Moser comprehensive studio documentation by Sarah Moser

SMA SPENCER MUSEUM OF ART: AN ADDITION Sarah Moser

TABLE OF CONTENTS

Introduction Chapter 1: The Design Problem Chapter 2: Schematic Design Chapter 3: The Final Design Chapter 4: Technical Integration Chapter 5: Technical Information Appendix

2-6 7- 21 22- 29 30- 46 47- 60 61- 63 64- 67

INTRODUCTION: Exhibition Boards

SMA Practice Fields

Sarah Moser

Cooling Tower Employee Parking

View of Approach from Kansas Union and Parking

Ca m

Mississippi Street

SPENCER MUSEUM OF ART: AN ADDITION

Visitor Parking Garage

nil

e Kansas Union

Sculpture Garden

20’

50’

ulev ard

Jayh awk Bo

0’

100’

Program Layout Diagram

ssi

The Cove

ssi

i St

ree

Public/Student

ssi

i St

ssi

ree

Galleries

ssi

i St

ree

Private

ssi

i St

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Lower Level at Grove and Parking

Entry Level at Mississippi Street

0’

20’

50’

100’

0’

20’

50’

100’

Section Perspective through atrium and galleries with view to Campanile

Axonometric

Egress

View from Lobby

Mechanical Systems

CAV Air Handler

6’ x 7’ 26 x 40” 24 x 36” 18” x 24” 12” x 18”

VAV Air Handler

Structure

Primary Structure

Wall Section Diagram

Secondary Structure

Section Through Parapet at Curtain Wall .050 Cont. perforated coping support clip, attached with S.S. fasteners @ 24” o.c. 6’ x 8’ Aluminum Panels Suspended by Knight Wall System Rainscreen Grid 3/4” Vertical Rail (Knight Wall System Rainscreen Grid)

Kawneer 1600 Wall System 2 with standard 6” mullion depth with concealed fastener joinery for smooth appearance Mullion anchor clipped to steel support

BASWAphon Seamless Sound Absorbing Plaster ceiling system, attached to plaster ceiling grid suspended by cables from structure

Tertiary Structure

.050 Aluminum coping, color to match aluminum panels, with .050 butt plate, 12” long, 4 beads of sealant per joint TPO Roofing Membrane folded over cant strip and up under coping

CHAPTER 2: THE DESIGN PROBLEM • • • • • • • • • • • • • •

Project Statement The Architect Context Existing Museum Research Clients and Users Identified Site Context Site Analysis Site Views Climate Concerns Project Planning Goals Program Space Budget Program Space Requirements Precedent Study: Simple Intelligence Precedent Study: Creating Gallery Space

Project Statement

Expansion to the Spencer Museum of Art The Spencer Museum of Art on the University of Kansas Lawrence Campus suffers from a lack of gallery space, low ceilings and no natural light. The exhibition space is limited, but worst of all, public and student space is lacking. The administrators of the museum desire for an addition that solves these problems, doubling the gallery space, providing flexibility in exhibition and program, and providing much needed student and visitor gathering space to encourage repeated use. The new addition has the challenge of providing a connection to the existing Beaux-Arts building, respecting the context of the existing building and beautiful open landscape of the site.

Project Approach When approaching this project, it was my intention to focus on two key factors: how the building relates to the surrounding context, and how the building will function for each type of user: staff, students and visitors. As a campus building, the goal is always to focus on learning. Each facet of the design will be tailored not only to how visitors perceive the art, but also to how students interact with it on a regular basis, encouraging daily use and learning. The goal of the project is to design a museum with modest sufficiency, a building that functions as needed for all users without unnecessary adornment, while adding subtle shifts for architectural interest. The building will relate to the language of Spencer, modified to break the grid and relate to a more modern, student focused learning environment. The design will endeavor not only to solve the current issues of the Spencer Museum of Art, but also to enhance the experience of all users, amplify the impact of the building on campus, and create a social node of activity for students and Lawrence residents.

The Architect

Goal: Design a museum with modest sufficiency Design Philosophy

Informed Design: It is my goal to produce well-articulated design that reflects thoughtful, modest sufficiency. The buildingâ&#x20AC;&#x2122;s form and material expression should be a reflection of the function without unneeded adornment. I believe that the best architecture is formed by function and based in evidence, and that sculpture without function cannot be truly successful architecture. There is beauty in architecture that provides the cleanest solution for a design problem and strives to promote the needs of the client through informed design. User-Centered Design: I also strongly believe that architecture should be based on the userâ&#x20AC;&#x2122;s needs. Architecture should support and enhance the user experience for those who work in and visit it.

GOOD USEABILITY

TECHNICAL ROBUSTNESS

INTELLIGENTLY PLEASING

Context “The University of Kansas (KU) Design and Construction Standards have been developed by the Office of Design and Construction Management (DCM), in cooperation with other KU departments, to establish standard guidelines and minimum requirements for all University of Kansas facility improvement projects.” The new addition to the Spencer must take into consideration the campus design guidelines and standards during the design process. Designing a campus building is a strictly regulated and controlled process. The entire document provides important information for the designer; some important guidelines are as follows. Historic Properties: “Projects directly affecting or within 500’ of facilities and properties listed on the National Register of Historic Places will require special attention to comply with applicable historic preservation guidelines.” The existing Spencer Museum is a historic property so our addition will be conscious of the surroundings and work with the existing aesthetic guidelines. Future Expansion: “The design of each project shall consider the potential need for future expansion and shall indicate how or where this could occur. The project shall be designed to accommodate this as easily as possible in the future.” - Construction documents shall clearly note all provisions for future needs. - Expansion capabilities, such as empty conduits, extra electrical capacity, oversized structural components, future building addition footprints and similar features, shall be clearly indicated on the design and construction drawings for future information and implementation. Campus Aesthetic Guidelines: ‘The opportunity exists to combine the functional and the beautiful in architectural and landscape design, to achieve a unity which will suggest the character and philosophy of the University as a whole, and to provide a source of pleasure and inspiration for all who come to the campus... The design of spaces and forms should consider the relationship of all campus structures with the specific character of the surrounding topography. KU building designs should strive for harmony in relation to the immediate site, adjacent structures, and overall campus massing and context by considering:” - scale, form, massing and shape - color, texture and character of materials - points of access, openness, degree of transparency and fenestration - careful design of the spaces between buildings and distance from streets. Site Guidelines: - Pedestrian campus: preserve pedestrian circulation - Bicycle parking and traffic ways should be considered. - Spaces between buildings and other facilities should be designed as functional areas for activities. There is a need for outdoor gathering places with spaces designed for benches and other furnishings. - Parking: Each building should provide parking to help alleviate the campus shortage. As part of the program for the museum addition, 150 parking spots will be added. - Service areas: Each building should have an area for trash pickup and delivery. They should be designed as an unobtrusive part of the facility. Material Selections: Appropriations for state building projects are funded with a certain degree of finality. It is expected that new facilities will not have need for major repairs or modifications . This concern should be reflected in the selection of interior and exterior materials that require a minimal amount of maintenance. - Maintenance shall be a prime consideration in the selection of all finishes. - Buildings should include technological progress only where there is a proven performance history. - Lecture halls, classrooms, seminar rooms, and rooms requiring privacy will need special acoustical treatment. - New Materials: “Any materials, products or systems that are not broadly recognized as normal, industry standard, proven practices or components shall NOT be used on KU projects, unless specifically reviewed and approved in advance by DCM.” Accessibility: - All buildings shall be designed to be universally accessible, meeting all standards of ADA. - “Separate but equal” as a design concept is unacceptable.

Existing Spencer Museum of Art: Goals and Initial Design Analysis “Long recognized as one of the finest university art museums in the nation, [Spencer] houses an internationally known collection numbering nearly 36,000 artworks and artifacts in all media. Significant holdings include East Asian art; European and American paintings, sculpture and prints; photography; Japanese Edo-period paintings and prints; textiles and quilts; 20th century Chinese paintings, and an ethnographic collection of about 10,000 Native American, African, Latin American and Australian works.”

Mission Statement “The Spencer Museum of Art sustains a culturally diverse collection of art. It encourages interdisciplinary exploration at the intersection of art, ideas, and experience. The Spencer strengthens, supports, and contributes to the academic research and teaching of The University of Kansas and is committed to serving communities of learners across Kansas and beyond.”

