THE BARNES FOUNDATION
DUNG MINH LE / JOSHUA WALKER / PRIYANKA SEN / ROBERT PIOTROWSKI / THOMAS COVERT / CHI ZHANG
CONTENTS
I. INTRODUCTION II. ARCHITECTURAL INTENT III. SITE STRATEGIES IV. ENVIRONMENT V. STRUCTURE VI. CONSTRUCTION VII. CODE VIII. INTEGRATED STRATEGIES
CHAPTER I: INTRODUCTION
Provide “resting points� do disperse the density of the re-created Merion Gallery Garden in a Gallery|Gallery in a Garden
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CONCEPT
Tod Williams and Billie Tsien, The Architecture of the Barnes Foundation, ed. Octavia Giovannini-Torelli (New York: Skira Rizzoli, 2012), 46.
1 & 2: Tod Williams and Billie Tsien, The Architecture of the Barnes Foundation, ed. Octavia Giovannini-Torelli (New York: Skira Rizzoli, 2012), 32.
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The Barnes Foundation was established by Albert C. Barnes in 1922 and quickly grew to one of the world’s finest collections of post-impressionist and early modern art. Dr. Barnes developed a very particular arrangement for the exhibit in a Paul Cret-designed gallery in Merion, Pennslyvania, in which works were arranged into dense, symmetrical groupings. The exhibit quickly became so iconic that Dr. Barnes’ legal will forbade anyone from altering the display, a constraint upheld in court as a requirement for the new facility; this presented a challenge for the designers. Williams and Tsien, of Tod Williams and Billie Tsien Architects, headquartered in New York City, described the result of this dense display as “overwhelming” and “exhausting,” but could not alter it to make it more palatable to the modern public.
TWBTA found inspiration in the rejuvenating nature of the arboretum around the Merion gallery and discovered how to make the gallery experience more appealing for the general public. Williams and Tsien settled on an expansion of the “gallery in a garden” philosophy from the original gallery’s arboretum to include a “garden in a gallery,” as their defining concept for the building. To accomplish this, the architects found two north-south walls in the original design where the design could split the building and insert a volume without altering the gallery. These insertions became a threestory light well with a garden at the base to the east, and classrooms on the west.
CONCEPT
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SITE PLAN
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PLAN & ELEVATION
CHAPTER II: ARCHITECTURAL INTENT
Program: Keep the existing program intact as an experience / Integrate artwork into building materials Technology: Locate lighting and mechanical systems out of sight behind protrusions and within reveals Site: Recreate the sensation of the Arboretum Natural Light: Provide controlled natural light to entire gallery. Art: Utilize abstracted patterns from African artwork in material & patterns Construction Ethic: Detail materials such that surfaces/ volumes appear to float with reveals and offsets.
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William’s and Tsien’s response to the pre-determined gallery was immediate: “The Collection Gallery would require its own identity and needed to ‘stand alone’ rather than be incorporated into a larger whole” (Williams, Tsien, p. 33). To maintain the galleries’ independence, TWBT put a “reveal” between the buildings with glass to reveal the garden beyond.
PROGRAM
Tod Williams and Billie Tsien, The Architecture of the Barnes Foundation, ed. Octavia Giovannini-Torelli (New York: Skira Rizzoli, 2012), 170.
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Tod Williams and Billie Tsien, The Architecture of the Barnes Foundation, ed. Octavia Giovannini-Torelli (New York: Skira Rizzoli, 2012), 40.
LOREM IPSUM
To further emphasize the difference between the buildings, TWBT arranged the program such that no additional functions (beyond the “garden” inserts) connected to the re-created gallery building. This principle persisted through the design process from even their initial concepts.
The design began as a series of parallelabars, but eventually shifted to wrap the “pavilion” building (which housed the new program) around the light court on two sides. This new program included restoration rooms, offices, new galleries, a cafe, shop, and entry foyer. Classrooms, auditorium, storage, and mechanical needs are located in the basement, which connects the two buildings, but is only ever accessed from the Pavilion.
Recreation New Program Diagram New vs Recreation
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To Williams and Tsien, the Merion gallery experience was “exhausting and claustrophobic” (34) due to its “little or no natural light” (33). The Merion gallery was sabotaged by windows which originally were uncovered and worked with the artwork composition. But as preservation requirements for the artwork increased, the windows required blackout curtains to mitigate sun damage of the
artwork. Fortunately, TWBTA are exceptionally sensitive to natural light in their design process. In CV Starr East Asian Library at UC Berkeley, the architects employ a massive double-layered screen of bronze and perforated metal to allow diffuse light deep into the space and a north-facing clerestory which appears to have served as a crucial precedent for the strategy employed in the Barnes Foundation.
