jpg 42.1: GA Section 23.4: “Feature0092_04x” archnewsnow.com.jpg 44.1: GA Section 25.1: By Yi-Yun Lin, composed BACKGROUND.jpg 46.1: “Ando4” bernardperroud.com.jpg 26.1: “architecture,drawing-df1723ec47e59e7b49d94f90cd374ac9_h” vi.sualize.us.jpg 46.2: “1356759456-moma-11” www.archdaily.com.jpg 27.1: “1995-w-02lg” pritzkerprize.com.jpg 48.1: “628x471” flickr.com.jpg 27.2: “1330579496-fw11-334x500” www.archdaily.net.jpg 48.2: “5835874727_b4629288e8_z” www.flickr.com.jpg 28.1: “modern2” spsd.com.jpg 50.1 john-edward-linden-the-museum-of-modern-art-fort-worth-texas-2002-interior-of-art-gallerywith-split-level.jpg (imgc.allpostersimages.com)
29.1: “modern_art_museum_fort_worth_8” archdaily.com.jpg
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WORKS CITED
F I G URES
F I G U RE S 78.1 0007.jpg (figure-ground.com)
50.2 Fort Worth Modern Art Museum- Jamie House Design.jpg (squarespace.com) 79.1 4114496104_418984e7ee.jpg (flickr.com) 52.1 engawaspace.jpg (https://www.flickr.com/photos/scottnorsworthy/10227979316/in/ photostream/)
79.2 4114496104_418984e7ee.jpg (flickr.com)
54.1 lighting 2.jpg (http://pixgood.com/modern-art-museum-of-fort-worth-interior.html)
79.3 bedfordweb.jpg (http://www.themodern.org/sites/default/files/)
54.2 lighting.jpg (http://www.archdaily.com/213084/flashback-modern-art-museum-of-fort-worthtadao-ando/)
85.1 http://www.archdaily.com/213084/flashback-modern-art-museum-of-fort-worth-tadao-ando/ 86.1 www.12biseblogspot.com 87.1www.andochallenge_environment.http:///cdn.archinect.net/images/1200x/dn/ dnjp8n99qmm4g3ir.jpg
57.1 1356759281-moma-4.jpg (archdaily.net) 60.1 1356759380-moma-8-333x500.jpg (www.archdaily.net)
88.1 google image 60.2 AndosModern_Brettell_Cite57_Page_7.jpg (Richard R. Brettell) 88.2 google image 65.1 Photograph by Ralph Lieberman 89.1 climate consultant 67.1 Tadao Ando: Modern Art Museum of Fort Worth, Philip Jodidio - Tadao Ando - Rizzoli International in association with the Modern Art Museum of Fort Worth - 2008
90.1 www.eubankroofing.com
72.1 The Langen Foundation (1994-2004) Neuss, Germany (www.panoramio.com)
91.1 http://farm7.static.flickr.com/6205/6072668191_f2db0bc833_m.jpg
72.2 The Hyogo Prefectural Museum, Hyogo, Japan. (GA Architect 1987)
91.2 http://d2ui3ko1lobjrf.cloudfront.net/imgcache/story/1611/8404474c30f024bafec64eca9c2fb 5c6_w644.jpg
72.3 The Modern, Fortworth, USA. (Jodidio, Philip 2002)
91.3 GA section
74.1 The Modern (2002), Fortworth, USA (www.fweekly.com)
92.1 https://www.flickr.com/photos/scottnorsworthy/10227979316/
75.1 The Otemae Art Centre (1992), Hyogo, Japan. (*Furuyama, Masao 1993)
92.2 http://minimalissimo.com/2013/05/modern-art-museum-of-fort-worth/
75.2 The Matsutani House (1979), Kyoto, Japan. (Furuyama, Masao 1993)
93.1 http://degreedays.net
77.1 Fort Worth Modern Art Museum- Jamie House Design.jpg (squarespace.com)
93.2 https://weatherspark.com/averages/30045/Dallas-Fort-Worth-Texas-United-States
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F I G URES 95.1 elevation – GA 96.2 http://www.galinsky.com/buildings/mountrokko/rokko-exterior-2.jpg 97.1 http://4.bp.blogspot.com/_HulWcbBQDbw/SCF2AjA6U2I/AAAAAAAAB9k/Pi_dskJd98E/s1600-h/ ando+3.jpg 97.2 http://ad009cdnb.archdaily.net/wp-content/uploads/2012/12/1356759380-moma-8-333x500. jpg 98.1 https://www.flickr.com/photos/scottnorsworthy/10227987875/ 99.1 http://www.azahner.com/portfolio/the-moma-in-fort-worth 99.2 http://www.archdaily.com/213084/flashback-modern-art-museum-of-fort-worth-tadao-ando/ 102.1 http://www.archnewsnow.com/feature0092_13x 104.1 http://www.archnewsnow.com/feature0092_06x 105.1 http://www.eubankroofing.com/modart05 105.2 http://www.archnewsnow.com/feature0092_09x 106.1 http://www.5835880657_ca6cfd777f_zflicker.com 106. 2 http://www.archnewsnow.com Fig. 108.1 http://www.archnewsnow.com/features/images/Feature0092_07x.jpg Fig. 109.2 http://www.archnewsnow.com/features/images/Feature0092_17x.jpg Fig 109.3 http://www.archnewsnow.com
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