The existing Spencer Museum of Art not only houses many galleries, but also lecture halls, classrooms and administration offices. It houses the Department of Art History and the Murphy Library of Art and Architecture. It is a neoclassical structure with 5 floors that sets in the steep grade created by Marvin Grove on main campus.

Goals 1. Serve its many constituencies through thought‐provoking, multi-sensory experiences with art that inspires an understanding of the complexity, beauty, and meaning of human expression. 2. Strengthen and reconsider its collections as a living archive, including artist commissions, object‐centered research, teaching, and transformative public dialogue. 3. Integrate its collections, exhibitions, facilities, and artistic projects into the cross‐disciplinary academic and intellectual life at the University of Kansas (KU) demonstrating connections among creative expression, the environment, global understanding, health, and well‐being. 4. Expand and diversify current funding sources. 5. Improve current infrastructure operations and physical facilities.

Although the Spencer Museum of art is mostly hanging artwork, the collection represents a wide range of art and sculpture. The new addition to the museum will provide three different types of galleries to accommodate such a comprehensive collection. Traditional galleries will be flexible spaces for transitioning exhibitions. Teaching galleries and experimental galleries require special requirements, such as complete darkness or lecturing space. There will also be delivery and curatorial space for the arrival and storage of each new exhibit. Galleries spaces should not only provide a viewing platform for the art but can be rethought to encourage recurring use. Archive spaces and storage spaces should also be reconsidered, allowing for more interaction between the visitor and the collection and amplifying the idea of Spencer as a center of learning. Spencer’s mission and goals must be considered in order to create a successful space, not only for visitors but also for staff and donors.

Clients and Users Identified Client Because this is a public project and a University center of learning, there are several clients to consider for the new museum addition: the University of Kansas, the administration and staff of the existing Spencer Museum of Art, and the donors for the new addition. Administration and Staff: The first step of the design process was to speak with the staff of the museum and survey them on what they would like to see happen in the new museum. It is already stated in the program that they would like the have 3 different gallery types: traditional, experimental and teaching galleries. These galleries will provide the necessary function of an educational museum but should also be re-imagined for how a gallery can provide other support for the community. Gallery spaces have the potential to become space that supports other functions, such as event space at night. Other administrative goals are to design a museum that encourages repeated use and promotes multi-sensory experiences of the art. When speaking to the staff there were a few key design requirements in order for the museum to function well: there must be a flexibility within the gallery spaces to rotate exhibitions, and make larger or smaller spaces as needed. There must be a secure was to transfer are from the loading dock, storage and curatorial spaces, that does not pass through public zones and is fire protected. Finally there must be storage space by the galleries for easy transition of art and display cases. These elements will add to the functional success of the building and allow the museum staff to focus on the educational goals of the museum. The University of Kansas: The University has specific requirements for the design of a campus building, including regarding the use of the site and building materiality. These requirements, as discussed in detail previously, will aid in decisions regarding the coherence of my design within the context of the campus. However, as a university, the main goal for the building is to aid in education, and therefore this should be considered the number one requirement for the addition for this client. All aspects of the architecture, in terms of organization, layout and ease of use, should support and enhance the education of the student body and visitors.

User Although these are considered users for the purposes of pre-design analysis, they must also be thought of as clients. The employees and students of the museum are members of the university and the university is liable to them. As such, these users have as much say about campus buildings as the client, and the importance and use of the building must be considered from this point of view as well. Employees: This museum will house many offices for faculty of the art history department. The museum must be responsive as a workplace as well as a gallery and event space. It must provide a healthy work environment, with an abundance of natural light. The staff must have separate access to the building, ideally from the parking spaces. Meeting rooms, storage space and a variety of types of offices will enhance the flexibility and usability of office spaces. Employees such as janitorial staff must also be considered: for example, the cafe must have a secure connection to the dumpster so that janitorial staff do not need to move through public circulation spaces several times a day to remove trash. Students: The museum will house many classrooms and lecture halls for students from all disciplines on campus. The students will be the most frequent user of the building, and the addition must strive to encourage repeated, daily use. The major student spaces, the auditorium, cafe and teaching galleries, should create a central core of the building to reflect the importance of this user, and promote a sense of community and education. For example, there are no spaces on campus to enjoy a meal with an abundance of sunlight and view of nature. The grove provides an excellent location for such a space, which will also aid in encouraging daily interaction with the museum addition. Visitors: The users of the new addition of the Spencer will be mostly the KU students and faculty. However the museum must also encourage city-wide participation. The architect must determine what can set this museum apart from other buildings on campus to encourage active participation and repeated use. For example, students from secondary and high schools often come to the Spencer Museum for field trips, making it an important requirement for the addition to be child and group friendly.

Donors: The donors for the new addition are a very important client because funding and economy of design become important considerations. As a museum, there is a certain level of caliber and distinction that must be reflected in the design, in terms of beauty of finishes and building appearance. Subjectively, a building design that satisfies each individualâ&#x20AC;&#x2122;s personal taste is impossible to achieve, but certain aspects of the design can enhance the notability of the project and will be important to satisfy the donors. Management of space will also be an important consideration, because each square foot costs money and must be justifiable as an expense.

Site Context

Practice Field (Permanent)

Parking (permanent)

Parking (movable) Campanile Spencer Museum of Art

Spencer Research Library

Marvin Grove

Strong Hall

Bailey Hall Figure Ground KU Campus

Student Union

Natural History Museum Lippincott Hall

Site Analysis

Site considerations There is no actual site boundary for this project; there are only two major design constraints: there must be a physical connection with the existing museum, and the practice field to the north and Memorial Drive to the east cannot be moved. This provides a lot of opportunity to determine the best location for the addition based on context, views and daylighting.

Bike Lanes

Bus Routes

Site Ingress: In terms of ingress to the site, all vehicular traffic will be coming from Mississippi to the southwest. Pedestrian traffic will be coming from all directions, mostly from the West from the Campanile, from the South from Jayhawk Boulevard and from the East, Memorial Drive and the Union. A bus stop currently exists in the parking lot on the north side of the existing building, however this parking lot is not permanent and can be removed for the purposes of the design. However, another location for this bus stop should be considered and would add another ingress point to the site. Most visitors who are not students or university faculty will park in the visitor parking garage northeast of the site, making this area a major ingress point. Based on these considerations, it was determined that the best placement for the building will to the north of the existing museum. Historic Zoning: The site and existing museum are part of a historic zone, meaning that the context must be respected and enhanced by the new addition. This does not, however, limit such factors as materiality and form of the new addition and the interplay between the historic building and the new addition can be a basis for the design parti. Contours: The contours map to the left describes a major challenge with this site. The grove is a steep drop from south to north, creating a partial bowl that only begins to level out at the parking lot. This will be a challenge to integrate the new addition within the site context, respecting the land that forms around the building but also providing an opportunity to reform the land. Initially, designing the building on the north end of the site, and taking up part of the parking lot, will provide a flatter part of the site for construction and avoid digging too much into the grove. The steep drop between Mississippi Street and the parking lot will therefore be the major site design consideration.

Historic Zoning (existing Spencer included)

Contours

Site Views/ Sentiment

The site for the new addition is on one of the most important locations on campus, Marvin grove. Although the design of the grove is based off an English garden rather than a contextual Kansas landscape, the grove is a beautifully shaded, scenic park that is enjoyed by the University and Lawrence community alike. Not only does Marvin Grove provide much needed open space on campus, it also plays an essential role during the graduation procession every year. Each spring, thousands of students participate in KUâ&#x20AC;&#x2122;s unique Commencement tradition, known as â&#x20AC;&#x153;walking down the Hill.â&#x20AC;? Today, the procession begins on Memorial Drive. Graduates cross through the World War II Memorial Campanile and march down the steep hill that leads to Memorial Stadium, where the ceremony takes place. The future of the grove in connection with the museum is also very important. Ideally the museum would like to turn the grove into a sculpture garden, providing an opportunity for the addition to extend out into the landscape. The pathways through the grove may be reworked to transition into the new addition but will maintain the pedestrian circulation through the site and the majority of the open space. As stated in the campus guidelines, the panoramic views, especially to the Campanile and campus to the south, will be highlighted through the design of the building and the site. Some possible design techniques may be to work the terraces of the museum in such a way as to make the Grove the view and celebrate its importance to the campus. The museum addition should enhance the beauty of the grove rather than becoming sculpture in itself.

