SELECTED WORKS A collection of academic and professional work as it relates to architecture.
VOLUME 03
Paul Arduini
ONTENT
01
p. 04 - 31
Museo del Ludus Magnus A museum in Rome, Italy, opposing the Colosseum.
02
p. 32 - 49
Library at Audubon Terrace A library situated towards the tip of Manhattan.
03
p. 50 - 63
Loeb Drama Center In Cambridge, MA, this addition adds to a renowned theater.
04
p. 64 - 73
The Cube A respite from the world; this cube has no home.
05
p. 74 - 85
Liberty Island Competition A “center for action� and museum about civil rights.
06
p. 86 - 99
Digital Fabrication A course based on digital fabrication techniques.
07
p. 100 - 111
Axonography A course based axonometric projection.
08
p. 112 - 135
Professional Work A brief walkthrough of multiple years of professional experience.
COMPLETED ROME, ITALY
Professor
MARK KLOPFER
Museum
Program
Museo del Ludus Magnus
scale @ 1/256�
1,906 s
Location
20 17
Exhibition Space Fixed Gallery Temporary Gallery Cafeteria Gift shop Information / Tickets Lecture Hall Film Screening Room Lab / Restoration Restrooms Conference Room Offices
The museum of the Ludus Magnus depicts two paths; the path of the native Roman and the path of the visitor. A long platform reaches out from the museum across the ruins to create a long processional path. The path can be occupied, observed, walked, sat on, and interacted with. This path is meant to be a destination in itself; it visually bridges the gap between the massive Colosseum and the subterranean ruins of the Ludus Magnus. To the native Roman, the walkway becomes a destination rather than a tourist attraction. Spanning the entire length of the excavated Ludus Magnus, the people of Rome may spend their time observing and spectating the flow of visitor movement from above. The visitor will enter from the street, as the museum is eager to disseminate its knowledge of the Ludus Magnus. Throughout the museum, the visitor is presented with metaphorical tunnels that proceed to the ground level of the ruins.
01 p. 05
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MUSEO DEL LUDUS MAGNUS / ROME, ITALY, PROJECT 01
MUSEO DEL LUDUS MAGNUS / ROME, ITALY / PROJECT 01
DOMUS AUREA
COLOSSEUM
LUDUS MAGNUS
ROMAN FORUM
Historical landmarks are lost without a formal entry. The Ludus Magnus, the largest of four gladiator training schools in Rome, sits opposite the Colosseum. The two historic sites are tied together beneath the ground by a 180 foot-long tunnel that was used by Gladiators to travel from training to battle without emerging from the ground. Approximately one half of the Ludus Magnus and the entirety of the tunnel are currently un-excavated beneath the ground. The proposal for a museum at this site
attempts to reconcile the disconnect between two ruins that once served an enormous role in Roman culture. Tourists travel from all over the world and cycle through the museum quickly, in theory, to arrive once and never return; resident Romans spectate their entertainment from above, similar to the upper tier viewing platform of the ancient Ludus Magnus overlooking the gladiator training pit. This setup places the visitor in the location of the gladiator, who is then spectated by the Romans.
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MUSEO DEL LUDUS MAGNUS / ROME, ITALY, PROJECT 01
MUSEO DEL LUDUS MAGNUS / ROME, ITALY / PROJECT 01
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MUSEO DEL LUDUS MAGNUS / ROME, ITALY, PROJECT 01
PROCESS
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MUSEO DEL LUDUS MAGNUS / ROME, ITALY / PROJECT 01
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MUSEO DEL LUDUS MAGNUS / ROME, ITALY, PROJECT 01
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MUSEO DEL LUDUS MAGNUS / ROME, ITALY / PROJECT 01
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Ancient Rome is a city of walls, as the ancient walls are the primary structures left standing after thousands of years. The roofs were often constructed of wood and have long been erased by the detrimental effects of time, weather, and both natural and conscious causes. The Museum contains visually weighted vertical walls to form perceptive masses. The roof is opened to reveal the
MUSEO DEL LUDUS MAGNUS / ROME, ITALY, PROJECT 01
sky in a gesture to the nature of ancient ruins.