NATURAL LIGHT
1. Light court: http://architizer.com/blog/the-new-and-not-so-improved-barnes-foundation/ 2. C.V. Starr Library: http://www.facades.com/east-asian-library-ucberkeley 3. C.V. Starr iLibrary Interior: http://www.yelp.com/biz_photos/c-v-starr-east-asian-library-berkeley?select=kRX8FBYny68miVJ-S1uypA#kRX8FBYny68miVJ-S1uypA
22 This top lighting strategy is prominent in any Williams and Tsien project, including large clerestories and skylights in the New York American Folk Art Museum, the Phoenix Art Museum, the Cranbrook Natatorium, and even their residential work such as the Long Island house in Wainscott, NY. The driving factor for Williams and Tsien for this strategy regarded how to provide diffuse natural light on all sides of the gallery for the light-sensitive artwork. Williams and Tsien consider natural light a
crucial component of generating their desired quality of space. This value of natural light drove many of the design decisions, and the integration of this value with other design factors like technology, artificial light, and structure all help to define the Barnes Foundation and it’s unique composition.
CONTROLLED LIGHTING
1. Scan, gallery interior: Tod Williams and Billie Tsien, The Architecture of the Barnes Foundation, ed. Octavia Giovannini-Torelli (New York: Skira Rizzoli, 2011), (151). 2. MOMA American Folk Art Museum: http://www.businessweek.com/news/2013-04-23/folk-art-museum-should-notbe-whacked-by-big-moma 3. Shelter Island Residence: http://www.architectslist.com/cities/New-York/firms/708-Tod-Williams-Billie-Tsien-Architects/projects/1781-Long-Island-House
1. Gathering Room: http://www.johnnyjet.com/2012/05/new-museum-elevates-philadelphias-art-scene/ 2. Reading space: http://www.johnnyjet.com/2012/05/new-museum-elevates-philadelphias-art-scene/ 3. African Textile from Ghana: Tod Williams and Billie Tsien, The Architecture of the Barnes Foundation, ed. Octavia Giovannini-Torelli (New York: Skira Rizzoli, 2011), (80).
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ART & MATERIAL Williams and Tsien emphasized intregrating artwork, specifically the African Collection, into the architecture. The stone rainscreen faรงade is patterned after a beautiful Tribal fabric patterning, and in one reading area on the lowest level a custom wool and felt panel serves as both art and sound-absorption panel in a room composed predominantly of hard surfaces.
1. New Gallery Interior: http://www.homedsgn.com/2013/02/09/the-barnes-foundation-by-tod-williams-billie-tsien-architects/ 2.Gallery Clerestory Section: Tod Williams and Billie Tsien, The Architecture of the Barnes Foundation, ed. Octavia Giovannini-Torelli (New York: Skira Rizzoli, 2011), (151).
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Black-out curtains, concealed by etched glass
Slot diffusers, concealed by crown moulding
TECHNOLOGY
The architects are strategically minimal in their approach to technology exposure. The Barnes Foundation, for example, integrates black-out shades and multiple sensors to control daylighting in the galleries, but these elements are integrated into the windows or concealed such that the public remains largely unaware of their presence and activity.
Likewise, slot diffusers concealed above protruding wall masses or crown moulding suggest that Williams and Tsien desired not to interrupt the visual experience of the galleries, a strategy which correlates strongly with the unique and carefully cultivated arrangement they were required to maintain. This pattern continues throughout the project: HVAC technology is primarily concealed.
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Williams and Tsien emphasize unique textures in their material selections. Whether the sand-cast panels of the American Folk Art Museum, the hand-chiseled finish of the Barnes’ stone panels, or the fabric canvases placed strategically around the light court and service building, TWBTA appreciate the effect of layering textures, especially when able to contrast smooth with irregular surfaces. In the light court, TWBTA actually inset the textile into the limestone panels as an acoustic treatment and for shadow-cast effects.
1. New Gallery Interior: http://www.homedsgn. com/2013/02/09/the-barnes-foundation-by-tod-williamsbillie-tsien-architects/ 2.Gallery Clerestory Section: Tod Williams and Billie Tsien, The Architecture of the Barnes Foundation, ed. Octavia Giovannini-Torelli (New York: Skira Rizzoli, 2011), (151).
CONSTRUCTION ETHIC
Williams and Tsien make a pattern of expressing materials and objects as floating or suspended. For example, the display cases of the special exhibition gallery are anchored to the wall and supported by angled struts, clad in the same color gypsum as the wall. These struts are not expressed on the edge of the case but recessed back out of view, presenting the appearance of a floating display case unless the viewer backs far enough away to see the angle support. Not satisfied with only one instance of concealed suspension per wall, TWBTA detailed the wall such that the off-white surface ends approximately four inches above the floor. At the center of the wall there is no visible support, only a
wide, shallow reveal which allows the viewer a clear view through the non-structural wall to the other side (be it into another room or to the structural wall behind) depending on their perspective. The support structure is only revealed at the edges of the wall, where it is differentiated from the wall plane with a slight inset and lighter shade of paint. The effect is that the wall appears to “float” over the floor,even when the support is revealedbecause the support takes on a separate identity. The display tray then “floats” in a similar manner over the floor despite its clear connection to the wall because the material differentiation and semiconcealed support cause it to read as an independent entity.
