LINCOLN FILM MUSEUM
Elizabeth Pernicek1425 Q St. Lincoln, NE
ARCH 310 Fall 2022
Table of Contents
PART 1: Program Development
1.1 Conceptual Statement
1.2 Urban Context Plan 1.3 Zoning Diagram 1.4 Environmental Analysis 1.5 Site Flows Analysis 1.6 Program Specification 1.7 Regulatory Requirements 1.8 Program Analysis
PART 2: Design Development
2.1 Extended Conceptual Statement 2.2 Goals and Design Tactics 2.3 Process Work 2.4 Program Parti Diagram 2.5 Building Massing and Organization 2.6 Material Palette
PART 3: Project Outcome
3.1 Building Plans 3.2 Life/Safety and Egress 3.3 Building Section Perspective 3.4 Perspective Detail Wall Section 3.5 Rendered Elevations 3.6 Facade Daylight Response 3.7 Structural Isometric Diagram 3.8 Building Performance 3.9 Environmental Impact 3.10 Exterior Perspective Rendering 3.11 Public Promenade Storyboard
In creating architecture, one must consider the scale at which their space will be experienced, drawing from human, intimate, monumental, and shock scales. This museum intends to unify cut ins with lingering shots and depth of field to manipulate the scale at which the museum is perceived. These techniques create interest in both film and architecture through their distortion of visual conception and understanding of a space or shot. They build drama by taking a preconceived notion of a volume and twist it into something unexpected for foreign.
Located in the bustling downtown of Lincoln, NE, the site is located at 1425 Q St, adjacent to Centennial Mall. The site is one block south of UNL’s city campus. Being two blocks north of O Street, downtown’s central hub of pedestrian and vehicular traffic, the site is also within a walking distance of many museums, restaurants, shops, and businesses.
Located in the B-4 zoning district of Lincoln, NE, the zone is designed to place emphasis on the Lincoln center remaining the focal point of business, social, and cultural activity in the urban area. The site, adjacent to Centennial Mall, provides a prime connection between the commercial, retail, and transportation services and activities in downtown Lincoln.
Buildings within the B-4 zone must be under 57’ in height above the ground plane; this is done to maintain views of the Capital across Centennial Mall. The minimum building height is 20’ and there is no property line setback.
The study of the environmental data involving the site was critical in designing the building in terms of floor plans, materiality, and aesthetic aspects of the exterior. Understanding from the wind rose that the strongest winds come from the north, northeast, south, and southwest allowed for the design to avoid placing large entryways and windows squarely in those directions with no buffers or vestibules.
Additionally, being aware of the solar studies informed the location of windows and the interior programs situated behind those windows. For example, soft light from the north is ideal for offices, while southern light should be avoided for the such spaces as the galleries.
The line above highlights the path a student group of college student would take to visit the museum. Many buses park near campus for students to experience the culture, and most of the dorms are located to the northeast of the museum. Students coming for enjoyment, classes, or trips would likely make their way across Centennial Mall on their way to the museum. This encouraged the facade to face the northeast, encouraging visitors from campus and Centennial Mall.
Highlighted above is the path a First Friday attendee would take to visit the local museums and works of art in downtown Lincoln. With the Sheldon to the northwest and Gomez Art Supply directly to the south, the Lincoln Film Museum would be a pivoting point in the art tour path.
The Lincoln Film Museum is tasked with educating the public on the art, history, and technology of film while also providing the staff a quiet, secure working environment to study the film while also keeping a close eye on the exhibits.
The addition of a basic kitchen, food staging and serving area, and event storage was necessary to cater the museum’s events and gatherings. Weddings, conferences, field trips, and other events held in the museum requiring cooking prep and serving space will be accommodated by the addition of these spaces.
Small work pods were added to the administration floor to accommodate modern meetings. Conference rooms are no longer the only option; many meetings are now held online, so small, quiet spaces are necessary for staff to have privacy during such meetings.
An interactive learning space was also added to provide additional engagement for younger museum visitors. Whether they are students on field trips or children with parents, providing adequate learning spaces for all ages was an important addition to the museum.
Program Area Net Area (sqft)
Occupancy Type Occupant Load Factor (1004.1.1; sqft per person)
Number of Occupants Description
General Public Lobby 1426 Assembly (standing) 5 285.00 The lobby needs to welcome and orient guests on the museum events; allow guests to buy tickets; provide security; coat check area; spaces to sit.
Café 756 Assembly (unconcentrated, tables and chairs) 15 50.00 This café serves sandwiches and coffee.
Shop 577 Mercantile 60 10.00 This is the main gift shop of the museum.
Curatorial
Orientation Gallery 1640 Assembly (standing) 5 328.00 This space serves as an entrance and orientation gallery to the larger exhibit spaces. It provides info on current exhibits.