Aerial from the East

West

North

South

Graduation Day

Climatic Concerns

February

May

Sun The sun path in Lawrence will be very important for the design of the museum addition because daylighting considerations are of utmost importance, especially for gallery spaces. Controlling daylight becomes an essential consideration for both the traditional and experimental galleries. Northern exposure is best because it provides only diffuse sunlight rather than direct sun rays that damage art, affecting building orientation and fenestration. Daylighting from above provides more light than side lighting, suggesting that galleries should be located on the top floor of the building. The mixed climate of Lawrence will be considered when detailing the building assembly.

August

November

Wind The wind comes mainly from the north in Lawrence, suggesting that occupiable outdoor space should be on the southern side of the building. This also allows outdoor spaces to have southern sun exposure, but must have considerations to shade harsh summer sun. All these factors suggest that the best location for the building is on the northern side of the existing building, with the long side of the building running east-west to maximize access to northern diffuse light and block the grove from northern wind.

Project Planning Goals

Design Goals

Key Factors to Address

Planning Goals for the Museum of Art Expansion • Embed the Museum firmly within the University community • Emphasize the powerful function the arts fulfill in academics and society • Develop further collaborative, cross-disciplinary relationships for research, teaching and learning. • Enhance the climate for creative thinking, while maintaining scholarship and responsible care of collections. • Maintain and strengthen the collaborative, supportive relationships that currently exist

Sustainability Sustainability is an incredibly important and inherent part of architectural design today. In order to be sustainable and successful for the client, my building will endeavor to lessen the amount of glazing to increase energy efficiency. The majority of glazing will be on the south side to encourage passive solar heating in the winter and minimize heat loss through the assembly. The building envelope will be designed with “Perfect Wall” guidelines to be energy efficient. Sustainable materials, such as bamboo flooring, will be used where possible.

Quantitative Planning Goals for Spencer Museum of Art Expansion New construction and renovations to the existing facility : • Double Gallery Size • Expand the Study Center Concept to include three additional flexible study rooms and support facilities • Enlarge on site collections storage to support the study center • Enlarge Education program facilities • Enlarge program areas for museum administration and operations. • Enlarge the History of Art facilities to enlarge teaching areas and provide for future growth • Enlarge the Murphy Art and Architecture Library to accommodate projected growth of the collections and supporting instructional space.

Site Use The goal of the design is to honor the existing site, but the fact of construction is that the site will need to be dug out and reconfigured. The design will take advantage of this fact, reflecting the existing bowl form of the site but sloping the new site into the connection between the old and new buildings, emphasizing the parti, of two buildings coming together and the glue that connects them: indoor and outdoor social space. The site will also be formed to allow for placement of sculptures and, based on analysis of existing foot traffic, the pathways will be reconfigured to influence the way people interact with the site and the new building. Galleries Daylighting The best daylighting for galleries is diffuse rather than direct sunlight because sun rays can damage the art. This suggests that northern light is the best for gallery lighting. Light from above is often stronger will illuminate the space easily, influencing the decision to have all galleries on the top floor and to bring light in from the ceiling. The goal is to design spaces with different levels of illumination to allow for maximum flexibility in the gallery spaces. User Access Handicap accessibility at all entrances of the building is a major issue for the University of Kansas campus buildings and will be a consideration when designing access to the addition. Front door access, highlighting the new entrance, will also be an important factor. Designing an entry sequence and forecourt, as well as consideration of site placement and level changes, will aid in guiding users to the new entrance rather than the old portico, which currently draws users to the existing entrance. As shown through site analysis, existing pedestrian and vehicular traffic shows two main site access points, from the south from Jayhawk Boulevard and from the east, from the parking garage on Mississippi Street. This suggests the possibility for two entrances, from both the street and the grove, to increase user interaction with the building.

Program Space Budget

Area Area New NewGalleries Galleries

Majorgalleries, galleries,44@ @6000 6000sq sqft, ft,33@ @3000 3000sq sqft ft 77Major 22Teaching Teachinggalleries galleries22@ @600 600sq sqft ft 22Experimental Experimentalgalleries galleriesat at5000 5000sq sqft ft

Net NetSq SqFt Ft

Grossing GrossingFactor Factor

Gross GrossSquare SquareFoot Foot

Cost Cost/GSF /GSF Cost Costper perArea Area

33000 33000 1200 1200 10000 10000

1.43 1.43 1.43 1.43 1.43 1.43

47190 47190 1716 1716 14300 14300

110 110 110 110 110 110

5,190,900 5,190,900 188,760 188,760 1,573,000 1,573,000

New NewMain MainPublic PublicEntrance Entrance

Entrance EntranceLobby/ Lobby/Foyer FoyerSpace Space Museum MuseumShop Shop Public PublicCafé Caféand andKitchen Kitchen Public Publicmajor majorhall, hall,court, court,commons commons Primary Primaryrestrooms, restrooms,cloackroom, cloackroom,reception reception Public Publicupper upperlevel levelterraces terraces Public Publicentrance entrancefrom fromparking parkinglevels levels

2000 2000 2000 2000 1300 1300 1000 1000 1200 1200 500 500 200 200

1.5 1.5 1.35 1.35 1.5 1.5 1.5 1.5 1.5 1.5 11 1.5 1.5

3000 3000 2700 2700 1950 1950 1500 1500 1800 1800 500 500 300 300

90 90 95 95 123 123 90 90 90 90 90 90 90 90

270,000 270,000 256,500 256,500 239,850 239,850 135,000 135,000 162,000 162,000 45,000 45,000 27,000 27,000

Museum MuseumAdministration Administration

OfÞces, OfÞces,meeting meetingrooms, rooms,conference conferenceroom, room,small smallkitchen kitchen Museum Museumstaff staffentrance entrance Museum Museumoperational operationalofÞces ofÞces(in (inold oldbuilding) building) Secureart artreceiving receivingarea areaincluding includingloading loadingdock dockand andtruck truck Secure

7000 7000 200 200 00 4000 4000

1.25 1.25 1.5 1.5 1.25 1.25 1.4 1.4

8750 8750 300 300 00 5600 5600

110 110 90 90

962,500 962,500 27,000 27,000

58 58

324,800 324,800

Expanded ExpandedArt Artand andArchitecture ArchitectureLibrary Library

Student Studententrance entranceand andfoyer foyer AAL AALlibrary libraryofÞce, ofÞce,workroom, workroom,faculty facultyofÞces ofÞces

500 500 2200 2200

1.5 1.5 1.25 1.25

750 750 2750 2750

90 90 100 100

67500 67500 275000 275000

Art ArtHistory HistoryProvision Provision

HA HAAuditorium Auditorium22 Faculty Facultyand andgraduate graduatestudent studentofÞces ofÞces

2000 2000 1500 1500

2.2 2.2 1.25 1.25

4400 4400 1875 1875

125 125 95 95

550000 550000 178125 178125

22950 22950

1.5 1.5

22951.5 22951.5

Parking: Parking:150 150spaces spacesincluding including55accessible accessible TOTAL TOTAL

99381 99381

10,472,935 10,472,935

Program Space Requirements Public/ Student Spaces Auditorium •storage •raked floor •sound-lock entry (2 doors) •Acoustic angle of walls •Off-centered seats •Double doors •through seats hard surface •seat rows curved •podium •fire exit- connection to outside, connection to exterior wall •place for projector •proportion about 50' x 60' •audio/ lighting desk

Café •movable seating and tables •host desk •access to trash removal not public exit •kitchen •storage •serving counter •cold storage and pantry •clock in area for employees •counter with food display •connection to outdoor seating •hard surface flooring for easy •cleaning •single person seating •lots of natural light •views to grove

Shop •Glass walls •Shelving •Checkout counter •storage room •double glass doors, propped open •doesn't have to be enclosed

Atrium/ Courtyard •seating from café •double or triple height •lots of natural light •main vertical circulation, grand stairs •circulation around atrium •different ways for people to sit, big stairs, benches •places for large sculpture •water feature-- focal pointmemorable •different flooring from galleries •Heart of the building •minimum 30' wide •visual connection to outdoors

Lobby •airlock entry •double doors or revolving 9' height •ceiling height min 12' •reception desk •seating •dim artificial lighting •lot of natural lighting •guided approach to building •overhang min 6' •small amount of comfortable seating •connection right to gift shop •restrooms

Director’s Office •credenza •communal table with 4 chairs •desk •lounge/ love-seat •view, access to outside •storage