30 Ultimately, this “floating” logic is a language for expressing both volume and material, and thus the construction ethic of the project. Put into words, this logic might be “conceal fasteners, differentiate masses with offsets and reveals, and provide space between planes.” The question then becomes “why?” If this is the expression of the Barnes Foundation, and of TWBTA as designers, what is the meaning behind this expression? Logistically, this technique reveals certain opportunites for concealing lights and diffusers. The offset planes of drop ceilings which do not touch the adjacent walls create opportunites to keep this elements out-of-sight, while casting light onto walls or ceiling planes for diffuse lighting, while the recess behind a protruding wall face can easily conceal a slot diffusers.
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CONCLUSION This logic, however, is insufficient. In previous projects, Williams and Tsien have exposed diffusers and lights more explicity, and there are surely other options for concealing fixtures, if this was truly their concern. On their webstite, TWBTA speak of a desire to “give a sense of grace to life” and “measure the value of (their) work by the quiet pleasure of the lives lived in (their) buildings.” It is thus conceivable that the architects believed this minimization of connection and intersection to be their method of providing visual lightness and simplicity which would generate the desired effect. It is worth noting that the reflected, diffuse lighting inherent to these concealed fixtures carries a feeling typically considered comfortable yet ethereal.
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Finally, looking into the development of Williams and Tsien’s institutional work, including their evolution and expression of these techniques and design considerations over time, we can conclude that TWBTA likely settled on this pallete of material, structural, and technological expressions in order to achieve their desired visual tranquility. This was likely desirable to offset the visual density of the gallery, to satisfy the architects’ design philosophies, and to provide a technical strategy across a diverse array of considerations including material treatment, spatial relationships of interior rooms, and technological expression.
2012 1. MOMA American Folk Art Museum: http://www. businessweek.com/news/2013-04-23/folk-art-museum-should-not-be-whacked-by-big-moma 2. Skirkanich Hall, University of Pennslyvania: http:// www.pennconnects.upenn.edu/find_a_project/ by_category/academic_research/skirkanich_hall_ images.php 3. C.V. Starr Library, UC Berkely Campus: http:// www.lib.berkeley.edu/EAL/help/faqs.html 4. David Rubenstein Atrium: http://www.houzz. com/ideabooks/9400936/list/houzz-travel-guidenew-york-city-for-design-lovers 5. Tod Williams and Billie Tsien, The Architecture of the Barnes Foundation, ed. Octavia Giovannini-Torelli (New York: Skira Rizzoli, 2011), (106 & 107).
CHAPTER III: SITE STRATEGIES
Locate HVAC in an outbuilding to shelter parking from street Locate ticketing in out-building to avoid “commercial� feel at entrance Re-create arboretum from Merion facility Orient gallery the same as original Merion facility
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Pennsylvania
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3 Philadelphia
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Logan Square
URBAN CONTEXT
The building is located on Benjamin Franklin Parkway, the scenic axis of Philadelphia that connects the Philadelphia Art Museum and the City Hall.
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The Barnes Foundation is right next to the Rodin Museum, designed by Paul Cret, the same designer of the original Merion Barnes Foundation Gallery.
5 The Barnes Foundation Benjamin Frankin Parkway 1
Rodin Museum (by Paul Cret)
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Comm. College of Philadelphia
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Free Library of Philadelphia
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Franklin Institute
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Basilica of St.Peter & Paul
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Academy of Natural Science
Urban context
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Sequence of Entrance in the Lower Merion Gallery
OLD VS. NEW
For the design of this garden, TWBTA worked with Laurie Olin, a renowned landscape architect. A layered landscape transitions from the civic scale to a more intimate, isolating sensation as one approches the building, no matter from which
Sequence of Entrance in the Barnes Foundation
direction you approach. The result is that the building is always viewed through landscape, and garden surrounds the building, just like that of a sequence from the Lower Merion Gallery.
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Sequence of Entrance
Public plaza Air-handling unit Ticket gatehouse Entrance sequence
SPATIAL SEQUENCE
Aside from the landscape design, there are two out-buildings of note on the site. The first is meant as a public fixture, the ticketing gatehouse. This was designed to prevent an “institutional” feeling at the entrance of the Foundation. The second is a much more demure building: a concrete rectangle at the end of the parking lot. Here, Williams and Tsien house the
chillers and steam generators for the forced-air system. Pulling this equipment into an out-building situated to separate the parking lot from the nearby intersection, rather than exposing the equipment and risk it interfering with the carefully composed landscape was a clear expression of TWBTA’s emphasis on the garden and it’s value to the architecture.
