West Whitney by Fernando Mier

WW New York

West Whitney Museum of American Art Christina Noonan & Fernando Mier

ÂŠ 2012 Christina Noonan & Fernando Mier

01 02 03 04 05 06

Case Studies

Site Information

Museum Experiences

Defining Art

Art Museum Information

Introduction

The Problem: The Whitney Museum is moving to the high Line and lacks space for rotating exhibitions. The Building: There is a need for an additional Whitney Museum in the New York Art District to accommodate rotating exhibitions and develop a new way to ascend and disembark the iconic High Line. Our Task: Research museums, and more specifically, art museums in the New York area. Gain an understanding for the area and what sorts of people visit museums, as well as how they enter and circulate through them. Finally, using student-created case studies, show processes such as circulation and program in two different schemes for the West Whitney. This book should serve as an introduction to the shared world of architecture and design. Taking architectural properties, our goal is to research and provide easily understood visual information for an audience of architectural and design professors.

Caveat about Purpose and Process This study is not meant to replace or contradict any previous market research reports. The project is done by students of the Illinois Institute of Technology for a better understanding of an architectural program for an advanced studio.

The Client: This book is meant for the museum Trustees to help them gain an understanding for the area, wellbeing of similar and competing museums, and introduce them to some of the patterns of museum visitors and administration within the building to suggest what this museum may need to become. We decided to focus on the interest of the Trustees as theyâ&#x20AC;&#x2122;re integral for the discussion of a new museum and ultimately, explaining the conditions and reasoning for their investment could help support our claim that a radical new museum with modern rotating art is in demand.

Museum Administration Science Community

Teachers

Tax Payers

Private Sector

Arts Community

Collectors

Researchers

Engage and Consult

Council ur r Ap ent & po Ca in ts pi t M em al M Re be o n po ey rs rts to

Trustees

Historians

Federal Gov.

State Gov.

Re c

The following illustrations may help to explain our reasoning for choosing this audience as well as conveying an argument for building in New York now.

Tourism

Consultation

Other Readers: We also anticipate this book being read by other designers (including architects) and museum staff which may help inform their spatial decisions about museum activities and layout. It may give a deeper understanding of the site, its restraints, and the surrounding areas of Manhattan.

Appoints, oversees, & Determines Policy Accountable to Recurrent & Capital Money

Re rn por ts ed to In co m e

Management

Why to invest in

NEW YORK, MONDAY NOVEMBER 26, 2012

source: http://www.nycedc.com/SaraMatiz

800

POPULATION 8.1 Million

art galleries in the city

60 million of tourists each year

METRO

469 STATIONS

TAXI

52.5%

23.9%

13.3%

7.9%

2.4%

BUS

English

Spanish

Other European

Asian Lenguages

Other

3500 6450

AIRPORTS 3

spoken lenguages

libraries

If it were a contry, New York City would have THE WORLD’s 21ST LARGEST ECONOMY

Fashion is a $55 billion dollar industry The economic impact of 865,000,000 fashion week in NYC is $865 million There are more than 900 900 fashion companies HQ there

55,000,000,000 23

FASHION

TALENT EDUCATION

Hold a bacherlor’s degree

1,800,000

Hold a masters or PhD degree 750,000 Colleges and universities 96

FINANCIAL SERVICES

Financial Service workers

330,000

GREEN

New jobs will be created by 2018 doubling the city’s green sector workforce

13,000

QUALITY OF LIFE

Performing arts companies Performing arts companies

700 700

EDUTECH

Public school students Largest post -secondary population

1,100,000 626,000 1,700

Public Schools

MEDIA 300,000 17,000

Media companies employees

Media companies

TECH 11,800 486 82

Number of information technology jobs

Digital Start-ups since 2007 that have received angel Start-ups that have raised at least $10 million

ECONOMY BUSINESS 42

Home to 42 fortune 500 companies

Reasons of why to do business in NYC

source: http://www.nycedc.com/SaraMatiz

THE DIFFERENCE BETWEEN THE TWO WHITNEYS And how to fill the world with modern art

MUSEUM

NEW AND CREATIVE EXHIBITIONS ABOUT WORLD ISSUES OR LOCAL ARTISTS

ENGAGE NEW COSTUMERS and ART LOVERS

BRINGS DIVERSITY CREATES INTEREST UPDATES

inspirati

Downtown Whitney / New Whitney

THE

WHITNEY MUSEUM

en is op e n i igh L ry by The H Hours va CURRENT daily. eaAND on. s s CLASSIC WHITNEY Visit org . MUSEUM hline g i h e th low COLLECTION or fol enyc hlin @hig witter on T e for th t lates park info. TEACHES MODERN ART

WW West Whitney

INSPIRATION

DISPLAY CLASSICS

THE

Rational

SHOWS THE BEST ABOUT MODERN ART

Cognitive

WHY

WE ROTATE

ART LOVERS ASK FOR SOMETHING NEW TO SEE

ANALIZE THE NEW ART TRENDS AND ARTISTS

CONTACT ARTIST OR OWNER OF WORK

ARTIST OR OWNER GIVES PERMISION

VISITORS WANTS TO LEARN SOMETHING NEW

THE ART

WE RECIEVE THE OBJECTS TO DISPLAY

MODIFY THE MUSEUM ACCORDING TO THE NEW EXHIBIT

VISITORS CONSIDER TO VISIT US AGAIN

VISITORS LIKES THE CHANGING ART

VISITORS COMES TO SEE THE NEW EXHIBIT

WE OPEN THE EXHIBITION TO THE PUBLIC

TOP FIVE REASONSTO CHANGE

THE

ART MUSEUMS

1 Modern

Art changes by time, so it never cease to change

Exhibition Artists need a place to displace their art and make it accesible

3 Culture

People likes to see art to feel better about themselfs and feel more cultured

Innovation

5 Interaction Sometimes art museums are boring, so we need a venue for a wider audience to interact and feel engaged 12

NY highline need a new way to ascend an decend while being interactive

Reinvented Museum

Shared Vision Earned Value Social Responsability

Mission-related Activities Audience Focused Community Based Visitor Oriented Multiple Viewpoints Relevant and forward looking

Welcoming Responsive to Visitor Needs Equitable Dialogue Source: Gail Anderson 2005. Reinventing the Museum

Protective Inwarldy Driven Elitist Debate / Discussion

Information Style

Various Activities Collection Driven Internally Based Open to the Public Voice of Autority Focused on past

Institutional Priorities

Singular Vision Assumed Value Social Activity

Governance

How to improve the experience for the West Whitney

REINVENTING THE MUSEUM

Traditional Museum

Meaningful Experiences Connection to Content

Hands-on experiences

Information learned

Original objects

A significant number of respondents felt a deep connection with either the stories shared with them or had an aesthetic experience that touched them emotionally. In some cases, the connection was inexplicable or surprising.