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MUSEO DEL LUDUS MAGNUS / ROME, ITALY / PROJECT 01
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MUSEO DEL LUDUS MAGNUS / ROME, ITALY, PROJECT 01
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SCALE: 1/16" = 1'-0" 10’
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MUSEO DEL LUDUS MAGNUS / ROME, ITALY / PROJECT 01
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1. BREAK ROOM 2. COMMON SPACE 3. CAFE KITCHEN 4. GIFT SHOP / UPPER CAFE 5. COMMON SPACE
6. FILM SCREENING ROOM 7. COMMON SPACE 8. OPEN EXHIBIT SPACE 9. TICKETS / COAT CHECK 10. OPEN GALLERY SPACE
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PIAZZA DEL CO
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A gesture is first given to the ancient ruins by extending a MUSEO DEL LUDUS MAGNUS / ROME, ITALY, PROJECT 01
pedestrian path across the length of the site. This space is given to the local Roman demographic, as it is an active yet leisurely space which promotes interaction, movement, moments of pause, and spectating. “Solid� masses rise from the ground and become the building blocks of programmed spaces. As the masses layer, a shift is introduced to produce intermediate spaces in-between. These spaces visually connect to the exterior views, such as the Colosseum and the ruins of the Ludus Magnus, while physically determining pathways within the interior of the building to become metaphorical tunnels.
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MUSEO DEL LUDUS MAGNUS / ROME, ITALY / PROJECT 01
VIA LABICANA
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VIA DI S.
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LUDUS MAGNUS SITE PLAN SCALE: 1" = 40'-0" 0’
10’
50’
25’
150’
100’
1. STREET ACCESS 2. OUTDOOR “VESTIBULE” 3. EXTERIOR RAMP / SPECTATOR PLATFORM 4. FIRST FLOOR EXTERIOR PLATFORM 5. INTERMEDIATE EXTERIOR PLATFORM 6. LUDUS MAGNUS GROUND PLANE 7. GLADIATOR TRAINING GROUND
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SECOND FLOOR + OPEN GALLERY SPACE + EGRESS + GALLERY SPACE + GALLERY SPACE
FIRST FLOOR + UPPER CAFE + DOUBLE HEIGHT STAIR + GALLERY SPACE + GALLERY SPACE + LOBBY
SUB-GRADE + OPEN GALLERY SPACE + COMMON SPACE + TO LOWER GALLERY + CAFE SEATING SPACE
FIRST FLOOR
MUSEO DEL LUDUS MAGNUS / ROME, ITALY, PROJECT 01
+ TO ENTRY + EGRESS + SPECTATOR RAMP + EXTERIOR RAMP
SUB-GRADE
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+ LOWER CAFE + TO CIRCULATION + TO GALLERY SPACES + OUTDOOR SEATING / STEPS + TRAINING ARENA RUINS
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MUSEO DEL LUDUS MAGNUS / ROME, ITALY / PROJECT 01
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00 - SUB-GRADE MUSEUM SCALE: 1/32" = 1'-0" 0’
10’
50’
25’
75’
1. OPEN GALLERY SPACE 2. EGRESS 3. GALLERY 4. GALLERY 5. LOWER CAFE 6. COMMON SPACE 7. COMMON SPACE
8. WOMEN’S RESTROOM 9. MEN’S RESTROOM 10. EGRESS 11. MECHANICAL 12. LECTURE HALL 13. FILM SCREENING ROOM 14. STORAGE SPACE
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MUSEO DEL LUDUS MAGNUS / ROME, ITALY, PROJECT 01
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01 - FIRST FLOOR MUSEUM SCALE: 1/32" = 1'-0" 0’
10’
50’
25’
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75’
1. EXTERIOR PUBLIC SPACE 2. LOBBY 3. EGRESS 4. TICKETS / COAT CHECK 5. GALLERY 6. GALLERY 7. UPPER CAFE
8. FOOD / SUPPLY STORAGE 9. CAFE KITCHEN 10. REFRIDGERATION 11. GIFT SHOP 12. COMMON 13. WOMEN’S RESTROOM 14. MEN’S RESTROOM 15. EGRESS
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MUSEO DEL LUDUS MAGNUS / ROME, ITALY / PROJECT 01
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02 - SECOND FLOOR MUSEUM SCALE: 1/32" = 1'-0" 0’
10’
50’
25’
75’
1. OPEN EXHIBIT SPACE 2. EGRESS 3. GALLERY 4. GALLERY 5. LAB STORAGE 6. LAB 7. LAB
8. WOMEN’S RESTROOM 9. MEN’S RESTROOM 10. EGRESS 11. BREAK ROOM 12. WORK ROOM / OFFICE 13. WORK ROOM / OFFICE 14. MEETING ROOM
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SECOND FLOOR + EGRESS + GALLERY SPACE + GALLERY SPACE + LAB STORAGE + LAB
FIRST FLOOR
MUSEO DEL LUDUS MAGNUS / ROME, ITALY, PROJECT 01
+ UPPER CAFE + GALLERY SPACE + GALLERY SPACE + TO LOBBY
SUB-GRADE + OPEN GALLERY SPACE + COMMON SPACE + CAFE SEATING SPACE
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HSS MTL. FLASHING MULLION STL. ANGLE AND GUSSET PLATE
2. SECTION DETAIL AT SKYLIGHT AND PARAPET SCALE: 1/4" = 1'-0"
CABLE CROSS BRACING HSS EXTERIOR GLAZING HSS
DIAGONAL CABLE BRACING
HSS
CUSTOM SKYLIGHT MULLION W/ INTEGRATED GUTTER EXTERIOR GLAZING CUSTOM SKYLIGHT MULLION W/ INTEGRATED GUTTER
2.