CHAPTER IV: ENVIRONMENT
Retain heat in winter Protect from winter winds Permit winter sun/Protect from summer sun
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SUN PATH ANALYSIS
Several environmental strategies employed by Williams and Tsien helped garner LEED Platinium certification for this project. The architects focused on sustainable siting, water efficiency, materials and resources, indoor environment quality, as well as design and innovation process. The architects attempted to challenge the museum typology by maintaining humidity and temperature controls within about 2-3% Though Williams and Tsien wanted to address passive strategies, it was impossible to implement many passive systems because of the typology. First, geothermal wells were considered, but due to the great fluctuation of the
Sun path context
ground water over the course of a year, it was not a feasible option. Daylighting strategies, discussed later, became an integral part of the passive solutions as well as a central design results for integration. Additionally, the management for water efficiency was coordinated for the 3 acres of landscape around the building. A great deal of high ground water allowed for 2 systems to harvest the rain water. A green roof and foundation drains also dump water into a 40,000 gallon cistern that also adds to passive and sustainable strategies.
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WIND ANALYSIS
The climate of Philadelphia is an inland region which does not have the moderating effects from the ocean. The main environmental concerns are the low winter temperatures paired with relatively high wind speeds. The overall environmental drivers for designing in Philadelphia include: keeping heat in and cold temperatures out in the winter, protecting from the cold winter winds and from summer sun, and use natural ventilation for summer cooling.
Wind context
One key environmental strategy that was not utilized: the use of natural ventilation for summer cooling. Due to the museum typology of the Barnes, which require tight control over the humidity and temperature of the building, very few passive strategies such as natural ventilation could be used throughout the project.
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Strategies for the summer with highligted best passive strategies
PSYCHROMETRIC CHART
TWBTA utlize several of these enviromental constraints as design drivers. To keep the heat in and cold temperatures out during the winter, the architects minimized the windows, improved wall systems with insulation, and placed a green roof as a thermal buffer. Williams and Tsien also used the unique siting situation of the Barnes, including large coniferous trees, to mitigate the cold winter southwestern winds. Shading device mechanisms were also included to protect from the summer sun. The architects chose not to design overhangs so as not to take away from the overall form of the building and to have it blend into the urban context (Charts from Climate Consultant 5.0).
Strategies for the winter with highligted best passive strategies
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On average, for the last 5 years, there are more Heating Degree Days (HDD=4736) than Cooling Degree Days (CDD=1387), requiring strong design decisions to heat the building. (Image from Lechner, 47).
1200
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0 Jan
Feb
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HDD & CDD CLIMATIC DESIGN PROPERTIES: 1. KEEP HEAT IN / COLD TEMPERATURES OUT IN THE WINTER 2. PROTECT FROM THE COLD WINTER WINDS 3. LET THE WINTER SUN IN 4. USE THERMAL MASS TO REDUCE DAY-TO-NIGHT TEMPERATURE SWINGS IN SUMMER 5. PROTECT FROM THE SUMMER SUN 6. USE NATURAL VENTILATION FOR SUMMER COOLING
5 Year Average of HDD vs. CDD
Apr
May
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Jul HDD
CDD
Aug
Sep
Oct
Nov
Dec
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ENVIRONMENTAL STRATEGIES
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Williams and Tsien did not want the light box to read as a large, consistent extrustion; therefore, the architects worked on a lighting strategy that twisted the overal structure. In completing several life size scale models of the light box, the lighting team, consisting of project architect Philip Ryan and lighting consultants Fisher, Ranch, and Stone, discovered that the lighting footcandles from the north of the light box were fair more desirable than that coming from the south. Given the interior windows leading to the gallery space, the northern ambient lighting that reflect off curated surfaces lended to a softer lighting that then bounces into the gallery.
NATURAL LIGHT
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south-north section
LIGHTBOX STRUCTURE
The twist in the light box structure specifically twists at the glass wall on the southwestern side of the building, denotating the outside light source. The desired effect created two very distinct feelings of light on each of the ends of the light court.
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Glazing
west-east section
LIGHTBOX REFLECTION
Glazing
The lightbox plays an important role in the integrated strategies of the HVAC. Additionally, the section shows a raised floor in the basement under the mechanical room that could potentially be used for return ducts.