Not just for kids, many adults seek out and enjoy being hands-on as well, and those experiences can be meaningful as well

Some respondents just simply geek out at the stuff they get to learn . . . those fascinating tidbits that are fun or open their minds to new ideas.

Itâ&#x20AC;&#x2122;s the artifacts, artworks, and objects we preserve and share with visitors that is most likely to hit their emotional core and create meaning and response in them.

Likely to mention

2x as likely to mention

4x as likely to mention

I was inspired by a trip to Ellis Island in my early 20s and felt such a connection to the early immigrants that it has stayed with me for years. I . . . would love to go back and take my kids so that they could see it and so that I could reexperience it . . .

Visiting Hagley Museum when they demonstrated life during the early duPont years through hands on experiences . . . Allowing visitors to participate made it more meaningful and concrete how different life was back then.

All museums I have attended through life have provided visually stimulating information and ideas - whether through the creativity of art, information of science or history. It helps open my mind and helps appreciate life all the more.

It was a sketch of some hands that I saw in an art museum. The world seemed to fall away around me as I viewed it. I could have stayed there all day - staring at it and studying it . . .

Exhibitions

<1%

Social Events

Staff/ Demonstrations

Programs

Source: http://reachadvisors.typepad.com

75%

{

Original objects appear to be the most common, fundamental building block of meaningful, even transformational, experiences for our visitors, both adults and children.

The difference between a good and a great experience is determined by the personal, social and physical context with the enviroment

Great Experience

Exploration

Comprehension Enjoy the ambience

Behave

Critical Thinking

If possible touch / feel

Write it down

Be present

Put down your phone

Repeat it back

Observe

Inspect closer

Look Around

Observe how itâ&#x20AC;&#x2122;s done

Take a moment to analyze

Source: Falk, John and Lynn Diering. 2001. The Museum Experience. Lanham.

HOW TO MANTAIN USERS INTERESTED IN MUSEUMS Source: Eilean Hooper-Greenhill 2007. Museum, Media, Message

STAGE 5

Individuals Engage with Each Other Socially while they discuss

STAGE 4

Individual Interaction are Networked for Social Use while thinking

STAGE 3

Individual Interaction are Networked in Aggregate

STAGE 2

Individual Interacts with Content

STAGE 1

Individual Consumes Content

gro wt h slo w low

Consistent

uo ,w ith th es te ad ie st

st at us q

Increase

Ar t

se u m

s seemed to

e pi

ze mi

in ild e u as e ob re t v c s o e in ere also the lea pr on ey w s t l i k e l y to h a v i h t t m ; i ce ova an n d e r n ro dp

am gr

new exhibitions improv ed exh ibition new s b u im i l d i ngs ne prov ed w ma pr og rke tin ra g m s

Decrease

es hik ts fee uris er to few grams chool pro cuts in s the economy museu m bud get cuts und erly ing pop ulat ion shif ts

at ten da nc e=

Museum Attendance Trends (5 yr.)

te at

Interesting Note: Those who reported increased attendance tended to attribute that growth to things museum had done, while those with decreases tended to attribute it to constraints external to museum.

Source: http://reachadvisors.typepad.com

Awareness How do visitors learn about and understand WW?

Extension How do visitors remember their experience at the WW and share it with others?

(exhibition reviews, ads, guidebooks, websites, brochures, word of mouth, etc...)

(photos, journals, postcards, gifts, brochures, etc..)

ne are Aw

E x te

ns io

entry

exit

How t o cre

.. . s r e s at e U

Engagement 18

4 Engagement How do visitors interact and relate with artwork and provided content? (brochures, podcasts, wall text, tours, etc..)

the Different USERS of MUSEUMS

Socializers

Appreciators

Often or always choose to visit with others

Look for artists by name, and come to view specific paintings

Correlate the visit with a specific “life” event

Exhibit strong opinions about art

Socializers enjoy having “props” to enhance their visit. Facilitated types of interaction encourage discussion both in the moment and after the activity.

Appreciators are looking for more transparency in the collection and display of art work and ask specific questions like why some artists are represented over others.

Inspirationseekers

Browsers

Visit museums alone

Come to the museum out of convenience or to see the building itself

Find the environment is as important as the art for relaxation purposes

Seek out relevance in art works that are familiar

Inspiration-seekers already enjoy the beautiful spaces and collection. Further ways to enhance their experience would be to include more inspiring content and ways to engage with the artwork.

Browsers need a more accessible and manageable museum experience. Browsers don’t plan their visits accordingly and “get too full” by the time they reach the 3rd floor.

Source: Falk, John and Lynn Diering. 2000. Learning from Museums: Visitor Experiences and the Making of Meaning. Lanham.

What the USERS think! 20

“I want it to touch me spiritually. To feel it in my soul, and feel the subject, the artistry, and the meaning. I want it to affect me.”

Internally motivated

Inspirationseekers

Appreciators

Without a goal “I like learning concrete facts that - don’t really “learn” a lot staring at art. I need a tour guide with this place - I cannot ‘appreciate’ this art on my own.”

“I really focus, concentrate on art. Great to really experience art, not just move along browsing.”

Goal-driven

Browsers

Socializers Externally motivated

“I love to discuss the art,. share perspectives and learn more while I experience something different with someone.”

How to Engage your audience

“The Future of American Art”

Inspirationseekers

Appreciators

Browsers

Socializers

Inspirationseekers

Appreciators

Browsers

Socializers

Collaborate with local universities/art schools to host rotating mini-shows of student work in the courtyard or other gallery space

Inspirationseekers

Browsers

Appreciators

Socializers

Connect the dots between the museums Include links between some NW exhibits and WW paintings, for example, next to a famous modernist painting on the New Whitney you can include a link in some way to the bust of the same style of art in the current exhibition of the West Whitney (and vice-versa)

WW Social Group

Host branded after-work tours and “mixer” events (work with neighborhood bars to offer discounts after lectures and events); show art films; create reading and discussion groups (options for participation both on and off-line) Inspirationseekers

Browsers

Appreciators

Socializers

Personal concierge Utilize a kiosk system that allows visitors to personalize their visit upon entry. Visitors can program in factors like time available and specific interests (keywords/artists). This could also be an online or cellphone application once a database is created.

Art Museum Information

Looking at the Bigger Picture We continued our research by looking at art museums throughout our country, to see larger trends and unified experiences.