Service •private, not through public •space •connection to freight elevator •secure materials, not curtain wall, fire protected •direct connection to galleries and storage •fairly high space ~15'

Conference room •room where donors meet, must reflect important in architecture •giant table, comfy chairs •projection screen •storage •windows with shades, view to grove, lots of natural light •large door •close to entry off atrium

Cloak Room •2 rooms-desk and storage •Automated coat rack or hangers •Lockers or cubbies •student lockers •near lobby/main entrance

Public Upper Terrace •seating away from circulation •movable seating •glass façade •can be indoors or outdoors •view •computer terminals, information centers

Private Spaces Admin Offices •open office space •staff entry from parking lot •bathrooms •desks/ chairs •natural light, views •proper ventilation •storage •carpet flooring •waiting area •front desk with reception •couches and chairs to wait

Meeting Rooms •carpeted •large table with media area •centrally located within offices

Staff Entrance •Access to cloak room and restrooms •hard floors •coat hangers •covered entry

Mechanical •Noisy- keep away from quiet spaces •high sound absorption •ventilation to outdoors •HVAC •boiler •access to outside •circuit breaker/ power supply •secure entrance from outside

Gallery and Museum Galleries •softer flooring- different from hallway •seating, (benches contiguous with flooring) •White walls- plaster •Thick fire safe pocket doors for fire and HVAC •Track Lighting •Temporary Walls- movable

partitions •Ambient Light •Ceiling Height- 15-25' •Door Height ~12' •something memorable? •quirk at bottom of wall- so wall looks floated •concrete double Tees? •gallery walls- sheet rock with plywood underneath

•flexible ceiling heights- vary •possible storage for display cases •height of painting is 58" on center •diffuse light from above •cove lighting

Experimental Galleries •no ambient light •higher ceilings maybe different walls? •different flooring so they can write on it •be more sound proof than other galleries •storage adjacent

Teaching Galleries •Low display cases •Media, computer area •desk for working •direct access off circulation •noisy- sound insulation, can be closed off •storage room adjacent- seating

Mazuta Museum- Simple Intelligence This building represents how simplicity and intelligence form beautiful architecture. The basic form was influenced by the 30 foot height limit on campus and the desire to save the majority of trees on the site, resulting in a 100 foot long, 20 foot high box. The lower floor sinks into the site, creating a shelter for the glass encased information center that doubles as a lecture hall and additional gallery space, with back of house space behind . Above is the gallery space, with a ramp system rising around the exterior, covered by a concrete container composed of 52 concrete panels. Not only does it shelter the circulation, the concrete protects the galleries from solar heat gain and climate extremes. The two separated galleries allowed the architects to create spaces uniquely designed for the specific exhibition requirements. This simple and intelligent structure provides fluid movement throughout the spaces and delicately approaches the necessary lighting and circulation requirements for a small museum. Galleries and Circulation: The two main galleries occupy the second floor of the central floating box, stepping up to follow the ramping system that acts as the main circulation. The ramp is dimensioned to move freight as well as visitors. Visitors move up the ramp from the information center into the gallery lobby space above. From there, you can move through each of the two galleries, then exit past the final gallery, allowing for a gradual and continual sequence through the building. A staircase is also provided for faster alternative circulation between the levels. Lighting: Slits along the vertical joints of the concrete container provide daylighting and ventilation requirements, illuminating the circulation space and allowing ambient light to pass into the gallery spaces. Each of the gallery spaces required unique lighting levels. The more traditional gallery allows for ambient light from the circulation whereas the second gallery, which displays delicate antiquities, is more closed off from ambient daylighting and utilizes soft, even case lighting. The lighting follows the sequence of the circulation, moving from most day lit in the glass encased information center, to the second, dimly-lit windowless gallery space. Overall, The Mazuta Museum represents how simple design does not equate to boring design, quite the opposite. It is clear, the

circulation is fluid and easy for the user but also creates moments of intrigue and exploration through the galleries. The form reflects the function and structure of the building without unneeded adornment is highlights the art with unique daylighting and facade treatment without overpowering it.

Clyfford Still Museum: Creating User-Friendly Gallery Space The Clyfford Still Museum is a 28, 500 square foot monument that houses more than 2300 works of art by Clyfford Still. A level of skylit galleries sits atop a base of offices, open storage, educational exhibitions, research and conservation labs as well as a small entrance lobby with an educational viewing space. The building is constructed of board formed concrete that catches light, honors the nature of the material and creates a hand-crafted aesthetic. Two terraces on the upper level are protected by the outer form of the building and allow visitors to view other parts of Denver. Galleries and Circulation: The gallery and circulation space in the Clyfford Still Museum work together to create fluid movement through the spaces. One main staircase draws visitors up from the lower level entrance lobby into a series of galleries. The rectangular galleries open up to one another with double height slot corridors and walkways that can be seen from below; this creates a connection between the two floors, puts the circulation on display and allows the larger art pieces to be admired from many views and distances throughout the building. The galleries display up to 110 paintings at a time and a glass-encased storeroom allows visitors to see the extent of the collection. Lighting: The ceiling of the upper galleries is formed by a cellular poured-in-place concrete screen with oval shapes that run diagonally on a north facing bias. This screen filters the light from the skylights above and lends a natural glow to the gallery spaces without any harsh direct sunlight. The daylight illuminates the space and bounces off the vertical relief texture of the concrete structural walls. Incandescent fixtures complement the natural daylight and illuminate the paintings. Overall, the Clyfford Still Museum creates successful and intriguing gallery spaces which reflects and highlights the art while allowing the user to control how he or she moves through the space. The variation of levels adds intrigue to the circulation, making the art visible from a variety of viewpoints and adding a sense of people watching to the experience of the art. The flow of the building is controlled yet not constricting, adding to the userâ&#x20AC;&#x2122;s experience of the space and the art.

CHAPTER 2: SCHEMATIC DESIGN • • • • • •

Plan-o-gramming Option 2 Option 2 Simplified Do Easy Simplification Sketches Desired Design Impacts 3 Layouts for Development

Plan-o-gramming: 3 Ideas Big Idea: Building as social center for campus, encouraging daily student engagement

Idea 1

Idea 2

Idea 3

Option 2

Mechanical Mechanical Mechanical Mechanical Mechanical

Experimental Experimental Experimental Galleries Galleries Galleries Experimental Experimental Galleries Galleries

Galleries Galleries Galleries Galleries Galleries

Soil Fill Fill Soil FillSoil Soil Fill Soil Fill

Offices Offices Offices Offices Offices Lobby Lobby Lobby

Atrium Atrium Atrium Cafe Cafe Cafe Lobby Atrium Lobby Atrium Cafe Auditorium Cafe Auditorium Auditorium

Galleries Galleries Galleries Galleries Galleries

Auditorium Auditorium

Galleries Galleries Galleries

Galleries Galleries Galleries Galleries Galleries Galleries Mechanical Galleries Galleries Mechanical Mechanical Galleries Galleries Galleries Mechanical Galleries Mechanical Client This works for the client because it creates a natural flow through the building between the entrance and gallery spaces, with administration over the lobby space, allowing for a direct connection into the existing building from the offices. The intersection between the entrance lobby and atrium spaces provides a Galleries Auditorium Galleries Auditorium Galleries centralized node that everything goes back to, providing easyAuditorium wayfinding. The 90 degree angles of the â&#x20AC;&#x153;box Mechanical Mechanical Mechanical shape allow for relatively easy construction, while the shape of the atrium and lobby space provides visual Galleries Auditorium Galleries Auditorium interest and a feeling of expansion and contraction. Spencer will also appreciate that the space allows for a Mechanical Mechanical variety of functions in the segmented atrium space, from funding parties to student gatherings, as well as more Notes Notes participation by the university with the space. Notes

Patrons The easy wayfinding and centralized courtyard space provide a visually intriguing space that is still easy to navigate. Students will enjoy the cafe space that opens onto a terrace providing expansive views of the grove, southern sun and no northern winds. They will also appreciate a large, centrally located auditorium space that will house classes and university lectures.