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Due to the building typology, the zoning of the HVAC is extremely varied and based on the function, size and layout of the space. Based on these categories, the systems differ for each space it is serving. As an example, there are six zones in the large 6,000 square foot changing exhibition space due to tight controlled requirements of the large art space. In the offices on the second floor, which have relatively smaller open floor plans, three zones are served by chilled beams. Both chillers (with cooling towers) and a steam/boiler system (offsite high pressure steam generation) are located in the outbuilding,
and send hot and cold water to air handlers in the basement. As part of a passive strategy, there was an intale air pre-treatment system that helped reduce the size and reduncancy of the AHU. Williams and Tsien’s design strategies- and the Barnes Foundation’s security concerns) make it difficult to obtain any concrete documentation regarding HVAC systems. We know TWBT kept all equipment requiring maintenance out of the gallery ceilings, and that the use of the outbuilding meant that there are no vents or machinery on the roofs. The only location of ducts we know for certain are the vertical ducts beside stairwells.
sor res mp Co ler er ow il Ch ling t o o C
Fou
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MECHANICAL SYSTEM
Vertical ducts
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return ducts supply ducts
CHAPTER V: STRUCTURE
Utilize two structural systems for cost and scheduling Provide structure for light box Support lateral and gravity loads
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The structural system of the building consists of two primary construction methods: reinforced concrete for the northeastern support space and structural steel for the southern galleries. These two systems then slightly cantilever toward one another, carrying the central light box’s steel structure at both building’s roofline. This strategy allows the light box to appear pronounced and dominant above the rest of the building; both in its large cantilever as well as the floating effect it produces over the center light court. After careful investigation and direct contact with the TWBTA project architect Phillip Ryan, it was determined that the need for two different structural systems was strictly a decision based on budget and production needs. The use of structural steel allowed construction of the gallery space to move faster than the curing of structural concrete thus allowing the logistical placement of the artwork with in the gallery to begin. A conjecture can be made about the use of the two system: the gallery design, as mandated by law in the trust and will of Mr. Barnes, had to be a reproduction of the solid masonry building in Merion; therefore, columns had to be placed and concealed strategically to mimic the original Barnes building’s fenestration and interiors. The designers knew the
structure must be concealed within the wall to preserve the original character, so by using steel, which is less expensive than concrete, the project was able to save money by fireproofing the gallery while also abiding by the gallery’s design principles. The northeast portion or support space of the foundation has a modern and contemporary feel to its interiors. The carefully selected raw materials within the space welcome thwe use of exposed concrete columns, which are more appropriate than gypsum covered steel. The exposed aggregate of the columns complements the use of texture and tones throughout support space corridors. The two story elongated rectangular volumes are structurally designed to mostly resist gravity loads however lateral loads are combated by braced frames within the thickened double story gallery walls and also fire rated egress stair walls at the building’s two ends.
STRUCTURE SYSTEM
Trusses run full length of the building on both sides
60
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http://incidentaltravellers.wordpress.com/2013/06/23/explorations-15-philadelphia-pa-in-winter-2010-2011/philadelphia-pa-barnes-foundation-underconstruction/
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CONCRETE
This diagram illustrates the primary structural elements of re-inforced concrete used in the support spaces of the building. Gravity loads are transferred horizontally through the monolithic structure, down the columns with in the basement perimeter walls where met by the deep foundation’s pile caps.
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STEEL WITH BRACING
This diagram illustrates the primary structural elements of steel used with in the gallery space of the building. Gravity loads are transferred horizontally through girders & beams, down the columns within the basement perimeter walls and are met by the deep foundation’s pile caps. Lateral wind loads are managed by strategically-placed x-bracing within the thick gallery walls and k-bracing on the the building’s two ends.
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LIGHT BOX
The structural system for the light box consists of horizontal wide flange members supported by w-shape columns tied together by the use of hollow metal steel tubing. This framing is supported by cantilevers from both the steel and concrete portions of the building.
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Shear walls
SHEAR WALLS & BRACED FRAMES
This diagram illustrates both reinforced concrete and structural steel supporting the lighbox. Also illustrated are shear walls and braced framing within the entire building.
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
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This diagrammatic structural cross section illustrates the primary gravity forces and how they are combatted though continuous beam systems of both the concrete and steel and how they transfer loads to the ground.
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REINFORCED CONCRETE Vu= wl 2
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STRUCTURAL STEEL
P
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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
SHEAR & MOMENT DIAGRAM
CHAPTER VI: CONSTRUCTION
Facade construction support Construction Ethic: Floating layers and Reveals
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Williams and Tsien utilize a similar technique with their facades: particularly the stone rainscreen of the Barnes Foundation, the stone façade of the C.V. Starr Library at UC Berkely, and the Tombasil panels of the MOMA Folk Art Museum. For these facades, one material is panelized and clipped (or in the Folk Art Museum’s case, welded) onto a supporting structure, with the reveal between panels left exposed. There is no detailing to hide the seams between these panels, or “superpanels” of the Barnes, but the backing material is placed behind the primary façade in such a way that it presents the appearance of a seamless surface upon which the façade panels are arranged in space. The result is that from a distance, the façade appears as a solid mass, but as the viewer approaches the seams become visible, and without any visible connection the panels appear to float on the inset plane. TWBTA’s approach to the Barnes Foundation utilizes the reveals between “superpanels” to occasionally expose small windows, and varies the widths of these reveals- as well as the widths of the super panels- to stagger the vertical seams and further accent the “floating” effect of the façade.