Permanent Exhibition Spaces 3005 Assembly (exhibit gallery and museum) 30 100.00 These spaces exhibit physical objects as well as provide space for digital and projected media installations from the permanent collection.
Visiting Exhibitions 2714 Assembly (exhibit gallery and museum) 30 91.00 These spaces are reserved for special visiting exhibitions that are temporary and change more often.
Event Storage 183 Accessory storage areas 300 1.00 This space is used for temporary chair, table, and pedestal storage for both exhibit spaces.
Storage 535 Accessory storage areas 300 1.00 This space is used for temporary chair, table, and pedestal storage for both exhibit spaces.
Education
Workshop/Lecture Room 1210 Educational (classroom) 20 61.00 This room is used for educational workshops and classes involving film.
Workshop/Lecture Room 1210 Educational (classroom) 20 61.00 This room is used for educational workshops and classes involving film.
Interactive Learning Area 800 Educational (classroom) 20 40.00 This room is used for educational workshops and classes involving film.
Storage 245 Accessory storage areas 300 1.00 This storage room serves both workshop rooms.
Presentations/Screenings
Theater/Lecture Space 2836 Assembly (fixed seat) 294 294.00 Film screenings, artist talks, and lectures happen in this space during regular museum hours.
Projection Room 150 Accessory storage areas, mechanical equipment room 300 1.00 Houses projectors for theater in the back of the auditorium and must allow access by staff to run equipment.
Theater/Lecture Space 2836 Assembly (fixed seat) 294 294.00 Film screenings, artist talks, and lectures happen in this space during regular museum hours.
Projection Room 150 Accessort storage areas, mechanical equipment room 300 1.00 Houses projectors for theater in the back of the auditorium and must allow access by staff to run equipment.
Preparation and Storage
Clean Preparation 609 Educational (shops and other vocational room areas) 50 12.00 Workroom for preparing exhibited objects in a clean environment.
Messy Preparation/Workshop 391 Educational (shops and other vocational room areas) 50 8.00 Workroom with wood working tools for creating frames and other exhibit components.
Prep Office 298 Assembly (unconcentrated, tables and chairs) 15 20.00
Office for head of exhibition preparation. This person uses both the clean and messy prep rooms.
Shipping and Receiving 422 Mercantile (storage, stock, shipping areas) 300 1.00 This space is where artworks are received and also shipped to other museums.
Holding 497 Accessory storage areas 300 2.00 This storage area is used to store works temporarily before or after shipping.
Collections Research 276 Educational (shops and other vocational room areas) 50 6.00 This room is used by visiting researchers and the curator who wish to inspect the museums works in a clean environment.
Archive Vault 3264 Warehouse 500 7.00 This space is a protected and climate controlled storage vault for art objects as well as film storage.
Kitchen 812 Kitchens, commercial 200 4.00 This space is used to prepare meals for the events held within the museum/galleries.
Serving/Food Preparation 441 Kitchens, commercial 200 2.00 This room is used to serve food to event guests.
Administration
Reception 326 Assembly (unconcentrated, tables and chairs) 15 22.00
The administration has a reception and a secretary who receives admin visitors.
Director's Office 221 Assembly (unconcentrated, tables and chairs) 15 15.00 The Director runs the museum.
Head Curator Office 100 Assembly (unconcentrated, tables and chairs) 15 7.00
Assistant Curator Office 100 Assembly (unconcentrated, tables and chairs) 15 7.00
Public Outreach & Education Curator Office 100 Assembly (unconcentrated, tables and chairs) 15 7.00
The Head Curator is in charge of designing exhibitions.
The Assistant Curator helps in the design of exhibitions and works closely with the Head Curator.
The Public Outeach and Education Curator is in charge of all the educational programs, public outreach, and tours done by the museum.
Human Resources Office 100 Assembly (unconcentrated, tables and chairs) 15 7.00 This office is used by the HR administrator.
Open Workstations 436 Assembly (unconcentrated, tables and chairs) 15 29.00
Server/Tech Room 61 Accessory storage areas, mechanical equipment room 300 1.00
There are a number of workers who work under the curator's listed above.
This room houses the main computer and telecommunications services for the building.
Library 165 Library (stack area) 100 2.00 This space houses a small library of books on film used by the staff.
Volunteers Room 179 Locker rooms 50 4.00 This space is where the volunteers who work at the museum store their personal items in lockers.
Storage 97 Accessory storage areas 300 1.00 This storage space is used by the admin area to store office supplies and miscellaneous items.
Work Pod 13 Assembly (unconcentrated, tables and chairs) 15 1.00
Work Pod 13 Assembly (unconcentrated, tables and chairs) 15 1.00
Service
This space houses a work table.