- Must have connection from storage directly into galleries without crossing public space--> most storage is on upper floors and delivery inbethe floor of the south side so of transport, connection new building -have Must have connection from storage directly into galleries without crossing public space--> most storage isthe on the floors upper floors and delivery will in third thefloor third of building the building on the side south soease forofease of transport, connection to new building will be - Must connection from storage directly into galleries without crossing public space--> most storage is on the upper and delivery willwill bebe in the third offloor the building onon thethe south soside forfor ease transport, connection to to new building willwill bebe Notes directly into galleries on the third floor. directly into galleries on the third floor. directly into galleries on the third floor. Notes - Must havecannot connection from storage into galleries without crossing public space--> most storage is on the upper floors and delivery will be in the third floor of the building on the south side so for ease of transport, connection to new building will be - Galleries be stacked but should be close together withwith one freight elevator between. - Galleries cannot be stacked butdirectly should be close together one freight elevator between.

Parking 1”=80’ Option 2 Level Simplified

Main Lobby Level 1”=80’

Top Floor 1”=80’

Offices 9,600 sf

Auditorium 3,000 sf

Small Gallery 3,835 sf

Mechanical 4,300 sf

Mechanical 4,300 sf Offices 9,600 sf

Experimental Galleries 10,000 sf

Auditorium Restrooms3,000 sf 720 sf

Experimental Galleries 10,000 sf Restrooms 720 sf

Small Gallery 3,776 sf

Big Gallery 5,850 sf

Big Gallery 4,950 sf

Open to Below Small Teaching Gallery Galleries 2,925 sf 2,880 sf

Cafe 1300 sf

Terrace

Shop 2000 sf

Lobby/Atrium

Open to Below

Big Gallery 5,451 sf Small Gallery 3160 sf

Open to Below

Terrace

Lower Level at Grove • The basement level is set at the height of the parking lot, and has a setback to provide a row of staff parking that leads directly into the offices so that staff do not need to use the main entrance or go up or downstairs to get to their workplace. • The HA offices are combined with the administration offices and are adjacent to the auditorium. • The placement of the auditorium allows the gallery atrium to become a separate lobby in front of the auditorium recognizing that people need to wait for class to get out before entering and that people like to gather and discuss after a lecture. This will probably also connect to a separate entrance opening directly onto the grove where most student pedestrian traffic will be coming from.

Entry Level at Mississippi Street • Corresponds to Spencer’s second floor • Slopes down 7’ from street level providing opportunity for ramped entry sequence into new main entrance • Connects through new entry into Spencer in north wall. • Because of grade change, the lobby atrium is the main level entrance on the East side and becomes a balcony terrace on the north, providing a unique way to experience to grove, slightly above the pedestrian traffic. • The lobby atrium provides the visual connection to Spencer without blocking any of the existing walls and also provides a direct line of sight to the campanile. • The atrium’s are zoned (lobby atrium and gallery atrium) to provide 2 different experiences and spaces within the addition, the lobby atrium housing the cafe seating and the gallery atrium housing sculpture and the main circulation.

Upper Level and Outdoor Terrace • Corresponds to Spencer’s third floor (where the existing main entrance East-West Section Through Lobby 1”=80’ is located.) • Bridge on third level is semi-private to show process of museum and connects to level that the new secure delivery will be on. Staff can bring art through third level to the staff only circulation where a freight elevator will connect to staff only walkways on all levels. These walkways connect into the galleries on all levels, making it so staff do not need to Galleries walk through a lobby or atrium space to get to the new galleries. Galleries

Auditorium

East-West Section Through Addition 1”=80

Option 2 Simplified

AT R

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Y BB LO

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M ATRIU

GALLERY S

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GALLERY

GALLERY MECH.

Levels and Central Core

Sunlit Buffer to Existing and View to Campanile

Galleries Galleries

OFFICES

Approach and Connection

Galleries Auditorium

Offices

The form of the building is derived from a 1:2 ratio like the existing Spencer that steps up on the North side of the existing building to street level. The levels of the building are arranged around a central 55’ high gallery atrium that will contain the main circulation and overlooks. The connecting atrium between the two buildings is a straight line to the Campanile providing the main view, acts as a buffer between the spaces and allows Spencer to remain as a whole entity, The terrace is angled to the side to open up to the rest of the grove and connect to the West wall of the existing building. Benefits of the building form The building form provides a simple structure that can be economically feasible. It also creates clear and natural circulation through the addition by creating a central court that node that all galleries orient around.

Possible materials Limestone is a very sustainable material in Kansas and can be used to reflect the existing building. Metal panels will be used in places to highlight important features such as the connection between old and new buildings and the connection point between the galleries (the gallery atrium) These are also the major circulation routes, allowing the building envelope to act as a reflection of the interior programmed spaces. Galleries

Galleries

Comments after 2/18 pinup Galleries Offices • how does the user know to go to the main circulation atrium if it cuts north/south andAuditorium is not viewable from entry atrium?--> Simplify circulation • Develop connection between the two buildings, how do they relate?

Do Easy Simplification: Sketches

During the design process I needed to take a step back from layout and determine what I wanted the spaces to feel like and function. I needed to simplify my ideas to have one or two main focuses that would guide the design. I did a lot of sketching to determine the quality of space that I was looking for. These influenced the switch to a much clearer program layout and circulation but also guided the special moments in my building, the parts of the building that represent my architectural intent: the small bump out walls and angled walls and floors to entice movement through the building and draw attention to the most important spaces. To add architectural intrigue and memorable moments, breaking the rigidity of the grid I was tied down to in the beginning and allowing this flexibility to inform my design.

Sketches to Inform Design The sketches above represent a few of the key moments I was looking for: simplifying circulation around an atrium, lining the galleries in a row along common space, and arranging student areas around the cove to make gathering space act as a central node between old, new and grove. Within the galleries I was wanting to create and interaction between the spaces, creating phenomenological views through multiple openings and picture windows, and creating double height spaces with balconies to allow more ways to view the art. For the building approach, I sketched an entry connection with the new building, a bench for people to rest on as part of the wall, a sculpture court and steps to create an entry sequence.

Sketch with Key Desired Design Impacts

Strip of glass to bring light into atrium and highlight importance of circulation space

Large glass curtain wall to provide upper level view of grove and people

View at end of hallway to Campanile (icon of KU campus)

Indoor upper terrace along circulation path to provide break from walking, possible information area Partial views of pieces of art in galleries to encourage users to experience the art

Main circulation route wide enough to weave around sculpture- creates interactive circulation space

Overlook into atrium, cafe and main student gathering space

Terrace

3 Layouts for Main Floor

Option 1

Option 2

Galleries

Option 3

Galleries

Offices Galleries Aud. Shop

Upper Terrace

Shop

Upper Terrace

Shop

Cafe

Pros Pros -Let’sitself Spencer profile itself -Let’s Spencer profile This first arrangement of spaces endeavors to create a main circulation The second arrangement keeps the linear gallery arrangement but -creates sculpture court out front -creates sculpture court out front route through moves the entrance and lobby Option 2 the major programmatic spaces, lining the galleries along Option 3 closer to the existing north wall. lobby overlook intolobby atrium -large lobby overlook the north edge to receive indirect sunlight and create a fluid, continuous It -large blocksinto the atrium north wall with support, like cloak room and atrium not as long movement through the art. The protruding spaces into the circulation restrooms but keeps the corner of Spencer exposed, allowing the - atrium not as long route was the first attempt at creating an architectural form of inviting existing Cons building to profile itself. The shop angles back out, creating Cons the user into the gallery spaces. The shop and lobby support spaces are an-Blocking entry courtSpencer’s in the front.north wall -Blocking Spencer’s north wall aligned next to the front door which sticks out from the rest as a visual Some possible problems with arrangement occur with the break in -circulation as clear -circulation notcirculation as clear flow not cue of entry. The northern wall of the existing Spencer Museum was from the entrance to the gallery walk, however, this Galleries left exposed to honor the Galleries existing structure and provide a view to the could allow for some architectural space in that connecting zone and connection between the two buildings from the entry. However, upon further analysis of sun and shadow, it was determined that this would Shop create a dark, narrow and ultimately unoccupiable space that could not be justified by the aforementioned design motives. This first option was chosen as the bestUpper of the three to continue developing.

Terrace

highlights the main wall of the shop.