FACADE
1. http://blog.evantinedesign.com/tag/philadelphia-art/, 2. MOMA American Folk Art Museum Facade: http://blogs.artinfo.com/artintheair/2013/04/18/new-tumblr-crowd-sources-wacky-solutions-to-the-moma-folk-art-museum-building-battle/ 3. C.V. Starr Stone Facade: http://upload.wikimedia.org/wikipedia/commons/thumb/0/02/C._V._Starr_ East_Asian_Library_exterior_3.JPG/640px-C._V._Starr_East_Asian_Library_exterior_3.JPG 4. Barnes Foundation Facade: Tod Williams and Billie Tsien, The Architecture of the Barnes Foundation, ed. Octavia Giovannini-Torelli (New York: Skira Rizzoli, 2011), (81).
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LIMESTONE RAINSCREEN SYSTEM
A small window inset back into the reveals exposing the laying and depth of the building’s skin.
Stainless steel channels make up the 5 inch depth of the stone and hanger sytem, thus creating the reveal and sense of a floating stone mass.
The rainscreeen’s outermost layer consists of large Jerusalem limestone panels, comprised of smaller sub-panels illustrated below,fastened together using tongue and groove joints.
The facade’s super panels are attached using a concealed kerf hung system, setting the stone masses 5 in. off of the framing system, creating deep reveals and the sense of floating.
Tod Williams and Billie Tsien, The Architecture of the Barnes Foundation, ed. Octavia Giovannini-Torelli (New York: Skira Rizzoli, 2012), (81).
SKIN
RAINSCREEN COMPONENT ASSEMBLY
15’
CMU
MOISTURE BARRIER
3” RIGID INS
SST SUPPORT FRAME & HANGER SYSTEM VARIES LIMESTONE SUPER PANEL W/ SST REVEAL CHANNELS
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A small window provides mystery and intrigue on arrival while also providing a special and more focused instance of the water as a material selection when viewed from the interior.
Tod Williams and Billie Tsien, The Architecture of the Barnes Foundation, ed. Octavia Giovannini-Torelli (New York: Skira Rizzoli, 2012), (54).
SKIN
Tod Williams and Billie Tsien continue their “floating� materials detailing by terminating the suspended stone panels nearly six inches above the water level, revealing the same stainless steel from between the panels.
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Windows exposed in reveals Stone “superpanel� Individual stone panels Support clips for stone
Tod Williams and Billie Tsien, The Architecture of the Barnes Foundation, ed. Octavia Giovannini-Torelli (New York: Skira Rizzoli, 2012), (54).
SKIN
1,3. Tod Williams and Billie Tsien, The Architecture of the Barnes Foundation, ed. Octavia Giovannini-Torelli (New York: Skira Rizzoli, 2011), (151). 2. http://philadelphiaheights.files.wordpress.com/2011/03/ img_1408.jpg
In order to obtain the tripartite facade the architect composed individual stone panels rabbetted to form “superpanels�. These super panels are arranged with irregular reveals in order to expose windows and emphasize the separation of the stone layer from stainless steel backer later.
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Openings between the interior and exterior, and even between the interior and interior, are heavily recessed, emphasizing the mass of materials in assembly. The joints are not expressed, but carfully concealed, leaving only a currated reveal at the implied connection point. The recessed apertures also allow for the concealment of secondary systems, such as slots for shading systems as well as supply air
diffusers at the base of windows. The treatment of interior windows suggests the new stone veneer skin has been wrapped around the old Merion building, allowing remnants of abstracted details to show through. The stone facade is also lightly suspended off the ground, leaving a detail of shadow in the reveal, while also hiding necessary power outlets.
CURRATED SEAMS WRAPPED LIMESTONE VENEER
LAYERED HISTORY
FLOATING MASS
SHADOW AS MATERIAL EMPHASIS
Tod Williams and Billie Tsien, The Architecture of the Barnes Foundation, ed. Octavia Giovannini-Torelli (New York: Skira Rizzoli, 2012), (64).