To incorporate the masses in this strategy, the private space of museums that previously had been restricted and socially exclusive were made public

Museums began as the private collections of wealthy individuals The Alexandrias created the museums of ancient times wich would be equivalent to a modern graduate institute 530 BC EnnigaldiNanna’s museum was funded 1471

1661

1694

Capitoline Museum was created, today is the oldest public collection of art in the world Amerbach Cabinet’s private collection, was bought by the university and city of Basel in 1661 and opened to the public in 1671

XIX C.

A period of intense museum building, in both an intellectual and physical sense started, this is often called “The Museum Period” or “The Museum Age”

1900

1793 1902 Louvre Museum in Paris (France), also à royal palace, was opened to the public

In England it became popular for museums to be open on a Sunday afternoon

1765 Uffizi Gallery in Florence, The Musée des Beauxwhich had been open Arts et d’archéologie in to exclusive visitors on Besançon was established request since the 16th in 1694, it was open two century, was officially days every week. opened to the public

1904

1908

A group of eight realist painters of urban life, later known as the Ashcan School or “The Eight,” including William Glackens, Robert Henri, George Luks, and John Sloan, organize an exhibition at Macbeth Gallery in New York.

1907

Decorative arts are included in the Biennale for the first time and, at beginning of the year, foreign pavilions are constructed.

Gertrude Vanderbilt Whitney was born on January 9, 1875 The Exposition Universelle opens in Paris. It includes venues for art exhibitions up to the present. The Paris Métro system opens in connection with the fair. Alfred Stieglitz begins publication of Camera Work, which will continue through 1917 and promotes modern photography as a fine art. The Louisiana Purchase Exposition is held in St. Louis, Missouri. Other expositions, later in the century, will also showcase American industrial, and cultural art

1905

The first nickelodeon opens in Pittsburgh, Pennsylvania, providing affordable entertainment to the working-class urban population.

Stieglitz opens Little Galleries of the Photo-Secession in NY, where he exhibits the work of photographers as well modernist painters and sculptors.

The International Exposition of Modern Art (the “Armory Show”) is held at the 69th Regiment Armory in New York and introduces Americans to the modernist 1913 work of Matisse, Kandinsky, Brancusi, Picasso, Braque, and others on a large scale. 1914 World War 1 Begis Painter and writer Wyndham Lewis founds Vorticism—the first art movement committed to abstraction—along with the Rebel Art Centre

1918

British sculptor Henry Moore receives his first public commission, a relief in a London Transport facility 1929 Whitney had collected nearly 700 works of American art, which she offered to donate to the Metropolitan Museum of Art, but the museum declined the gift 1928

British sculptor Henry Moore receives his first public commission, a relief in a London Transport facility German artist Christian Schad creates his first “Schadograph,” a cameraless photograph that reproduces the negative image of textures.

“Whitney Studio Club,” a New York–based exhibition space was created to Marcel Duchamp exhibits promote the works of avanthis first readymade, garde and unrecognized Fountain, an upturned and American artists. signed urinal, at the Society of Independent Artists in New York.

The Cranbrook Academy of Art is designed and constructed in Bloomfield Hills, Michigan, by FinnishAmerican modernist Eliel Saarinen

1930

1931

The International Style exhibition opens at the Museum of Modern Art, New York. Curated by architect Philip Johnson and art historian Henry Russell Hitchcock Architect Noel L. Miller converted three row houses on West 8th Street in Greenwich Village into the Whitney Museum as well as a residence for Whitney itself

source: culture.wnyc.org

The concept for a West Whitney Museum is created and its reaserch is being displayed on this book. 2010 The Whitney is developing a new main building designed by Renzo Piano at the High Line in lower Manhattan. 1980’s The Whitney entered into arrangements with Park Tower Realty setting up satellite museums with rotating exhibitions in the lobbies of their buildings

1940’s 1966 World War 2 Begins 1954 The Whitney left its original location and moved to a small structure behind the Museum of Modern Art

75th

The Whitney settled at the southeast corner of Madison Avenue at 75th Street in Manhattan’s Upper East Side

WHY DO WE HAVE MUSEUMS? WE LIKE TO DISCOVER

Displaying new and interesting stuff that we could not experience anywhere else

Incourage improvements on the cityâ&#x20AC;&#x2122;s society

WE WISH TO LEARN 26

WE DESIRE BEAUTY

Presenting one of the cityâ&#x20AC;&#x2122;s in an attractive, intresting and advertising manner to non residents Presenting modern art industry in a comprehensive and enlighthening manner to pupils in the city WE LOVE TO TEACH

Other

6.6%

African American

5.9%

Non-Hispanic White

78.9%

8.6% Hispanic

Who visits Art Museums?

Source: http://culturalpolicy.uchicago.edu/publications/Demographic-Transformation.pdf

Museum Attendance Trends 100%

2.6% 1.5%

4.7%

8.9%

8.8%

2.9% 90%

3.5% 6.1%

3.7%

4.5%

4.9% 8.1%

11.7%

12.1%

12.3%

13.0%

83.1%

80.3%

75.1%

74.3%

77.3%

74.0%

1980

1990

2000

2008

Other Asian/Pacific Islander Black/African American White

80%

70%

60%

50%

40%

30%

20%

10%

2025 2050 (expected) (expected) Source: http://culturalpolicy.uchicago.edu/publications/Demographic-Transformation.pdf

Museum Attendance Trends As you can see below, more and more minority groups are finding their way into museums in the United States. Part of this trend could relate to the higher number of members of minorities residing in the country. Higher numbers may also have to do with social norms and the changes to acceptable practices with respect to minorities. Nevertheless, a good majority of visitors visiting museums are still Caucasian. Why is this? Does this need to be changed? If so, how? We believe the first step is acknowledging the trends.

1900s-1970s 10-13% minority population

25 Years Ago 20% minority population

Now 34% minority population

25 Years Ahead 46% minority population Source: Reach Advisors analysis of census data and survey data.

source: Travelocity.com

MUSEUMS BY BUDGET $100 Million

45-100 Million

The Whitney Museum

30-45 Million 20-30 Million 15-20 Million 10-15 Million 6-10 Million 4-6 Million 2-4 Million 1-2 Million Under 1 Million

source: Travelocity.com

Do visitors consider fun as a potential transformative experience?

Do you enjoy to learn while you are at the museum?

yes no

The availability of choice

Appeal to multiple senses

The appearence of effortlessness

no yes

A sense of discovery of facination

discovery excim ent

What is the reason that made you come to the museum?

exploration

mental stimula tio

Source: Falk, John and Lynn Diering. 2001. The Museum Experience. Lanham.

What are the the things that most intrigue you in a museum?

RESTAURANT EXERIENCE (in museums): CONSUMER IMPORTANCE VS. ACTUAL EXPERIENCES Consumer expectatioms: Pricing that is fair and competitive

Actual Experiences:

source: empathica.com

RESTAURANT TRENDS

What are you looking to do during a museum break / free time ?