Option 3

Pros -clear view from lobby into atrium and gallerie -upper terrace over cafe, for media/rest space Galleries Galleries -let’s Spencer profile itself -entry sticks out, can be seen from all sides -shop is made reverse profile to Spencer Shop can see connection to Spencer from street Upper Upper Terrace TerraceCon -connection to Spencer not as clear

Pros Pros -large lobby overlook into atrium -large lobby overlook atrium This last arrangement of spacesinto brings the wall of the lobby directly next the -connection to Spencer to front, makes sto -connection to Spencer brought to front, makes storage below northern wall of the existing building, highlighting thebrought beauty of the existing easier easier limestone and allowing the existing wall the act as a piece of art within the -lobby sticks into court, highlighting entrance lobby.-lobby The shop steps out from rest highlighting of thefront facade guiding visitors to all the sticks into frontthe court, entrance from sides new entrance and highlighting the important function. However, this arrangement of spaces elongated the circulation corridor, Cons Cons making patrons walk further distances and backtrack to the staircase by the -Spencer can’t profile itself -Spencer profile existing building can’t to go down to itself the student spaces. The shop is also no longer -circulation not as clear/too -circulation not as clear/too long viewable from the galleries and is not as clearly connectedlong to the rest of the spaces. Finally the lobby connects to the front of the existing building on the same plane, creating a consistency in the facade but no longer allowing Spencer Shop to profile itself.

Upper Terrace

CHAPTER 3: THE FINAL DESIGN

• • • • • • • • • • • •

Perspective of Approach Site Plan Zoning and Programmatic Spatial Qualities Museum User Map Floor Plan- Entry Level at Mississippi Street Floor Plan- Grove and Parking Level Elevations Detail Sectional Perspective Axonometric Site View Post- Review Design Changes Updated Design

Approach to New Entrance from Mississippi Street and Parking Garage

Site Plan Practice Fields

Visitor Parking Garage

Employee Parking

Mississippi Street

Ca m

nil

Kansas Union

Sculpture Garden

Spencer Research Library

Jayh rd

k Bo ulev a

Natural History Museum

0’

50’

100’

200’

Zoning and Programmatic Qualities

ssi

i St

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The Cove

Public/Student

Galleries

Private

The concept of the building is to have a regular geometric form reflect the existing Spencer, with a core of student and public functions to act as a social hub and bring users into the building. The atrium acts as the central court of the building and the grove, connecting the existing building with the new addition. All circulation and public/student functions are arranged around this social center, which extends into the grove and invites students into the building from both the grove and the library.

The lobby, shop and support spaces are placed at the main entry of the building on street level, acting as the main entry from the parking garage for visitors. The cafe and auditorium are arranged around the atrium at grove level, which will act as the main entry for students approaching from Jayhawk Boulevard. All public, student and support functions are arranged along the main circulation route, centralized around the double height atrium. The shop, auditorium and cafe all extend into the atrium, highlighting the important user function, and encouraging social interaction in the atrium.

The galleries are arranged in a linear sequence along the main circulation route. The gallery sequence allows for fluid, natural circulation through the museum, ending right at the cafe, and the exit to the grove or back up to the lobby. There are three different types of gallery spaces, each with unique lighting and structural qualities, providing for flexibility in arrangement and display of the art. The experimental galleries have high ceilings to facilitate the display of hanging art, and are completely blocked from light. The main galleries have a sawtooth roof to bring in an abundance of daylight. Three galleries, including the teaching galleries are on the lower level outside the atrium to connect to the other student areas, with less natural light and a stronger floor for sculptures.

The offices, mechanical room, storage and secure corridor for art transfer are all located on the lower level next to the existing building. The offices are located directly off the main circulation route by the atrium to connect the employees with the visitors and to facilitate security. There is also an entry from the parking lot if museum staff do not want to pass through public zones. The secure corridor for art passes directly from Spencer into a freight elevator in the galleries. Storage space is located right off the atrium for event storage and possible excess art storage.

Museum User Map

Emergency Exit

Galleries

Offices

Galleries

Cafe Sculpture Hall

Break/ Study

Auditorium

Public Museum Connection to Spencer Entrance from Grove

Lower Level (Grove and Parking)

Lobby

0’ 5’

20’

50’

100’

Museum Entrance from Mississippi Street

Shop

Secure Transfer

Employee Connection to Spencer

Entrance Level from Mississippi Street

0’ 5’

20’

50’

100’

Floor Plan- Entry Level at Mississippi Street

Small Gallery

Large Gallery

Experimental Gallery

Large Gallery

Sculpture Court

Lobby DN

Media/ Break Area Open to Below

0’ 5’

20’

50’

100’

Floor Plan- Lower Level (Grove and Parking)

Large Gallery

Small Gallery

Mechanical

Teaching Gallery

Cafe

Secure Art Transfer/ Atrium Storage

Open Teaching

0’ 5’

20’

50’

100’

Elevations

west elevation

north elevation

0’ 5’

20’

50’

100’

Structure

Egress

Structure 1 Primary Structure: Bay Size 36’ x 64’ Girders: 64’ long x 36” depth Columns: 8” steel Secondary Structure: Joists: 36’ long spaced at 8’ o.c.

Structure 2 Primary Structure: Bay Size 52’ x 64’ Girders: 64’ long x 36” depth Columns: 8” steel Secondary Structure” Joists: 52’ long spaced at 8’ o.c.

Zone Galleries (unsprinklered) Lobby/shop/restrooms Offices Auditorium/ Teaching Storage/Mechanical/Restrooms Atrium plaza space

Max. Common Path 75’ 73’ 40’ 55’ 75’ 28’

PRODUCED BY AN AUTODESK STUDENT PRODUCT

Detail

Max. To Exit 1 134’ 124’ 120’ 55’ 108’ 87’

Max. To Exit 2 155’ 130’ 108’ 105’ 166’ 127’

Section A

information media space and rest area for museum legs

outdoor terrace to enjoy sunlight and view of grove, blocked from northern wind

platform at 1â&#x20AC;&#x2122;6â&#x20AC;? to extend nature into building, act as seating and maintain consistent eye levels

setback walls and glass partitions to allow partial view into galleries

open teaching platform outside teaching gallery

angled glass cafe wall to draw in patrons

sawtooth roof to maximize northern daylighting in galleries

open plan offices to maximize daylighting

Axonometric Site View

Post Review- Major Considerations 1. Must develop site and landscaping, especially in front forecourt. • How does forecourt connect to site and street? • Must have bus drop off area because school field trips are a major user of the building • Handicap accessibility considerations for main entry and grove entrance • Code considerations of front steps- landings and handrails • Where will Spencer hang their banners?

3. Gallery functionality • The freight elevator goes right into experimental galleries because those are rotated most often •There are three different types of galleries, daylighting and location, to allow a variety of ways to Display the art and sculpture. However, there is no secure corridor connecting all the galleries so if one closes, the art must be moved through public circulation. On the few occasions that a permanent gallery is closed, the art can be moved during closing hours.

2. Is design of canopy feasible? How is it held up? • The design of the canopy was adjusted to make sure the angle of the cables connecting it to the roof is less than 30 degrees. The lightweight, precast construction and steel cables above allow the canopy to appear thin and floating above the entry.

4. Front appears monolithic and similar to weight of existing building • A picture window, with closing blackout shutters was added so people on the street can see into experimental galleries. • Banners will be hung along the Eastern wall of Spencer to guide people to the new entrance and add color to the facade.

Updated Site Plan

Cooling Tower Employee Parking

Mississippi Street

Practice Fields

Cooling tower by mechanical space but away from galleries to distance noise Skylights for even distribution of daylighting in galleries without worry of water leakage on art

Visitor Parking Garage

Forecourt connection to sidewalk for easy access to entry/ gathering steps

Ca m

Road inlet for school bus drop off

nil

e Kansas Union

Handicap accessible ramp to entry court and code compliant railings on steps

Sculpture Garden

Bench along existing wall for normal height seating by sculpture

awk

Jayh Bo u l e vard

0’

50’

100’

200’

Reconfigured pathways based on pedestrian flow to new entrances and sculpture garden

Post Review Design Changes (Section Perspective A) 5. Sawtooth roofs are very hard to waterproof, which is dangerous over gallery spaces. • The sawtooth roof was replaced with polycarbonate skylights that are manufactured as one complete piece and can be placed on up-stands on the roof to help avoid water leakage into the galleries.

6. Passive solar (heat gain, heat loss) through large glazing on south wall • I conducted a sun study and determined that the slope of the site to the south and the many trees will shade the glass wall in the summer months, but falling leaves will allow winter sun to penetrate the atrium. •To avoid heat gain/loss, 50% of glazing was removed from south wall. Total, only 30% of the structure is glazing, which is the recommendation for an energy efficient building envelope.