This space houses a work table.
Work Pod 40 Assembly (unconcentrated, tables and chairs) 15 3.00 This space houses a work table.
Conference Room 367 Assembly (unconcentrated, tables and chairs) 15 25.00
Staff Lounge 205 Assembly (unconcentrated, tables and chairs) 15 14.00
Public Restrooms
This conference room is used for staff meetings and meetings with donors.
This space provides a simple kitchen and place to eat lunches.
6 WC male, 10 WC female, 4 (3.26) lavatories each male and female, 1 ADA stall per restroom
Janitor's Closet 179 Accessory storage areas 300 1.00 Houses cleaning supplies for the bathrooms and museum.
Staff Restrooms
Mechanical and Electrical Room 651 Accessory storage areas, mechanical equipment room 300 2.00
PROGRAM SUBTOTAL 30636 1830.00
Circulation / Walls ratio = 0.22 6740
TOTAL GROSS AREA 37376
1 WC male, 1 WC female, 1 lavatory each male and female, 1 ADA stall per restroom
This room houses the main electrical room and HVAC system for the project.
Egress
Common path of egress shall not exceed 100’ when sprinklered. Exit access travel shall not exceed 250’ with sprinklers. Minimum spacing of exits must be equal or greater than onethird the length of the maximum diagonal dimension of the area.
The Space Relationship Diagram provided a visual representation of the spaces required for the museum to function, and allowed for a starting point in arranging them into floor plans.
The separation of administration and preparation from the public and curatorial space ensures that there are minimal friction points. This also keeps valuable film and artwork away from the public, and allowed guests to roam the museum in peace. Students and guests are also able to learn in a close proximity to the exhibits, while also having a space of their own.
Not all connections in the museum are physical. For example, the curators must be able to keep a close eye on the state of the exhibits while still having a quiet, secure place to work. A visual connection through the atrium allows guests to enjoy the space without disturbing the curator while the works are safely monitored.
Employee Flow
The red line shows the flow of an employee as they go through their day. Employees begin in the lobby like the public, but branch off into the reception area before heading to their specific area. Their area is mostly secluded from the public, as valuable art and information are stored and prepped in these spaces.
Public Circulation Flow
Student groups of up to 200 children are brought on tours through the museum, making stops in the theaters, classrooms, exhibits, cafe, and gift shop. Their journey is highlighted in green.
Event Flow
Event guests and catering staff take two overlapping, yet very different, paths through the museum. Caterers will spend time in the kitchen and food staging area. Meanwhile, guests are welcome to tour the theaters and exhibition spaces before being seated and served. The catering staff is shown in dark blue, while the visitors are in light blue.
In creating architecture, one must consider the scale at which their space will be experienced, drawing from human, intimate, monumental, and shock scales. This museum intends to unify cut ins with lingering shots and depth of field to manipulate the scale at which the museum is perceived. These techniques create interest in both film and architecture through their distortion of visual conception and understanding of a space or shot. They build drama by taking a preconceived notion of a volume and twist it into something unexpected for foreign.
Cut Ins
A cut in, also known as an insert shot, is used when moving from one shot to a closer view of the same shot or an element within it. It’s sole purpose is to focus the viewer’s attention on a specific detail. Cut ins enhance the viewer’s understanding of the detail being called to attention.
Lingering Shots
Lingering shots are made by holding a perspective for a duration longer than expected. This gives the viewer time to take in the scene and ponder its meaning and detail. In Stanley Kubrick’s 2001: A Space Odyssey, wide angles and lingering shots are used to emphasize the elements on screen.
Depth of Field
The depth of field of a shot describes the size of the area in focus. This may apply to a closer focus held against a vast, unfocused background; alternatively, depth of field could highlight a small area of focus in a large, unfocused area.
The Lincoln Film Museum aims to explore the idea of the cut in through the use of materiality.
Exploring cut ins through materiality is primarily accomplished through the custom corrugated stainless steel panels that cover the entire second and third floors, as well as portions of the first and fourth. The steel’s reflective nature provides a closer look at the sky above, the season at hand, and the site’s context. The cut in effect is accomplished by taking a large scale image, such as the sky, and bringing it to a more human scale, allowing visitors to experience it, and their own reflections, up close.
Lingering shots and depth of field will be used to alter the perception of the museum.
Lingering shots are largely experienced through the Lincoln Film Museum’s central atrium. From the bottom, the staggered floors provide an angles view up to the skylight, giving natural light access through the building’s center; from the top, visitors and employees catch views of the activities held on every floor, including movie-goers outside the theaters, students in the classrooms, and visitors in the galleries.
The museum will provide an interactive learning experience for visitors of all ages.