91.1% Very important BATHROOM 15%

Has fair and competitive prices Offering a great assorment of products Has fair and competitive prices

IN U.S. & CANADIAN MUSEUMS

46.0% Sometimes/never meets expectations

READ 5%

SHOPPING 20%

64.0% Very important 42.7% Sometimes/never meets expectations

PHONE 3% EAT 55%

Offering new and innovative products Offers new and innovative products Offering good service Has good service

63.7% Sometimes/never meets expectations 70.0% Very important 35.6% Sometimes/never meets expectations

Offers wide selection for diatery needs

85.0% Very important

Has a wide selection for diatery needs

20.0% Sometimes/never meets expectations

Offering a good size food portion Has good size food portions

COMPLAIN 2%

18.1% Very important

GOOD EXERIENCE DRIVE CONSUMER SHAPES

Would you ever share your positive experience in our restaurant/museum with friends or others? MAYBE 26.2%

NO 4.8%

98.0% Very important YES 69.0%

15.4% Sometimes/never meets expectations

Defining Art

The West Whitney Will Be Different. Thatâ&#x20AC;&#x2122;s why we quickly realized that we needed to convey different ideas of what art is and what art can be. What type of art calls to be temporary and rotating? Can all Modern Art rotate from museum to museum easily?

THE MUSEUM FOR ART DEFINITION FOR...

An insti tuti conserv on which colle cts es interpre , researches, e , xhibits, ts objec and ts of las or value ting fo educati r the purposes interest on and enjoyme of study, nt.

art is where A place for public d collecte viewing

, ies ys st ud spla tere t s di in at th and ting e s ac for, f la pl A res ts o ca jec ob

ision.fen.com/ www.teacherv

AND...

useum.org

Wor k skill s produ c and ima ed by su gina tion ch

wikipedia.org

Defining Museums like The New Whitney

www.maierm

t/macart/ w.irvingisd.ne

f tion o , pplica agination a r o n im io d s n s kill a xpre h as The e creative s l form suc g works n a cin a u u m is d hu ir av pro lly in or the ture, typica g or sculp primarily f in paint ppreciated al power a n to be or emotio ty u a e b lexicon.org

google.com

The various branches of creative activity, such as painting, music, literature, and dance

EncyclopĂŚdia

Britannica

and The use of skill the in n io at in ag im sthetic creation of ae objects

ART?

WHAT

“I want to meet a guy named Art. I'd take him to a museum, hang him on the wall, criticize him, and leave.” ― Jarod Kintz, I Want

“Real museums are places where Time is transformed into Space.” ― Orhan Pamuk, The Museum of Innocence

“The art historians are the real wreckers of art, Reger said. The art historians twaddle so long about art until they have killed it with their twaddle. Art is killed by the twaddle of the art historians. My God, I often think, sitting here on the settee while the art historians are driving their helpless flocks past me, what a pity about all these people who have all art driven out of them, driven out of them for good, by these very art historians. The art historians’ trade is the vilest trade there is, and a twaddling art historian, but then there are only twaddling art historians, deserves to be chased out with a whip, chased out of the world of art, Reger said, all art historians deserve to be chased out of the world of art, because art historians are the real wreckers of art and we should not allow art to be wrecked by the art historians who are really art wreckers. Listening to an art historian we feel sick, he said, by listening to an art historian we see the art he is twaddling about being ruined, with the twaddle of the art historian art shrivels and is ruined. Thousands, indeed tens of thousands of art historians wreck art by their twaddle and ruin it, he said. The art historians are the real killers of art, if we listen to an art historian we participate in the wrecking of art, wherever an art historian appears art is wrecked, that is the truth.” ― Thomas Bernhard, Old Masters

Permanent “Whatever may be the future of architecture, in whatever manner our young architects may one day solve the question of their art, let us, while waiting for new monuments, preserve the ancient monuments.”

Temporary “Memory is reality. It is better to recycle what exists, to avoid mortgaging a workable past to a non-existent future, and to think small. In the life of cities, only conservation is sanity.”

Victor Hugo French poet, novelist, and dramatist 1802-1885

Robert Hughes Art Critic 1932-2012

“In the mid-fifties, a revolution occurred and a new word entered the vocabulary of commercial art. Concept... But the change was not entirely good. Our gain was also a loss... There was great value in something well observed and carefully delineated. If the head and heart were often absent, there was something to be said for the presence of a hand.” R. O. Blechman Political Cartoonist 1930’s

autentic

standard

important masterpiece

art notart

culture notculture

provocative / interesting Source: Eilean Hooper-Greenhill 2007. Museum, Media, Message

artefact

boring

no-autentic spurious

How Humans feel Art

How Humans consider Art

How Humans see Art

How Humans think about Art

20th Century Art and New Media 20th Century Art and New Media Henri Matisse (1908) Henri Matisse (1908)

Pablo Picasso (1908-23) Pablo Picasso (1908-23)

EXPRESSIONISM EXPRESSIONISM

CUBISM CUBISM

France France

FUTURISM FUTURISM

Italy

MODERN ART ART MODERN

Italy Dali

CUBISM CUBISM DADA

Dali

SURREALISM SURREALISM

Jackson Pollock Jackson Pollock

Spain Spain

DADA

Switzerland Switzerland

ABSTRACT EXPRESSIONISM ABSTRACT EXPRESSIONISM

AVANT-GARDE AVANT-GARDE RUSSIANRUSSIAN CONSTRUCTIVISM CONSTRUCTIVISM

Jasper Johns (1954) Jasper Johns (1954)

Russia Russia

functionality functionality

ANIMATION ANIMATION

COMICS COMICS

19001900

19151915

Source: Research by r.c.hoetzlein

19201920

19251925

19301930

19351935

19401940

19451945 1950195019551955

Karl Sims Karl Sims

William Latham William Latham

GENERATIVE ART GENERATIVE ART Peter BeylsPeter (1988) Beyls (1988)

ALGORITHMIC ART ALGORITHMIC ART Edward Tufte Edward Tufte

Bradford Paley Bradford Paley

Benjamin Fry Benjamin Fry

George Legardy George Legardy

INFORMATION VISUALIZATION INFORMATION VISUALIZATION STRUCTURALISM STRUCTURALISM Frank Stella Frank Stella

Sol Lewitt Sol Lewitt

MINIMALISM MINIMALISM

ORGANICORGANIC ART/ARTIFICIAL LIFE ART/ARTIFICIAL LIFE HACKINGHACKING (EXPLATORORY) (EXPLORATORY)