POST AND CABLE TRUSS SUPPORT FOR SKYLIGHT STAIR HANGER
POST AND CABLE TRUSS
1.
SECTION DETAIL AT ATRIUM SKYLIGHT SCALE: 1/8" = 1'-0"
1. SECTION DETAIL AT STAIR TRUSS SCALE: 1/4" = 1'-0"
HANDRAIL STL. ANGLE STRUCTURAL BEAM BOLTED ANCHOR WOOD DECKING
CONCRETE WALL
STL. PLATFORM
STL. ANGLE
STL. BEAM
CONCRETE ON MTL. DECK
HSS
FINISH FLOOR
COLUMN BEYOND
RUINS
STL. JOIST
CONCRETE SUPPORT SLAB
BOLTED CONNECTION
STL. BEAM
HOLLOW CORE CONCRETE FLOOR SLAB
SECTION DETAIL AT VOLUME AND FLOOR SCALE: 1/4" = 1'-0"
SECTION DETAIL AT WALKWAY PLATFORM SCALE: 1/8" = 1'-0"
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MUSEO DEL LUDUS MAGNUS / ROME, ITALY / PROJECT 01
EXTERIOR GLAZING
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MUSEO DEL LUDUS MAGNUS / ROME, ITALY, PROJECT 01
MUSEO DEL LUDUS MAGNUS / ROME, ITALY / PROJECT 01
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MUSEO DEL LUDUS MAGNUS / ROME, ITALY / PROJECT 01
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COMPLETED Location
NEW YORK CITY, NY
Professor
CAROL BURNS
Library
Program
Library at Audubon Terrace
scale @ 1/256”
1,813 s
20 16
Circulation Desk Book Drop-off Staff Lounge Staff Room Teen Center Exhibition Space Temporary Gallery Sculpture Garden Children’s Reading Room Story Hour Room Children’s Librarian Office Head Librarian Office Adult Reading Room Community Hall Restrooms
The site is located on Audubon Terrace, a landmark complex of eight early-20th century Beaux Arts and American Renaissance buildings located on the west side of Broadway, bounded by 155th and 156th Streets, in the Washington Heights neighborhood of upper Manhattan. The Library at Audubon Terrace uses reciprocal architectural elements to weave together two distinct volumes; the space for the observer, and the space for the occupant.
02 p. 33
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LIBRARY AT AUDUBON TERRACE / NEW YORK, NY / PROJECT 02
LIBRARY AT AUDUBON TERRACE / NEW YORK, NY / PROJECT 02
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LIBRARY AT AUDUBON TERRACE / NEW YORK, NY / PROJECT 02
LIBRARY AT AUDUBON TERRACE / NEW YORK, NY / PROJECT 02
Upon entry, the visitor is presented with two unique spatial processions; the path of the occupant and the path of the observant. The main volume serves the occupant and houses the majority of the program. The path of the observant is made to be more experiential. The observant enters into a gallery space with a long expanse of sculptural elements. A monumental stair acts as the bridge between this mass and the main volume. These reciprocal spaces are observed from one side while encouraging occupancy from the other.