The Lincoln Film Museum provides multiple floors containing classrooms, open galleries, interactive learning spaces, and windows into the archives and prep spaces. These spaces provide visitors with experiential learning opportunities ranging from watching behind a pane of glass as employees restore film artifacts to hands-on interactive spaces in the commons and workshops in the classrooms.
In conducting a film analysis on Stanley Kubrick’s 2001: A Space Odyssey, the recurring use of cut ins, lingering shots, and depth of field were called to attention.
These filmic principles were then translated into architectural gestures in a study model promenade. The use of juxtaposed ceiling heights paired with long stairs and hallways altered the users’ perceptions of the space. Providing glimpses of rooms lying ahead at varying scales also brought Kubrick’s cut ins into the promenade.
This informed the final project’s form by providing a space to test ways a space can be observed and experienced, in both a physical and mental sense. Altering perceptions through physical interventions brought filmic principles like the cut in and lingering shots into a physical sense.
Create 15’ setbacks on N and E ground level for public access and element protection
Create 45’ N and 15’ E setbacks on fourth floor to condense administrative area
Site Dimensions: 120’ x 140’
57’ Maximum Height
Optimize area, using minimal setbacks and 13’ floor-to-floor heights
Corrugated Stainless Steel
Corrugated stainless steel was used as the primary exterior cladding material. It was chosen primarily due to its reflective nature, projecting the colors of the sky and the museum’s surrounding back to the visitors. This reflection provides a large scale cut in, bringing the large sky closer to a smaller scale that can be easily seen and experienced.
Polished Concrete
The floors throughout the building are polished concrete. This provides a subtle reflection in well lit areas, as well as a smooth surface to transport film pieces and artwork across. Easy cleanup is also provided for areas where events and field trips are held.
Reflective Glass
Reflective glass is used on the north and west facades of the museum. Though not completely reflective like a mirror, the slight reflectivity provides a level of privacy for the visitors and employees within. They also allow daylight to flood into the building, contrasting the closed, dark galleries on the floors between them.
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Orientation Gallery
Event Serving Area
Event Storage
Visiting Gallery
Classroom
Interactive Learning Center
Reception
Open Work Stations
Server/Tech
Work Pods
Public Outreach O ce
Human Resources O ce
Director’s O ce
Sta Lounge
Head Curator’s O ce
Assistant Curator’s O ce
Volunteers Room
Library
Conference Room
Common Path of Egress: 24’
Exit Access Travel Distance: 42’
Common Path of Egress: 67’
Exit Access Travel Distance: 61’
Common Path of Egress: 74’
Exit Access Travel Distance: 58’
Common Path of Egress: 94’
Exit Access Travel Distance: 62’
Occupancy on First Floor > 501 = 3 exits
Occupancy on Other Floors < 501 = 2 exits
Building is sprinklered
Minimum Exit Spacing: 61.46’
Building Exit Spacing: 96’
Common Path of Egress: 67’
Exit Access Travel Distance: 61’
Common Path of Egress: 35’
Exit Access Travel Distance: 76’
MUSEUM
The Lincoln Film Museum’s custom stainless steel corrugated panels were selected to bring the filmic principle of the cut in to the exterior of the museum. Due to its highly reflective nature, the stainless steel takes the broad picture of the sky above, as well as the nearby scenery, and brings it to a closer scale for the visitors. Pieces of the sky are presented, giving the museum a new, unique appearance every day with the changing weather, seasons, and surrounding context.
To the right are 6 renders of how the Lincoln Film Museum appears throughout the day, ranging from early morning to dusk.
A steel structure was used to provide larger spans that could accommodate the museum’s large central atrium, which needed more flexibility than a concrete slab structure could easily provide. The coated steel also provides higher fire resistance than a heavy timber frame.
The Lincoln Film Museum’s administration area, located on the fourth floor, was analyzed for its daylight and potential over lighting. On the left is the ‘before’ condition. The northern side of the building was extremely overlit due to the floor-to-ceiling windows. The southwest corner was also underlit due to lack of windows,
After the addition of a roof overhang and shades, the overexposure was reduced to being along the edge of the windows. Parts of the floor, such as the private work pods, storage, and the library, remained underlit due to the inability for provide a window.
Toilets, Male 1 use/day 1.6 gal 293,072 gal/yr
Toilets, Female 3 use/day 1.6 gal 879,216 gal/yr
Urinals, Male 2 use/day 1 gal 183,1670 gal/yr
Lavatory Faucets 5 use/day .25 gal 457,925 gal/yr 1,813,838 total gal/yr
(28.94” avg. annual rainfall) x (16,800 sqft. project area) x (conversion factor) = 303,898 gallons of rain water collected annually 1,813,383 gallons of water are used annually by the museum
17% of graywater needs can be met by collecting rain and storing it in the museum