8. Design of fire exits and emergency circulation •The stairs of the fire exits were changed to straight with a landing rather than doubling back to ensure that it is clear which door leads outside. The corridor was changed to 12’ wide rather than 16’ because it was suggested that too much space in an exit can be confusing when people are panicked but a large area is necessary to accommodate the flow of traffic.

7. Consider importance of main floor circulation area- how do people interact with that space? •Because the main circulation route is one of the most important designed spaces in the building, I designed a few key features for people. I added a clerestory window above to bring in daylight directly

Setback entry into auditorium so door doesn’t swing into atrium

Wall to separate main circulation from media space

into that space. The hallway is wide enough for people to wander around sculpture. I designed accidental benches and handrails that grow out of the walls/balcony which adds architectural interest and places for people to sit and lean without obtrusive benches.

9. Auditorium doors open right into atrium • The entrances to the auditorium were redesigned to include a setback zone to avoid the door swinging into public traffic space. and allow for another sound buffer.

Storage mezzanine to maximize space use in offices

Translucent skylights to distribute diffuse daylight into galleries

Updated Axonometric

Interior Moment

Importance of Comprehensive Design Thinking

Technical integration must be considered simultaneously with design so that the two will work together to make a sustainable, economical, and architecturally successful building. Technical integration can potentially be too restricting on design, and it is important to realize that a grid structured building can still have architecturally creative design elements. The museum addition I have designed complies with the studioâ&#x20AC;&#x2122;s objective of having the student design a technically feasible and statutory- compliant building while still providing an example of design creativity and intelligent spatial layout. Previously learned site design and formal design skills were utilized to create an architecturally aesthetic and innovative design response to the provided design problem. Although this was the first attempt at technical integration in a studio setting, I utilized previously learned building construction and standards skills to ensure my building would be economically and technically feasible as a museum addition in terms of structure, energy efficiency, mechanical systems and code compliance. Overall, comprehensive studio is about technical integration, building and construction science application to the design process, which informed and enhanced my buildingâ&#x20AC;&#x2122;s design.

CHAPTER 4: TECHNICAL INTEGRATION

• • • • • • • • • • • •

Structural Diagrams Structural Plans Detail Plans Detail Plan- Entry Level Detail Plan- Grove Level The Perfect Wall Construction Assembly Section Through Perfect Wall Foundation Detail Full Section Detail Parapet Detail Skylight Detail

Structural Diagrams

The structural design of the building was based on multiple factors: the long, column free spans required by the gallery spaces, the required floor to floor heights, and the site requirements. Based on these factors, it was determined that steel would be the most efficient and most economical material for construction. To achieve a 5000 square foot column free space, a 64’ span was required, calling for a deep girder and therefore a large ceiling plenum space. Wide flange steel beams, at 8’ o.c., span the shorter 36’ distance to carry the heavy load of any possible art and sculpture in the galleries. This bay size was determined based on an 4’ standard increment dimension for hot rolled steel, as well as the space requirements and ideal shape of a large gallery. The regular grid of the building is an economical form of construction, allowing all beams to be factory manufactured and quickly assembled on site. The two parts of the building remain on the same column grid, easing construction. Only one area of the structure is angled, creating architectural interest in the circulation space, and breaking the regularity in the major public area, between the galleries and atrium.

Primary Structure Columns: W8 Wide Flange Steel 10” x10” Girders: W40 x 264 Wide Flange Steel Section 64’ Span, 40” depth, 13” Web Width

Structural Diagrams

Secondary Structure

Tertiary Structure

Beams: 36’ Span: W24 x 117, 24” depth at 8’ spacing 48’ Span: W 33 x 201, 33” depth at 8’ spacing 4’ Overhang at Curtain Wall: T Beam 12” depth

Cross Bracing Knee Bracing- in roof to allow for skylights Full Story Knee Bracing- In some walls to allow for windows, allows more bending in floor beams than cross bracing so it’s used only where necessary Composite metal and concrete decking

Structural Plans

W24 x 117

W40x 264

W33x 201

Structural Plan Level 2

0’ 5’

20’

50’

100’

Structural Plan Roof

0’ 5’

20’

50’

100’

Plan Details

Entry Level at Mississippi Street

0’ 5’

20’

50’

100’

Lower Level (Grove and Parking)

0’ 5’

20’

50’

100’

51 -

64' - 0"

Bamboo flooring in galleries

40' - 0"

15' - 0" 5

mullion curtain wall with low E glazing

18'- "0

glass wall to preview galleries

angled bench against gallery wall

angled handrail for people to lean on

open to below

36' - 0" 36' - 0" 48' - 0"

Plan Detail- Entry Level at Mississippi Street (3/32â&#x20AC;? = 1â&#x20AC;&#x2122;)

butt glazed glass half wall with stainless steel railing

24' - 0"

change in flooring to signify end of circulation space

computers with museum information

10' - 0"

14' - 6"

office reception

floor plane overhead

8' - 0"

Plan Detail- Lower Level (3/32” = 1’) 13' - 0"

glass wall preview into teaching galleries

/1 5' - 9 5 6" 3

media and lighting room

auditorium and atrium storage

10' - 0"

plinth 18” above atrium continuing out to sculpture court

moveable benches

custom angled staircase with glass and steel railing

moveable cafe seating

conference room with view to atrium and grove

40' - 0"

individual cafe bench seating

sculpture platform

53 36' - 0" 36' - 0" 48' - 0"

24- 0"

Platform for open teaching and seating outside auditorium

128 seat auditorium

5' - 9 5/8"

The Perfect Wall

The Perfect Wall is a method of technical detail that pertains to the entire building’s wall and roof assembly, and a theory that influenced the design and construction of the museum’s building envelope. Extensive research has been done to determine a few key best practices for wall and roof construction that will help increase a building’s energy efficiency and decrease impact of environmental factors based on climate and location. The basic idea of the perfect wall is to ensure that the vapor barrier and insulation are continuous the entire length of the wall and roof to prevent any thermal breaks in the building envelope resulting in lost R-value of the building assembly. The insulation is moved from inside the wall studs, as typical in wall construction, outside the structure to maintain a continuous thermal barrier. This is also useful in climates with extreme temperature changes, like Lawrence, Kansas, because it prevents a major drop in temperature between the inside and outside of the structure, which typically results in condensation within the wall. Because a key component of the perfect wall is continuous insulation, technical integration influenced the choice of the building’s materiality and appearance. A rainscreen method was chosen for the main materiality, which is held on by clips that go through the insulation to the main structure. These clips occur every 6’ and are covered with a spray foam insulation to ensure no air leakage through the gap. This minimizes any thermal breaks in the assembly and allows the designer to pick from a variety of building materials and maintain a high wall R-value. An air cavity behind the metal panels allows any water the does pass by to drain down the insulation barrier and out the bottom. The Perfect Wall suggests that insulation should be continuous from roof, to wall, and around the foundation. Although the impact on insulation from the load of the building and water in the soil is yet to be tested over time, this technique allows for a thermally tight building envelope which allows the building to be much more energy efficient. Combined with other sustainable techniques, the Perfect Wall aids in the sustainable integrity of the Spencer Museum of Art addition.

Construction Assembly

Structure

Cover Board

Sheathing

TPO Roof Membrane

Vapor Barrier

Rainscreen Grid

Insulation

Metal Panels 55

Section Through Perfect Wall (Section B) .050 Cont. perforated coping support clip, attached with S.S. fasteners @ 24” o.c., colored to match rainscreen 6’ x 8’ Aluminum Panels Suspended by Knight Wall System Rainscreen Grid W40 x 264 Wide Flange structural steel girder

5/8” OSB sheathing

Cross Bracing

TPO Roofing Membrane Cover Board 5” Rigid Insulation in 2 layers 1/2” OSB Sheathing 3” Metal Decking Bolted to Steel Beams W33 X 201 Wide Flange Steel beam BASWAphon Seamless Sound Absorbing Plaster ceiling system

3” Extruded Polystyrene Rigid Insulation- Owens Corning

“Tyvek Commercial Wrap” Vapor Barrier

4” steel studs 2 layers of 5/8” gypsum board

Finish Flooring Screed with underfloor heating 2” Rigid Insulation 4” Concrete and Metal Composite Decking W33 X 201 Wide Flange Steel beam

Section Through Perfect Wall Foundation Detail (Section B)

6’ x 8’ Aluminum Panels Suspended by Knight Wall System Rainscreen Grid 3” Extruded Polystyrene Rigid Insulation- Owens Corning 5/8” OSB sheathing

Cross Bracing

“Tyvek Commercial Wrap” Vapor Barrier 4” steel studs 2 layers of 5/8” gypsum board flashing

gravel for drainage 6” diameter perforated drain pipe

Finish Flooring 4” Concrete slab with underfloor heating Vapor Barrier 3” Rigid Insulation 4” gravel bed backfill soil

existing soil

Detail Section C (1/8” = 1’)

Curtain Wall to Parapet Detail (1 1/2” = 1’)

.050 Cont. perforated coping support clip, attached with S.S. fasteners @ 24” o.c.