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LIBRARY AT AUDUBON TERRACE / NEW YORK, NY / PROJECT 02
LIBRARY AT AUDUBON TERRACE / NEW YORK, NY / PROJECT 02
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W 156TH STREET
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LIBRARY AT AUDUBON TERRACE / NEW YORK, NY / PROJECT 02
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1. LOBBY / CIRCULATION DESK 2. WORK ROOM / BOOK DROP 3. STAFF LOUNGE 4. MECHANICAL 5. SINGLE USER RESTROOM
SCALE: 1/16" = 1'-0" 0’
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20’
10’
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35’
6. SINGLE USER RESTROOM 7. TEEN CENTER 8. GALLERY / EXHIBIT SPACE 9. SCULPTURAL GARDEN
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SECOND & THIRD FLOOR PLANS SCALE: 1/16" = 1'-0" 0’
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20’
10’
1. CHILDREN’S READING ROOM 2. STORY HOUR ROOM 3. CHILDREN’S LIBRARIAN OFFICE 4. PICTURE BOOK SECTION 5. HEAD LIBRARIAN’S OFFICE
6. ADULT READING ROOM 7. SINGLE USER RESTROOM 8. SINGLE USER RESTROOM 9. COMMUNITY ROOM 10. LOOKOUT
35’
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LIBRARY AT AUDUBON TERRACE / NEW YORK, NY / PROJECT 02
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LIBRARY AT AUDUBON TERRACE / NEW YORK, NY / PROJECT 02
LIBRARY AT AUDUBON TERRACE / NEW YORK, NY / PROJECT 02
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LIBRARY AT AUDUBON TERRACE / NEW YORK, NY / PROJECT 02
Although separate, the observation stair visually connects to the story hour room. Spaces such as these display the duality of space between the occupant and the observant.
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LIBRARY AT AUDUBON TERRACE / NEW YORK, NY / PROJECT 02
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TERRACE ELEVATION SCALE: 1/16" = 1'-0" 0’
5’
20’
10’
35’
156TH STREET ELEVATION SCALE: 1/16" = 1'-0" 0’
5’
20’
10’
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35’
LIBRARY AT AUDUBON TERRACE / NEW YORK, NY / PROJECT 02
The reciprocal wall wraps from the interior to the exterior, becoming an envelope with an operable facade with reading nooks. This brings along with it the expression of choice. People enjoy being able to have a choice in where they sit, as it becomes a
SIDE TERRACE ELEVATION
social ritual. The same idea is implemented here,
SCALE: 1/16" = 1'-0" 0’
5’
where readers may adjust a solar shading device
20’
to suit their comfort. 10’
35’
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LIBRARY AT AUDUBON TERRACE / NEW YORK, NY / PROJECT 02
LIBRARY AT AUDUBON TERRACE / NEW YORK, NY / PROJECT 02
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COMPLETED CAMBRIDGE, MA
Professor
PAUL FOWLER
Cultural Center
Program
Loeb Drama Center
scale @ 1/256”
8,325 s
Location
20 16
Black Box Theater Dressing Rooms Media Room Control Facilities Practice Rooms Library Exhibition Space Cafeteria Offices Restrooms
Located near Harvard Square in Cambridge, MA, this proposed addition provides the innovative programs of the American Repertory Theater with a new practice space for large scaled, flexible performance types as well as a related Media Research Center to expand the institution’s teaching of and experimentation with digital technologies. The new addition is seen as an opportunity to redefine the context of Cambridge, allowing the public to engage with the A.R.T.’s programs in order to increase visibility and community presence.
03 p. 51
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LOEB DRAMA CENTER / CAMBRIDGE, MA / PROJECT 03
LOEB DRAMA CENTER / CAMBRIDGE, MA / PROJECT 03
A set of axes is derived from site forces made up of sightlines, pathways, and projections; they create a set of rules in order for the architecture to create it’s own set of axes. A dynamic relationship is present at the intersection of these axes. A traditional column grid is continued from the existing Loeb Drama Theater on the basement and ground floor. As the levels increase in elevation, the traditional grid breaks to reveal a separate axes that intersects the existing. This alternative axis is represented by a change in structural system; a large truss system is introduced to carry the weight of the intersecting axes. This allows the architecture to cantilever over both the street and rear facades of the structure, creating an intersection between architecture and community.