APERTURE AND THRESHOLD
CUSTOM DESIGNED WINDOW STAINLESS STEEL BOX FOR SHADE
VISIBLE LIGHT Transmission: 14% Reflective Ext: 11% UV: 5%
SHADE
SOLAR Transmission: 11% Reflectance: 15% U FACTOR Winter: 0.29 Summer 0.27 SHADING COEFFIENT: 0.27 SOLAR HEAT GAIN: 0.24
RAMON LIMESTONE
DIFFUSER
SYSTEMS HIDDEN WITHIN REVEALS/JOINTS BETWEEN LAYERED ASSEMBLY Model made by team members based on sketch from Tod Williams and Billie Tsien, The Architecture of the Barnes Foundation. Performance specifications provided by Phillip Ryan.
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Williams and Tsien use the layered appoach when detailing the corners and edges by wrapping the stone facade around the openings, and letting the actual thickness of the material be made visiable. Although, the sense of floating is still evident by the use of concealed kerf hanging and deep reveals, the butt joints and un-aligned seams articulate the architect’s stance on material qualities and hidden construction.
Entryway Detailing: Tod Williams and Billie Tsien, The Architecture of the Barnes Foundation, ed. Octavia Giovannini-Torelli (New York: Skira Rizzoli, 2011), (58).
CORNERS AND EDGES
CONCEALED KERF HANGER SYSTEM
BUTT JOINT Detail Provided by Tod Williams Billie Tsien Architects.
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The emphasis on the separation of materials and the expression of the reveal is also displayed thoughout the interior spaces. The wood stair treads are held off the wall expressing the fact that the materials are different and independent of one another.
The respect for the limestone’s material qualities are again displayed by not mitering the corners nor lining up seams in order to indicate th true identity of the stone veneer.
Tod Williams and Billie Tsien, The Architecture of the Barnes Foundation, ed. Octavia Giovannini-Torelli (New York: Skira Rizzoli, 2012), (112).
STAIR DETAILS
The limestone’s finish transitions from smooth on the exterior to a more intiment hand carved texture on the interior spaces.
The detailing of the reclaimed Ipe from Coney Island emphasizes the depth of the material.
The idea of wrapping and separating of materials again is displayed by the handrail detail. The hand rail wraps around the wall and descends down, but instead of terminating into the ground, it is held just above the finished floor.
Tod Williams and Billie Tsien, The Architecture of the Barnes Foundation, ed. Octavia Giovannini-Torelli (New York: Skira Rizzoli, 2012), (120).
CHAPTER VII: CODE
Use Group
A-3 Assembly
Construction Type Type 1 – B Sprinklers yes Total height 36’ 64’ with light box Number of floors 2 + basement Building Area - Campus 4.5 acres Barnes Foundation building 93,000 s.f.
1,300
1,700
5,300
12,000
1,000 1,200
1,200
1,150 570 1,700
1,300
4,300
2,200 5,300
12,000
3,200 1,000
7,800
1,200
1,200
1,150
Building Area Breakdown (in square feet)
COLLECTION GALLERY
EXHIBITION GALLERY
AUDITORIUM
COURT570 EDUCATION LOBBY
GALLERY GARDEN
CLASSROOMS(2)
SEMINAR ROOMS(2)
CAFÉ
CAFÉ SUPPORT
TERRACE
CONSERVATION STUDIO
4,300
2,200
3,200 7,800
COLLECTION GALLERY
EXHIBITION GALLERY
AUDITORIUM
COURT
EDUCATION LOBBY
GALLERY GARDEN
CLASSROOMS(2)
SEMINAR ROOMS(2)
CAFÉ
CAFÉ SUPPORT
TERRACE
CONSERVATION STUDIO
SHOP
SHO
92
The diagrams on the left demonstrate fire rated walls and egress paths to exits to the outside. The diagrams on the right exhibit use/ocupancy groups for the building. The controlling occupancy group is A-3 Assembly. Minimum exits (a) There shall be a minimum of two exits reasonably remote from each other. At least 50% of required exits shall be exit discharge doors to the outside, stair towers or ramps. Travel distance to exits (b) Travel distance may be increased to the following in buildings totally protected by an automatic sprinkler system: (1) Two hundred feet from any point to an exit. (2) Three hundred feet between exits. (3) One hundred feet for dead ends and areas with a single path of egress.
EGRESS & OCCUPANCY GROUP A-3 ASSEMBLY A-2 ASSEMBLY B BUSINESS M MERCANTILE S STORAGE
Basement
First Floor
Second Floor
94
Location of the elevators
ELEVATOR / FIRE STAIR The Barnes Foundation is laid out to allow ample room for large occupancy groups to navigate the museum at leisure as well as identify clear and unobstructed paths of egress to the outside. Programmatic elements never interfere with clear circulation paths, and visual obstruction is kept to a minimum. The fire stairs in both buildings bookend the structure providing an opportunity to brace against lateral forces with shear walls as well as provide fire separation to more delicate programmatic elements such as the mechanical systems in the basement and the art restoration room on the second floor. Three of the four fire stairs provide immediate exit to the outside, with the fourth leading out to the main entrance. General code
requirements however, had little consequence on the architect’s intent, with only strict code issues concerning water mitigation and plumbing getting in the way of sustainable and environmentally conscious design decisions. ADA accessibility had little to no impact on design decisions, with everything sized to ADA specifications at the outset. There are no ramps with elevators as primary means of vertical accessibility, and all hallway and restroom clearances are well within ADA guidelines. Due to the buildings nature as a museum housing priceless artifacts, heavily controlled and monitored systems are in place to provide safety for both the occupants as well as the art.