.050 Aluminum coping, color to match aluminum panels, with .050 butt plate, 12” long, 4 beads of sealant per joint TPO Roofing Membrane folded over cant strip and up under coping

6’ x 8’ Aluminum Panels Suspended by Knight Wall System Rainscreen Grid

3/4” Vertical Rail (Knight Wall System Rainscreen Grid)

Kawneer 1600 Wall System 2 with standard 6” mullion depth with concealed fastener joinery for smooth appearance Mullion anchor clipped to steel support

BASWAphon Seamless Sound Absorbing Plaster ceiling system, attached to plaster ceiling grid suspended by cables from structure

Roof and Skylight Detail (1 1/2â&#x20AC;?= 1â&#x20AC;&#x2122;) Acrylic outer pyramid Acrylic inner pyramid Glazing tape

.062 Ext. Alum. Retaining Angle

Seal Tape Interior glazing tape Polyurethane thermal break Retaining fastener

Weather stripping or sealant

Condensate gutter

Vapor Barrier wraps around curb

Ext. Alum. curb frame

Roofing Membrane wraps under flashing

CHAPTER 5: TECHNICAL INFORMATION

• Mechanical Systems • Code Compliance

Mechanical Systems

CAV Air Handler

6’ x 7’ 26 x 40” 24 x 36”

18” x 24” 12” x 18”

VAV Air Handler

Museums require a very specialized environment in order to protect and preserve the art. The new addition to the Spencer Museum of Art will utilize two different air systems. The first is a Constant Air Volume system that will ensure the gallery and art storage environment stays at a constant temperature and humidity level, which is very important for the art. The second, a Variable Air Volume system, will be used for the other spaces that are only occupied during main opening hours during the week and do not need to be constantly conditioned, such as the auditorium and office space. The design of the mechanical system for the museum was based on a research about optimization of museum environments and building additions. Although the optimum location for a mechanical space is typically in the center of a building, to minimize duct runs, this mechanical room is positioned centrally between the new addition and the existing Spencer in order to possibly tie into the existing mechanical and electrical system. A mechanical systems engineer would decide if this is a suitable situation to use the existing system, therefore a completely separate system was designed in this case. The CAV system ties into an air handler on the roof, over the lobby area rather than the galleries because of noise and vibration issues. The VAV system ties into an air handler in the mechanical room. Rectangular ducts were chosen because they minimize vibration and floor depth. The design of the vents was also taken into consideration. Because of the large volumes of space, the cool air will be released from strip vents in the ceiling that allow for lower air pressure, in turn minimizing noise. Slot diffusers also look nicer than square or round diffusers and tie better into the setting. Because of the high ceilings, and underfloor heating system is used to condition only the occupied space and let the heat rise to the ceiling. This also provides constant heating conditions for the art in the winter.

Code Compliance The code requirements for fire safety and emergency egress influenced the design of the museum addition. The maximum distance to the common path in any space is 75’ which influenced the proportion and net square footage of each gallery as well as the arrangement of the walls that bump out into the circulation area. The central circulation corridor allowed me to arrange all the emergency exits along this path, creating one central axis and easy navigation to exits. Fires can cause a hectic and scary environment, making it more difficult for users to think clearly and navigate to an exit, making it incredibly important to have clearly defined emergency paths. There are two exits within 200’ of any space in the museum, the maximum distance being 166’ which is well within guidelines. The design of the egress stairs required a landing in between because of the large floor to floor height. Each stair is designed to deposit the user right at an exit door without passing any other doors. Each exit door leads to either a public path or parking lot. These cores are fire protected with a sprinkler system. A unique chemical fire suppression system is used in the gallery spaces to protect the art but allowed the code required distances to remain at a maximum of 200’. Each space is separated by at least 2 hour fire rating, and each gallery has pocket door separators to block the passage of fire. Another aspect of the code was the design of the storage mezzanine, which could be a maximum of 3000 square feet, but the addition of this mezzanine adds much needed storage space to the offices, allowing all space on the ground floor to be occupiable. Finally, the outer paths and plaza in the grove was designed to be strong enough to bear the weight of a fire truck to allow access around the entire building. Zone Galleries (unsprinklered) Lobby/shop/restrooms Offices Auditorium/ Teaching Storage/Mechanical/ Restrooms Atrium plaza space

Max. Common Path 75’ 73’ 40’ 55’ 75’ 28’

Max. To Exit 1 134’ 124’ 120’ 55’ 108’ 87’

Max. To Exit 2 155’ 130’ 108’ 105’ 166’ 127’ 90’

APPENDIX

• Technical Integration: Detail Development • Technical Information Resources • Acknowledgments

Technical Integration: Detail Development

Curtain Wall to Parapet Connection sketch

Preliminary Perfect Wall Detail

Foundation Detail Sketch

Technical Information Resources

Basics of Construction and Building Envelopes • The Architect’s Studio Companion- Edward Allen and Joseph Iano • Steel Construction Handbook • Building Construction Illustrated- Francis Ching • Materials, Structures and Standards- Julia McMorrough • Fundamentals of Building Construction, Materials and Methods- Allen and Iano • Modern Construction Envelopes- Andrew Watts • Modern Construction Handbook- Watts Drywall Grid System • http://www.armstrong.com/commceilingsna/ceiling-caddrawings.jsp;jsessionid=9AD121971E4E4D62BF09F7203E7266D4. lsnas033_02?itemId=59&prodLineFlag=Y&productType=2&itemName=Drywall+Grid+System Ceiling System • http://baswaphon.com/installation_BASWAphon.html

Perfect Wall Parapet sketch

Overhang load path

Curtain Wall • http://www.kawneer.com/kawneer/north_america/catalog/pdf/1600_Wall_Sys2__E--A.pdf Rainscreen • http://www.metalwerksusa.com/docs/ARCWALL_PLATE_PERS.pdf • http://www.knightwallsystems.com/uploads/typical%20details/dow-knight/kws_ci_metal_panels_0316.pdf Perfect Wall • http://www.buildingscience.com/documents/insights/bsi-050-parapets-where-roofs-meet-walls Skylights • http://www.starlightskylights.com/specsanddrawings.html?variation=distributor Cad drawings • http://www2.dupont.com/Tyvek_Weatherization/en_US/tech_info/cad_residential.html

Horizontal section through rainscreen

Roof Drain Sketch

Acknowledgments

Comprehensive studio was a great learning experience for me on many levels. This was the first time I had to fully take technical integration, structural design, and economy into consideration during the design phase. Beginning with technical integration was initially limiting to my creative design and I needed to learn how to combine the two, technical integration and creative design, without having one limit the other. I have many people to thank for their guidance, support, and input during this process. Firstly, I’d like to thank my studio professor, Bill Carswell, for encouraging me to continue working as hard as I possibly could and to continue pushing my mind to learn new things and think on new creative levels. I learned to accept that nothing will ever be perfect in such a short amount of time, and that in order to create a successful design an architect must think of everything, maximizing the successes of the design and minimizing one’s weaknesses. I learned to take advantage of every small space of my design, that every square foot costs money and therefore should contribute to the success of the building in some way. Ultimately I learned to look at the building as a whole but also how each detail contributes to that whole, and how each detail affects the person using the space. Secondly, I would like to thank Keith Diaz-Moore and Kent Spreckelmeyer for all their advice and support during this process. I’d also like to thank Genevieve Baudoin and Shannon Criss for their insightful advice on design, technical integration and presentation, as well as my studio peers, who provided very helpful critiques and who often helped me focus on what’s important. I know that moving forward I will never wait to consider duct sizes, ceiling depth and code issues until after I have already designed the building, and I will focus on the small details of design as much as a I do spatial layout. This studio was a learning experience for me in many ways and I like to think I learned a lot about perseverance and personal strength as much as I learned about architecture. Thank you, Sarah Moser