HACKTIVIST ART (SUBVERSIVE) HACKTIVIST ART (SUBVERSIVE)

no expression, only form only form no expression, Stelarc

Stelarc

VIDEO ART VIDEO ART

Richard Serra Richard Serra

TACTILE MEDIA TACTILE MEDIA

CYBERNETIC ART CYBERNETIC ART

Naim Jun Paik Naim Jun Paik

NEW NEW MEDIA ART ART MEDIA POST-MODERN SCULPTURE POST-MODERN SCULPTURE

PERFORMANCE ART PERFORMANCE ART

Tim Hawkinson-Jeff Koons-Damien Hirst-Miachael Reas Tim Hawkinson-Jeff Koons-Damien Hirst-Miachael Reas

Robert Smithson Robert Smithson

EARTH ART EARTH ART LOWBROW LOWBROW GRAFFITIGRAFFITI Andy Worhol (1962) Claes Oldenberg (1966) Andy Worhol (1962) Claes Oldenberg (1966)

POP SURREALISM POP SURREALISM Robert Williams Robert Williams

POP ARTPOP ART

POST-MODERN ART ART POST-MODERN

Mary Ryden Mary Ryden

ANIMATION ANIMATION VIDEO GAMES VIDEO GAMES

VISUAL EFFECTS & GAMES VISUAL EFFECTS & GAMES 19601960

19651965

19701970 19751975

19801980

19851985 19901990

19951995 20002000

20102010

source: Wikipedia.org

>1970

ART BRUT

late 40’s

LETTRISM

ACTION PAINTING

Paris

1950’s

ACTIVIST ART LOWBROW ART

ADVERTISING AESTHETIC

HAPPENINGS

POP ART 60’s-70’s

WARHOL

GOTHIC FUTURISM MID 70’s-80’s

EARLY 80’s

NYC

1980

PUBLIC ART 1980

STREET ART

NEO-EXPRESSIONISM

MID 70’s-80’s

NYC

CONCEPTUAL ART

NYC

1980

NYC

1990

WARHOL

URBAN MODERNISM 1985

2000

OTAKU CULTURE

SUPERFLAT

GLOBAL

RUBANISM 2012

Mid-90’s

Tokyo

FOLK GRAFF 2005

BEAUTIFUL LOSERS

NYC

2000

2010

Early-70’s

UK/US

NYC

WARHOL

1990

ANARCHITECTURE

WARHOL

ENVIROMENTALART

1980

>1970

COLLAGE

GLOBAL

2009

GLOBAL

1980

CYBER-GRAFF

CHILDSTYLE

Earlty 2000s

GLOBAL

HYBRIDISM 2009

NYC

2012

GLOBAL

INDIE GRAFF 2011

GLOBAL

ARTIVISM

GLOBAL

Earlty 2000s

2000

GLOBAL

PIXELATION

2009

URBAN AVANT

NYC

2004

GRAFFITURISM

COMMUNITY ART

NYC

FEM GRAFF 2012

GLOBAL

TACKERS

2010

Cyberspace

DIFFERENT KINDS OF MODERN ART 42

Museum Experiences

How do people Interact with Museums? Variables from time and frequency of visit to how a person moves through a space are dependant on many components, including age, interest, topic, day, exhibit, and more. We began an investigation into discovering some of these trends with respect to museum visitors.

Best time to visit a Museum

Museums gets busy between 124pm, in ordert to appreciate the a art better itâ&#x20AC;&#x2122;s recomended to go and visit them after 5pm when the general crowd leaves. source: Travelocity.com

5 pm

Approaching the Building The Visitor Meets the Building on a Single Plane -Most conventional means of arriving and entering a building in the United States. -This means has economical value in that it retains simple geometries -Hides or captures the entire ground floor, limiting options for public outdoor space on the entry level -Creates interesting opportunities to play with indoor/outdoor conditions and facade treatments

The Visitor Crosses and/or Enters Underneath the Building -This approach provides the option for unconditioned sheltered space under the building -Unless specifically addressed, the shadows from the building above can lead to a dark unwelcoming area to enter and gather under -The layout can provide good views to below on upper floors -Allows for the building to envelop the datum or sidewalk plane -Creates a common public space under programmed area above which can lead to a more communal attitude about treatment of ground

The Visitor Moves Around the Conditioned Space on the Entry Level -Provides an opportunity for visitor to walk around/understand the building and view from multiple perspectives -Creates an interesting weave of paths between visitors on different floors -The grain of the building (mainly circulation) may be switched on different levels -Allows designer to consider the use of semi-conditioned and non conditioned space on the entry level -May bring up interesting discussions about public and private areas with respect to the ground floor

The Visitor is Enveloped Within the Building Geometry/Travels Underneath the Building -A good design with this approach may draw people in, exciting their imagination and exploration for unique spaces -Provides opportunities for semi-conditioned spaces around the entrance of the building -This design may create interesting (and possibly difficult) spaces to program on upper levels -Could make use of the structural archway, making ties to earlier architectural forms -Allows for the building to envelop the datum or sidewalk plane

The Visitor Interacts with a Building that Lifts Itself Up -This move makes a statement about the importance of the visitor -The building may reveal interesting elements about itself to the viewer -Complex geometries may create interesting but difficult spaces on upper levels -Building may appear as a manipulation of the ground plane if treated as the datum

Treatment of Ground

GALLERY

HIGH LINE

EDUCATION HIGH LINE

GALLERY

EDUCATION & STORAGE

Art is opened to the street -Reaches more people -Makes a statement about what museums are for (housing vs. creating art) -May generate more interest for pedestrians looking in -Students have easy access to their classrooms Gallery is raised -Housed art may appear more iconic -High line is hidden behind galleries

Galleries are Easily Accessible -Galleries are not raised up and glorified -Security may be more of a concern -Solid walls may appear unwelcoming Education and Storage are Underground -Education space lacks natural light/contains manual lighting -Education space is more private -Education space has a more controlled environment High Line is Exposed -People may walk off the High Line to enter the building close to galleries

HIGH LINE

ENTRY & CAFE GALLERIES 46

Galleries are Underground -It is easier to control the environment of the galleries -Galleries can control lighting -Security and protection for the galleries becomes possibly easier to manage Entry and Cafe are on main level -Building welcomes people of all interests (even those who just want food) -The cafe acts as a method of egress from High Line which draws foot traffic -Potential for more diverse crowd of visitors to museum

Restrooms Kitchen Coffee Bar Ext. area for Large Sculptures

Studio-art Classrooms Entry Hall Check Room

Administrative Staff Areas Entry Hall Studio-Art Classrooms Loading and Holding Area Workshop and Preparation Area

Director’s Office Conference Room Administrative Staff Areas Conservation/Clean Room Storage Theater Special Events Ticket Office Service Desk

Galleries Small Galleries Student Galleries Art Research Library Elevators Fire Stairs Ramps Museum Shop Museum Bookstore