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LOEB DRAMA CENTER / CAMBRIDGE, MA / PROJECT 03 LOEB DRAMA CENTER / CAMBRIDGE, MA / PROJECT 03
LOEB DRAMA CENTER / CAMBRIDGE, MA / PROJECT 03
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LOEB DRAMA CENTER / CAMBRIDGE, MA / PROJECT 03
LOEB DRAMA CENTER / CAMBRIDGE, MA / PROJECT 03
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LOEB DRAMA CENTER / CAMBRIDGE, MA / PROJECT 03
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WALL SECTION TRUSS TERMINATION
EXTERIOR CLADDING
TYP. METAL STUD WALL WITH CLADDING
DIAGONAL TRUSS MEMBER CROSS SECTION CONCRETE FLOOR ON MTL. DECK DIAGONAL TRUSS MEMBER STRUCTURAL GLAZED MULLION
ENLARGED WALL DETAIL
SPIDER FITTING
OPEN WEB STEEL FLOOR JOIST
LOEB DRAMA CENTER / CAMBRIDGE, MA / PROJECT 03
T.O. BALCONY WALL
HVAC DUCT
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LOEB DRAMA CENTER / CAMBRIDGE, MA / PROJECT 03
FLASHING SHEATHING
VENEER TIE WATERPROOF MEMBRANE
VAPOR BARRIER
AIR GAP
BRICK VENEER 2” POLYISOCYANURATE INSULATION CONCRETE BEARING WALL
BRICK VENEER
CONCRETE FLOOR METAL DECKING
GROUND
EXTERIOR CONCRETE ENCLOSURE POLYISOCYANURATE INSULATION DIAGONAL BRACING FOR BALCONY
ENLARGED WALL DETAIL
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LOEB DRAMA CENTER / CAMBRIDGE, MA / PROJECT 03
LOEB DRAMA CENTER / CAMBRIDGE, MA / PROJECT 03
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COMPLETED
60 s
20 15
Location
N/A
Professor
ROBERT TRUMBOUR
Cube
Program
Cube The
Interaction Contemplation Refuge
This approximately 16’x16’x16’ cube was originally conceived as only one sole cube in an indefinite series of cubes. The space later evolved to a non-location based, standalone object that provides a retreat from the environment while still interacting with its surroundings. The cube is ultimately designed as a space of modest means for passing time with others and reflecting in solitude.
04 p. 65
The intent for this cube was to be a small part of an indefinite whole. A series of cubes were to be strung along in an infinite direction or seemingly endless ring of objects, however, the cube evolved into an object of placelessness, finding itself in different situations, acting as a respite from the world.
THE CUBE / PROJECT 04
Upon entry, one is presented with an interaction space. Two bench seats sit opposite of each other. Natural light is diffused above the space as to not distract from interaction. As the cube is further explored, one discovers two additional dwelling spaces. The second along the journey is a space for contemplation. A seat for one reclines to reveal the sky. At the third space resides a light well that terminates at a bench seat. Natural light is captured and diffused, as to not distract from the view of the horizon.
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THE CUBE / PROJECT 04
Interaction Space
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THE CUBE / PROJECT 04
Contemplation Space
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THE CUBE / PROJECT 04
THE CUBE / PROJECT 04
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THE CUBE / PROJECT 04
THE CUBE / PROJECT 04
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COMPLETED
20 16
Location
LIBERTY ISLAND, NY
Competition
ARCHASM
Museum
Project Team Paul Arduini William Toohey III Qiang Wang Advisors
Liberty Island Competition
Carol Burns Michael MacPhail Troy Peters Ranking Honorable Mention [6th/268]
OTHER
ACTION CENTER
MUSEUM
Program Exhibition Spaces Demonstration Kiosks Information Center Archives Data Collection Center Media Room Discussion / Lecture Hall Seminar Rooms Cafe Restaurant Open Air Theater Retail / Tuck Shops
The aim of this competition is to reflect on the issues of civil rights and social justice in a museum specific to this cause, and transform these causes into a click-bait architectural statement that will gather the attention of people and draw maximum visitors to the monument. We hoped to represent the idea of civil rights/social justice directly in the concept for the museum structure, and to transform the museum into a “Centre for Action” rather than just a “Centre for Depiction.”
05 p. 75
LIBERTY ISLAND MUSEUM / LIBERTY ISLAND, NY / ARCHASM COMPETITION / PROJECT 05
The monolithic volume that rests on the site represents the people of the cause for social justice and civil rights; constantly surrounded by external pressure from society. A subterranean element organized with a procession of depiction galleries is seen rising, wrapping, cutting and fracturing the form, creating a powerful contrast between the two major programs of depiction and activism. The overall composition of the Liberty Museum represents a holistic group of people bruised and fractured by violence and injustice but through strength and perseverance can remain standing through devastating hardship. The Fracture becomes a reminder of the scars left behind by tyranny and oppression, but the voids are cloaked in light and transparency to symbolize healed wounds of a determined group of activists constantly engaging in The Fight. Depressing the existing ground plane creates opportunities for new and exciting green-spaces within the context and is instrumental in reducing total building/lot coverage. An open-air theater, landscaped zones, and various types of gathering spaces are choreographed along the procession to the museum. Exhibits for depiction follow a subterranean procession that ramps up past the existing ground plane around the south and west facades. Public program with activism spaces exist within the main volume seen from afar. Circulation terminates at the northwest corner, rewarding panoramic views to Lower Manhattan and the Statue of Liberty. The Liberty Museum succeeds in responding to a complex site context and harnesses a unique and modest aesthetic for not only New York City, but for the world. -Project narrative by William Toohey.