Location of the fire stairs and egress paths
CHAPTER VIII: INTEGRATED STRATEGIES
Structure and HVAC in light box General Lighting, Target Lighting, and Sprinkler System in Exhibition Scale, Ornament, HVAC, and Light Control in Galleries
98 Williams and Tsien followed several key principles for integrating strategies within the Barnes Foundation building. The primary focus of the new building was to create a replica of the original Merion gallery, but also expand to fulfill the demand for a larger program. In doing so, the challenge was to integrate the existing gallery into an efficient modern facility, integrating the core value of lighting around the perimeter of the gallery. The light box became a central focal point in the integrated strategies. In addition to containing natural and artificial lighting, it also conceals HVAC ducts and diffusers, the fire suppression system, main electric conduit, water drainage and collection and serves as an environmental buffer zone for the light court.
In the construction of the light box, Williams and Tsien manage to integrate their light control and diffusion, the support structure, the HVAC supply for the light court, the fire sprinkler system, and target lighting. Their construction ethic is apparent, as well, as the angled surface of the light box protrudes below the horizontal surface housing the systems. This overhang on either side screens the systems from the human perspective from nearly all angles.
LIGHTBOX + HVAC
Target Lighting
Sprinkler
Supply Ducts
Section provided by Todd Williams Billie Tsien Architects: Annotations by team
Lightbox Structure
100 The custom scrim ceiling in the exhibition spaces of the Pavilion integrates general lighing, trackmounted spot lighting, and fire sprinklers in such a way that the sprinkler heads all but dissappear. They accomplish this by breaking up the track of the spot lighting with sprinkler heads, wrapping the conduit around the pipe and recontinuing the track on the other side. Ultimately, by keeping the general lights, sprinklers, and track all in the same line they accomplish a simple appearance that allows the sprinkler heads to all but disappear to the casual observer.
1,2,3. Technical and Shop drawings provided by Phillip Ryan. Color on model is original, color on section by team. 4. Gallery: Tod Williams and Billie Tsien, The Architecture of the Barnes Foundation, ed. Octavia Giovannini-Torelli (New York: Skira Rizzoli, 2011), (151).
CEILING PANEL INTEGRATION
102
SCRIM CEILING
1,2. Technical and Shop drawings provided by Phillip Ryan. Color on model is original, color on section by team.
104
1. New Gallery Interior: http://www.homedsgn. com/2013/02/09/the-barnes-foundation-by-tod-williams-billie-tsien-architects/ 2.Gallery Clerestory Section: Tod Williams and Billie Tsien, The Architecture of the Barnes Foundation, ed. Octavia Giovannini-Torelli (New York: Skira Rizzoli, 2011), (151).
In the re-created galleries, Williams and Tsien manage to integrate crown moulding with the HVAC supply in order to maintain the original scale of the Merion gallery despite the raised ceiling for the new clerestories. The clerestories contain etched glass which conceal blackout curtains, integrating a layer of sensors and multiple forms of active lighting control.
CLERESTORY DETAIL
Interior removable etched glass concealing blackout curtain
Control louver
Crown moulding concealing slot diffusers
structure
106
Construction Documents presented in confidence by TWBTA. Lechner, Norbert. Heating, Cooling, Lighting: Sustainable Design Methods for Architects. New Jersey: John Wiley and Sons, 2009. Ryan, Philip. Interview conducted September 30, 2014.
http://www.businessweek. com/news/2013-04-23/folkart-museum-should-not-bewhacked-by-big-moma http://www.architectslist.com/cities/New-York/ firms/708-Tod-Williams-Billie-Tsien-Architects/projects/1781-Long-Island-House
http://www.johnnyjet. com/2012/05/new-museWilliams, Tod Williams and Bil- um-elevates-philadelphilie Tsien. The Architecture of as-art-scene/ the Barnes Foundation, ed. Octavia Giovannini-Torelli. New York: Skira Rizzoli, 2012. http://www.barnesfoundation.org http://architizer.com/blog/ the-new-and-not-so-improved-barnes-foundation/ http://www.facades.com/ east-asian-library-uc-berkeley http://www.yelp.com/biz_ photos/c-v-starr-east-asian-library-berkeley?select=kRX8FBYny68miVJ-S1uypA#kRX8FBYny68miVJ-S1uypA
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