Wet

Coffee Bar Entry Hall Ticket Office Service Desk Museum Shop Museum Bookstore Ext. Area for Large Sculptures

Dry Galleries Small Galleries Student Galleries Elevators Ramps Restrooms

Theater Special Events

Studio-Art Classrooms Administrative Staff Areas Conference Room Art Research Library Fire Stairs

Public Coffee Bar Special Events Entry Hall Ext. Area for Large Sculptures

Ticket Office Studio-Art Classrooms Administrative Staff Areas Director’s Office

Ramps Museum Shop Museum Bookstore Conference Room

Theater Restrooms Check Room Art Research Library

Natural Entry Hall Ext. Area for Large Sculptures Ramps Kitchen

Loading and Holding Area Workshop and Preparation Area Director’s Office Storage Check Room Conservation/Clean Room

Loading and Holding Area Workshop and Preparation Area Storage Conservation/Clean Room Fire Stairs Elevators Galleries Small Galleries Student Galleries

Artificial Restrooms Service Desk Ticket Office Check Room

Special Events Loading and Holding Area Workshop and Preparation Area Museum Shop Coffee Bar

Theater Conference Room Administrative Staff Areas Studio-Art Classrooms Storage Museum Bookstore

Galleries Small Galleries Student Galleries Art Research Library Conservation/Clean Room

Fast

Ramps/Elevators Galleries Museum Shop Ext. Area for Large Sculptures Service Desk Ticket Office Administrative Staff Areas Coffee Bar Restrooms Entry Hall

Daily Coffee Bar Special Events Entry Hall Ext. Area for Large Sculptures

Bright

Private

Slow Director’s Office Studio-Art Classrooms Small Galleries Museum Bookstore Check Room Storage Theater

Service Desk Ticket Office Museum Shop Museum Bookstore Conference Room Administrative Staff Areas Director’s Office Kitchen

Conference Room Art Research Library Loading and Holding Area Workshop and Preparation Area

Student Galleries Conservation/Clean Room Special Events

Student Galleries Small Galleries Special Events

Seasonal Galleries Small Galleries Student Galleries Restrooms Art Research Library

Workshop and Preparation Area Loading and Holding Area Conservation/Clean Room

Theater Storage

Dark

Exhibition Wet

Affiliation

Public Natural Fast

Light Speed Frequency

Daily

Exposure

Bright

Education Wet Public Natural Fast Daily Bright

Restaruant/Cafe

Saturation Dry Private

Public

Artificial

Natural

Slow Seasonal Dark

Light Speed Frequency Exposure

Fast Daily

Affiliation Light Speed Frequency Exposure

Bright

Dry Private Artificial Slow Seasonal Dark

Museum Shop & Bookstore

Saturation Affiliation

Wet

Saturation

Dry

Wet

Private

Public

Artificial

Natural

Slow Seasonal Dark

Fast Daily Bright

Affiliation Light Speed Frequency Exposure

Dry Private Artificial Slow Seasonal Dark

Insights Most of the museum spaces have a balance of Public and Private Spaces A majority of the museum spaces need artificial or strictly controlled lighting Thereâ&#x20AC;&#x2122;s a slight favor towards slow movement in most spaces While visitors as a whole visit the museum less, many spaces in museums are accessed daily As expected, most of the areas of a museum must remain dry and/or control humidity 48

Administration Wet Public Natural Fast Daily

Affiliation Light Speed Frequency Exposure

Bright

Entry Wet Public Natural Fast Daily Bright

Circulation

Saturation Dry Private

Public

Artificial

Natural

Slow Seasonal Dark

Light Speed Frequency Exposure

Fast Daily

Dry

Wet

Private

Public

Artificial

Natural

Slow Seasonal Dark

Affiliation Light Speed Frequency Exposure

Bright

Facilities

Saturation Affiliation

Wet

Saturation

Fast Daily Bright

Dry Private Artificial Slow Seasonal Dark

Saturation Affiliation Light Speed Frequency Exposure

Dry Private Artificial Slow Seasonal Dark

Insights (cont.) While individual spaces may require dark environments, programmatic collections do not specify The areas of entry (Entry and Cafe) have high levels of natural light Education and Cafe sections have the most accepting environments for saturation Many spaces dictate high frequency and low frequency, possibly to account for different users

Actions Within Art Museums exchange

explore

acquire

enter

read analyze

walk

think

view

meet

learn

gather

work 50

plan

relax

fix

sit

converse

eat

create

Adult

To make me want to go to the museum, youâ&#x20AC;&#x2122;d need to teach me something that interests me. I like to be a part of it, not just look at it.

I usually hate art museums. They are boring. It is something I don't know about, and there is nothing to do and you can't touch anything.

I only want to stay and look at something for 5 minutes, because it is usually boring.

I like interacting with things with different unexpected senses... like taste!

I love seeing things I wouldn't see anywhere else.

Child

It seems that children want a more hands-on approach with artwork and want to be involved in the process of learning about exhibits. Adults on the other hand, are more capable of understanding and respecting the talent of artists and work behind the art. Therefore it may be easier to hold the attention of an adult over a child in a typical art museum.

Children and Adults want different experiences in art museums

50-50

S A Y:

vs.

F I N A L

It is a fun way to get away from the general everyday life, and learn about how things were in the past, and even future.

I am not an artist, so I don't mind looking at other's talent, but it is not something I would spend all day on.

I really enjoy looking at art for maybe up to 2 hours. After that, it all starts looking the same!

Ideally, visual appeal catches my attention, and then I like to be able to touch or feel it to learn about it first hand.

I like the exhibits that don't require a lot of reading and studying at each stop. I like to see new and different things, but not interested in spending 20 minutes in front of something reading a book about the item.

Circulating through an Art Museum The Cleveland Museum of Art 15 sec

15 sec

3 sec 10 sec

20 sec

2 sec 65 sec

5 sec

40 sec

Observations: 1. Museum visitors are surprisingly mobile: They move through a space in zigzagging patterns. While rooms with a certain shape seem to affect patterns of movement, people make different choices and move differently. Some people like to turn left, others right; some people like to move in small increments along a wall, others to move across a room and back again.

30 sec 30 sec

13 sec

2. People don’t spend much time looking at art: While most museum visitors would probably report they’ve looked carefully at art during their visit, in fact the looking time devoted to specific objects is often surprisingly brief. It’s often just two or three seconds, and seldom longer than 45 seconds. (If you asked them, they would probably say the time was much longer.)