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LIBERTY ISLAND MUSEUM / LIBERTY ISLAND, NY / ARCHASM COMPETITION / PROJECT 05
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^ Single Board Submission
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LIBERTY ISLAND MUSEUM / LIBERTY ISLAND, NY / ARCHASM COMPETITION / PROJECT 05
LIBERTY ISLAND MUSEUM / LIBERTY ISLAND, NY / ARCHASM COMPETITION / PROJECT 05
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SKETCHES Based on the notion of two opposing forces dramatically battling against each other.
LIBERTY ISLAND MUSEUM / LIBERTY ISLAND, NY / ARCHASM COMPETITION / PROJECT 05
(Drawings on left completed by William Toohey and Qiang Wang).
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LIBERTY ISLAND MUSEUM / LIBERTY ISLAND, NY / ARCHASM COMPETITION / PROJECT 05
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LIBERTY ISLAND MUSEUM / LIBERTY ISLAND, NY / ARCHASM COMPETITION / PROJECT 05
OBSERVATORY
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LIBERTY ISLAND MUSEUM / LIBERTY ISLAND, NY / ARCHASM COMPETITION / PROJECT 05
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LIBERTY ISLAND MUSEUM / LIBERTY ISLAND, NY / ARCHASM COMPETITION / PROJECT 05
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COMPLETED
20 18
Location
WENTWORTH INSTITUTE
Professor
ZACHARY SEIBOLD
Partition Wall
Project Team
Digital Fabrication
Paul Arduini Artem Batuyev Stefan Burnett Dylan Bush
THERMOPLASTIC PROCESSES
Utilizing the fabrication resources at Wentworth Institute of Technology, this class focused on the research and production of a digitally fabricated artifact using an assembly method unique to that object. The artifact in this case is a “partition wall.� Working in a group of four, we chose a vacuum-former to be used in a nonconventional method; rather than a positive mold being placed on the bed and pulling a sheet of styrene over it to produce a mold of the object, time and heat served as parameters for the foundation of our research. Using a custom formwork, we could control the four corner points of a sheet of styrene - the rectangular frame disappears, giving us additional control over the desired outcome.
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DIGITAL FABRICATION / PROJECT 06
DIGITAL FABRICATION / PROJECT 06
Photographs by Dylan Bush
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DIGITAL FABRICATION / PROJECT 06
DIGITAL FABRICATION / PROJECT 06
BRAINSTORMING
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DIGITAL FABRICATION / PROJECT 06
WALL ASSEMBLY ISOMETRIC
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ZIPTIE CONNECTIONS AT EVERY JOINT
3/8” THREADED ROD AND BOLTED CONNECTIONS WITHIN CENTER MODULE
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DIGITAL FABRICATION / PROJECT 06
MODULE ASSEMBLY
WALL ASSEMBLY ELEVATION
1/2” DRILL HOLE TIEBACK LOCATION SMALL PROFILE (FRONT) LARGE PROFILE (REAR)
DIGITAL FABRICATION / PROJECT 06
CENTER BOLT LOCATION
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DIGITAL FABRICATION / PROJECT 06
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PROCESS
DIGITAL FABRICATION / PROJECT 06
Research, testing, and prototyping played an enormous role in the production of the partition wall. Our first tests were done on 1' x 1' sheets of styrene with a hand-drawn UV grid at every inch to better visualize distortion. Multiple tests with the default frame of the vacuum former proved to be rather slow and restricted. We made a custom form-work involving a flat sheet of MDF (medium-density fiberboard) with four threaded rods bolted down in an upright posi-
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tion. At the tops of the vertical members were bolts and washers to hold the styrene at a fixed distance in the Z direction. This method was used for the remainder of the investigation. Moving into our final testing and production phase, we utilized the ease and rapidity of the CNC machine to cut our styrene pieces to desired profiles. The concave and convex profiles allowed the pieces to fit together more easily when constructing the wall.
Our exhibition (top) displayed a number of tests, assembly diagrams, a process video, and the constructed wall. We tested approximately 50 different cuts including profile cuts, interior cuts, half-depth cuts, and opening cuts, and decided to use the simple concave and convex profiles when constructing the wall. This is meant to imply that any one of our tests may be applied to our methodology of digital fabrication to produce and aggregate a form.
For our team, this project was less about finalizing a product and more about describing a process of fabrication and assembly. The research done by us will remain in the architecture office at Wentworth institute of Technology as a long-term exhibition (bottom).
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DIGITAL FABRICATION / PROJECT 06
EXHIBITION
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DIGITAL FABRICATION / PROJECT 06
DIGITAL FABRICATION / PROJECT 06
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COMPLETED
20 17
Location
WENTWORTH INSTITUTE
Professor
BUMJIN KIM
Drawings
Part 01
Axonography
Self Introduction Morning Afternoon Evening Night Part 02 Joy Sadness Fear Anger Disgust
This course offered at Wentworth Institute of Technology, with a focus on digital media, was meant to "see the world through axon." The first half of this course depicts different times of day and how they relate to us on a personal level. The second half is meant to represent different emotions and what they mean to us in a visual form. All media is drawn in axonometric or isometric projection.
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p. 101
Self Introduction.
AXONOGRAPHY / PROJECT 07
The case of a computer represents the complexity of a human being. This very intricate body is filled with chosen parts that identify with who I am. The Processor (CPU) of a computer acts as the brain; This relates to a wristwatch because I am constantly managing my time in order to keep my work organized. Memory (RAM) is required to execute multiple tasks efficiently. This relates to my thought process which can be widely seen from hand sketches. The Graphics Card (GPU) eases the processes of the CPU and helps the machine produce faster graphics and video. This is always running and contributing behind the scenes, much like how my phone is used daily whenever I need a break from tasks. The Solid State Drive (SSD) is a compact storage drive that is able to quickly store and launch applications. The Hard Drive (HDD) is another storage drive that is larger and has physical spinning parts. Storage drives hold files and applications that are necessary for everyday use, much like how a camera captures and holds photos that act as memories for us to reflect on. Lastly, the Power Supply is essentially the source that provides energy. My power supply is black coffee.
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AXONOGRAPHY / PROJECT 07
MEMORY (RAM) MICRON 01
PROCESSOR (CPU) WRISTWATCH
GRAPHICS CARD (GPU) iPHONE 6S PLUS
SOLID STATE DRIVE (SSD) POINT AND SHOOT CAMERA
HARD DRIVE (HDD)
CANON EOS REBEL T5
POWER SUPPLY
COFFEE, BLACK, 24oz DAILY
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5am
7:4
0am
7:0
0am
AXONOGRAPHY / PROJECT 07
6:0
0am
5:3
104
Morning.
AXONOGRAPHY / PROJECT 07
Every morning, so many decisions are made in our minds that describe our lifestyle. They are made subconsciously and become routine. Footwear becomes representative of activities during our morning routines. At 5:30am, I wake up to prepare for the day. This time is represented by a pair of slippers. At 6:00am, I walk to the gym. The shoes that I wear are dependent on what I will be doing at the gym, so I have multiple options. At 7:00am, I return to my room and take off my shoes to achieve a level of comfort when I am cooking or making a shake. At 7:45am, I leave my room to walk to class or studio. The choice of shoe is influenced by the weather and length of the day that lies ahead.
105
Night.
When we finally lay our heads to rest at the end of each night, our minds become activated in unique ways. No matter how late it is, I always have time to reflect on the day that led to this moment and to think about the day to come. The structure built atop my head repAXONOGRAPHY / PROJECT 07
resents the complex manifestation of thought.
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AXONOGRAPHY / PROJECT 07
107
A scene is depicted not dis-similar to a children’s bookshelf. The shelves contain items that bring myself and others joy. Movies are represented by a fullscale AT-ST Walker from Star Wars, and the iconic Aston Martin DB5 from James Bond. Architecture is portrayed through multiple sets of stairs that connect each level. An empty studio space reveals the joy of working alone and un-bothered. While working in peace and quiet is nice, a distraction every so often helps to stimulate our minds; a roller coaster cuts through studio connecting it to the other shelves. The scene comes together at the end by resembling a museum with observant occupants. People are depicted as Lego mini figures because they are a playful way of generalizing the inner child in all of us.