Viewer

10 sec

5 sec

5 sec 50 sec 10 sec

American Art and Furniture Gallery 2:10-2:35 on a Saturday Source: Andrew Oriani’s diagram of Visitor Movement at the American Art and Furniture Gallery Source: http://blogs.smithsonianmag.com/art/2012/05/what-a-physics-student-can-teach-us-about-how-visitors-walk-through-a-museum

Circulating through an Art Museum The Cleveland Museum of Art 5 sec

20 sec

5 sec

3 sec

5 sec

60 sec 2 sec

25 sec

Viewer 130 sec

5 sec 15 sec

5 sec 30 sec

8 sec

10 sec

5 sec

19th Century Romantic Landscapes 2:40-3:00pm on a Saturday

3. Different kinds of art seem to produce different patterns of movement: In the gallery of 17th and 18th century paintings, most visitors seemed to do a circuit of the room, moving from painting to painting. In the gallery with modern art, they tended to cross through the center of the room, looking first at what was on one wall and then what was on the opposite wall. While it would take a lot of study to isolate the key variables, even without knowing what they are, it’s clear that the movement of visitors is extraordinarily responsive to changes in the environment, including the placement of doorways and the arrangement of art. 4. Men and Women view art differently: Even this quick study suggests that patterns of looking can be broken down into subsets. For example, in the 18th century gallery, women tended to move more regularly from one painting to the next, but to look at the individual paintings only briefly. Men tended to skip objects and follow a more erratic pattern of movement, but to stop for slightly longer when an object captured their attention. They also often chose vantage points farther away from the object. Not surprisingly, specific objects seemed to have particular appeal to particular groups. For example, a portrait by Benjamin West of his wife and child seemed to please middle-aged women, who often smiled. Men didn’t change their path or their expression.

Source: Andrew Oriani’s diagram of Visitor Movement at the 19th Century Romantic Landscapes Gallery Source: http://blogs.smithsonianmag.com/art/2012/05/what-a-physics-student-can-teach-us-about-how-visitors-walk-through-a-museum

Circulating through an Art Museum The Art Institute of Chicago 5 sec

10 sec

5 sec 3 sec 7 sec

15 sec

5 sec

10 sec

1 min

30 sec

6 min

3 min 6 min

10 sec

5 sec

Alsordof Galleries 11:00-11:20am on a Friday

1. Museum visitors spend more time with a complex layout: When visitors have more complex paths around a gallery, theyâ&#x20AC;&#x2122;re more likely to stop and take time at a painting. We observed this in comparison to the patters of visitors to the square galleries in the Cleveland Museum of Art. It seems that people not only slowed down to allow others to pass, but the strange areas created in front of the art sometimes pulled visitors to go explore them. This would go against the conventional desire for big empty rooms if you want visitors to wander longer, which could conflict with the New Whitneyâ&#x20AC;&#x2122;s boasted column-free gallery. 2. Some art takes longer to look at than other art: We noticed that visitors are different, some like to stop and look at art for minutes while others prefer a quick glance. However, there were some painting which drew in all audiences, and they often looked, walked, and then looked again. This might suggest that this particular piece had value in viewing from different angles and distances, but speaks more congruently to the similar patterns of viewers.

5 sec

2 min

10 sec

Observations:

Circulating through an Art Museum The Art Institute of Chicago Observations:

10 min 30 sec

15 sec

1 min

3. Dead corners push people away: It really appeared when there was a “dead corner” or a corner lacking stimuli, people seemed awkward and were very quick to walk to the nearest exit and enter a new gallery or on to the next work of art. If they were with a group, the group itself didn’t seem to be as affected by the bare areas, but still brushed past them quickly as to avoid a lull in discussion topics.

3 sec 3 sec 3 sec

2 sec 5 sec

2. Some care more about a piece of art than the gallery as a whole: We noticed one individual only walked through half of the gallery and then left. We assumed it might have been out of boredom, but later we also decided it could have been that he was only interested in a particular piece or collection within the gallery itself.

3 sec 2 sec

2 sec

3 sec

15 sec

10 sec

3 sec

10 sec 35 sec

5 sec

2 min 1 min

5 sec

30 sec 3 sec 3 sec

2 sec

Abbott Gallery 11:30-11:45am on a Friday

Site Information

What Goes On Around Our Building We considered how people would approach our site, what they would see, hear, what they could experience in the area and more. We included a variety of transportation methods including public transit, walking, and driving. Our site is unique in that it can be approached from two levels: the ground and the High Line. This creates a unique and more complex environment.

Site Analysis Public Transit

Green Space

Districts

Morningside Heights Harlem

East Harlem

Upper West Side Central Park Upper East Side

Site Midtown West

Times Square Midtown East The Garment District Murray Hill

Chelsea Stuyvesant Town Greenwich Village/ West Village

Stuyvesant Town Greenwich Village/ East Village

Soho

Tribeca

Little Italy

Chinatown Financial District

Lower East Side

New York Metra

Most Used Stations

MTA subways, buses, and railroads provide 2.63 billion trips each year to New Yorkers – the equivalent of about one in every three users of mass transit in the United States and two-thirds of the nation's rail riders. MTA bridges and tunnels carry nearly 300 million vehicles a year – more than any bridge and tunnel authority in the nation. While nearly 85 percent of the nation's workers need automobiles to get to their jobs, four of every five rush-hour commuters to New York City's central business districts avoid traffic congestion by taking transit service – most of it operated by the MTA. MTA customers travel on America's largest bus fleet and on more subway and rail cars than all the rest of the country's subways and commuter railroads combined. MTA mass transit helps New Yorkers avoid about 17 million metric tons of pollutants while emitting only 2 million metric tons, making it perhaps the single biggest source of greenhouse gas (GAG) avoidance in the United States. The people living in our service area lead carbon-efficient lives, making New York the most carbon-efficient state in the nation. -From the MTA website: www.mta.info/mta/network.htm

Site Exits

R UA SQ ES M TI NN PE ION 34 TAT S 23 50

/8 14

N CA

Q ST N S 14 NIO U

T ES W

G RIN SP

RS BE AM CH

IN KL AN FR

3 AV

CE AL

N CA

1 AV

G RIN SP

Y CIT ALL H

2N D

R TO

C RE

T ND

LA RT CO

OR CT RE

E / AC TE PL R ET AY TO AF AS -L R AY E W CK B LEE B

IN PR

RS BE L AM P CH ARK . P .T.C W

L NA CA

53 E L AV RA EX NT /L CE 51 D AN T GR 2 S 4

R HE N TO US HO

LD RA HE RE 34 UA 8 SQ 2

P TO

AV /6 ST 14

AV X LE 59

RIS CH

Facts:

W BO Y ER D

L AL W

Y NC YS LA X S DE SSE E

statistical data for year ending December 31, 2011

Y RR FE

L AL W

H UT SO

N EE GR

AY BW

LL HA

D OA BR

G LIN W BO

/ Y RS IT BE R C AM N B CH KLY B

Annual ridership: 2,631,294,080 riders Average weekday ridership : 8,517,769 riders Rail and subway cars: 8,663 cars Track miles: 2,047 miles Rail and subway stations: 735 stations Source: mta.info

Average Weekday Subway Ridership Report, 2010

Walking Commuters Percent of NY Residents who Commute by Walking Related Mode (Walk-only or Walk+Transit) by Census Tract, 2006-2010 > 60% 35% - 60% 0% - 60% Parks & Airports source & map: U.S. Census Bureau, American Community Survey, 2006-2010

PARKING IN NEW YORK The city is projected to make $150,000,000 from Parking tickets in 2013. That’s $14

every second

source: www.streetsblog.org

Registered Vehicles: 570,367 On-Street Parking Spaces: 275,000

Parking on the street... IT’S HARD / IMPOSSIBLE

DID YOU KNOW? Parking enforcement signs are enforcable if they are within 100 feet from your vehicle. This is about 10 car lengths. Make sure to check!

Prices and Parking Lots around the West Whitney Museum and the High Line 61

Shop

High Line

Cook

s The

Parking Lot

High Line

TĂa Pol The Em pire D iner

Site Views

rk a P

E N I L H G

I H e th 1.

Line?built e High rk

s th lic pa WhaHtigih Line is a pgueblevated railort The e-lon m Gansevo .45-mil on a 1 e running fro treet on r S structu o West 34th e. id t S t Stree tan’s West t a h Man

r? sed foht rail line, u t i s a as a freig 80. It 2. What w w 19

, h Line 34 to district The Hig tion from 19 eatpacking and a m in oper meat to the the factories Side, o d t ie s r l West od car ural go the industria lt u ic r g f a uses o Office. wareho il to the Post a and m

? h Lin0eth Street, g i H e ns th is West 3

f w d WhoHoigh Line, southy oof New Yorkpaanrtment of The e e De he Cit ed by t diction of th onated to th n w o is d is r s a ju w It the under Recreation. ation, Inc. t & r o s p k r s Pa an CSX Tr y b y it C

en is op e n i igh L ry by The H Hours va daily. eason. s Visit org . hline g i h e th low or fol enyc hlin @hig witter on T e for th t lates lled a c t c roje gerous park cture p n frastru removing da o trains in te a riv .N air, info. ublic-p district Line, a in the

ustrial d n i e h to t fers an f ment o u t n I o . e am est Sid new public ine is W L s ’ h k g e r i The H y of New Yo n innovativ with views histor y to create a ity streets, e. It also the c kylin tunit oppor ised above d the city s al reuse for an tri , ra . space udson River el for indus d the world p l t d h n H o assive dustria 30 fee he Hig hen of the a hopeful m r cities arou t of a m eight traffic n’s largest in. Friends of t d in 1999 wreat of r a p s a h fr a e t t 0 , t d r s 8 m e a r e 0 9 te h f d . 3 fo 1 oth the 19 ovement. It li treets of Man Line since rofit groupc,ture was un demolition offers s built in pr n-p ru igh the eH was ic st e Im d no h Line the West Sid trains fromave run on th munity-base the histor h m o c

The Hig

64 MUSEUM

THE

NEW YORK’s HIGH LINE HIGHLIGHTS

source: http://www.thehighline.org diagram design: thehighline.org/maps

Current Views of the Site

Site Sounds

21st

10th

Dance Club Park Bar Cafe Gym

Site Density of Transportation

rne r

Sit eE

blic

Gre

ace

Exi

t/E ntr a

nce

ntr y

SIT

to w ate r

hL ine

Hig

Acc e

Case Studies

Examples of What Could be Accomplished We took our midterm models and fashioned them in such a way to start to reflect some of this research. Weâ&#x20AC;&#x2122;re not suggesting that these solutions are flawless, but we wanted to explore the opportunities with the time we had left during the semester.

Case Study 1

Program Split based on needs of Occupants

Special Events Galleries

Galleries

Exhibition Small Gallery

Program Layout

Galleries

Student Gallery Outdoor Sculpture

Restaurant Cafe Small Gallery

Circulation Director’s Office Staff Offices

Conference Room

Theater

Museum Shop Restaurant Administration

Restaurant Cafe Director’s Office

Museum Shop Coat Room Service Desk

Staff Offices Conference Room

Entry Hall

Coat Room

Education Special Events Theater

Classrooms

Facilities

Exploded by Floor

Service Desk

Outdoor Sculpture

Pinup Space

Classrooms Pinup Space

Student Gallery

Exploded by Programmatic Function

Big Idea: Program Split based on needs of Occupants

Galleries & Theater

Classrooms & Admin

Ground Floor Treatment of Spaces Determines Placement

Private or Semi Private

Public or Semi Public

Requires own entrance/exit accessible beyond museum hours Used only by select people: Administrators, Staff, Faculty, Students Placement on the street allows those passing by to see and connect with the creation of art Easy access to regular visitors and occupants Occupants treated as creators and facilitators towards museum functions Prohibits use of natural light in many areas Grand ascension to main entry Occupants treated as potential hazards to many spaces Larger (sometimes double height) spaces to accommodate larger audiences

Entry from High Line and Ground Planes

High Line Entry

Main Entry

Education Street Entry

Case Study 2 Connectivity lets to connect with every part of the building and the High Line

Circulation

Big Idea: The Ramp and Conectivity

DIAGRAMS

Level 3: 22’-0”

Aereal View (21st St & 10th Ave) Level 6: 52’-0”

View from the Street (21st St & 10th Ave) Level 5: 42’-0”

Level 4: 32’-0”

-10’-0”

View from the High Line

75 10.17.2012

Entry from High Line and Groun Planes

Ground Level

Entry

High Line Level

Entry 76

Underground Level

Level 2

12’- 0”

Ground Level

Level 2

Level 4

Level 5

lE ve n

Te rra ce

ci a Sp e

High Line Level

re G al er y

0’- 0”

St o

Street Level

es ta G ura al er nt y #2

-10’- 0”

Ground Level

Ad m Th inis ea tra t Fa ter ion ci lit ie s M ai n Bo En tr x O an C ffic ce oa /L e tC ob by Ed he uc ck at Sc io ul n pt ur e G al G le al ry er y #1

Program Analysis

Level 6

Highline Level 22’- 0”

Special Events Galery Store / Galery Level 4

32’- 0”

Restaurant / Galery

Level 5

42’- 0”

Galery

Cafe / Restaurant Facilites (Storage) Administration

Main Entrance / Education

Facilites Special Events Performance / Theater Education

Theater, Facilities & Administration 2

Section A 1/16" = 1'-0"