AXONOGRAPHY / PROJECT 07
Joy. 108
AXONOGRAPHY / PROJECT 07
109
Fear.
A Sci-Fi-esque scene is depicted with dark waters and ambiguous shadows. The water is non transparent and feeds on the fear of the “unknown.� Menacing objects are seen protruding from the murky waters along with a large alien tail. A bridge terminates above the water implying that there is no escape. The shadows mingle with the water to create confusion as to where the danger begins and ends. The stark contrast between light and dark resembles the illustra-
AXONOGRAPHY / PROJECT 07
tive quality that comic books use to capture emotion.
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AXONOGRAPHY / PROJECT 07
111
2015
Autocad Revit GIS Renderings Site Visits Existing Conditions Construction Documents
RODE Architects
2016
Professional Work
Boston College
Revit Photoshop Illustrator Renderings Unit Layouts Schematic Design Model Building Site Visits Construction Documents
Leers Weinzapfel
2017
Experience
OverUnder
2018
Revit Model Building Site Visits Construction Documents Construction Admin.
Archicad Cinema4D Photoshop Illustrator Rendering Model Building Schematic Design
Within and after my five years (undergraduate + graduate programs) at Wentworth Institute of Technology, I gained professional experience in multiple work environments ranging from less than 10 people to 30+ employees. These experiences each dealt with different categorical architectural typologies, including facilities management, residential housing projects, academic/civic buildings, cultural centers, museums, and more. I am proud and fortunate to have worked with many wonderful people.
08
p. 113
BOSTON COLLEGE
PROFESSIONAL WORK
ELEVATIONS @ 1/8" = 1'-0"
114
Existing conditions drawn in Autocad.
BOSTON COLLEGE
115
PROFESSIONAL WORK
Existing conditions modeled and rendered in Revit.
116
BOSTON COLLEGE
Alternatives modeled as design options and rendered in Revit.
117
PROFESSIONAL WORK
RODE ARCHITECTS
Laser cut files drawn in Autocad, physical site + building model constructed with chipboard.
118
RODE ARCHITECTS
119
120
PROFESSIONAL WORK
RODE ARCHITECTS
121
PROFESSIONAL WORK Renderings range from heavily conceptual to presentation quality.
122
RODE ARCHITECTS
123
LEERS WEINZAPFEL ASSOCIATES S1
ALIGN
Involvement in construction documentation of three large academic buildings belonging to Harvard University, Wentworth Institute of Technology, and the University of Arkansas.
SILL (WALL) BELOW
ALIGN
2 S1
PLAN DETAIL @ LAB TECH NORTHEAST CORNER SCALE: NTS
C
SILL (WALL) BELOW
ALIGN
S1
HSS 4X3X1/2"
ALIGN
S1 S7
CUSTOM BRAKE METAL @ CORNER FROM B.O. GLASS TO T.O. GLASS
ALUMINUM STOREFRONT SYSTEM W/ 1" IGU
PLAN DETAIL @ LAB TECH SOUTHEAST CORNER SCALE: NTS C
PLAN DETAIL @ LAB TECH SOUTHEAST CORNER SCALE: NTS
A
4 1/4"
4 1/4"
ALIGN
ALUM. CURTAIN WALL SILL BELOW
ALUM. CURTAIN WALL SILL BELOW
PTD. 5/8" GWB 7/8" FURRING CHANNEL
S2
SPRAY FIRE-PROOFING PER G 1.02
5
S2 11 1/8"
11 1/8"
11 3/8"
PROFESSIONAL WORK
7 3/4"
2
STEEL COLUMN, S.S.D. 11 3/8"
2 5/8" 2 5/8"
S1
7 3/4"
ALIGN
S4
2'-9 1/2"
4" METAL STUDS
ALIGN
STEEL COLUMN, S.S.D.
S2
S.A.B. SEALANT & BACKER ROD
S2
7 1/2"
124
11 1/8"
ALUM. FRAME
11 1/8"
PLAN DETAIL @ C.L. A&2, SECOND FLOOR
PLAN DETAIL @ C.L. C&5, SECOND FLOOR
SCALE: NTS
SCALE: NTS
5 1/4"
5 1/4"
2"
1/2"
ALIGN
1/2" 2"
ALIGN
LEERS WEINZAPFEL ASSOCIATES
HSS WHERE SHOWN AT INTERIOR ELEVATIONS
HSS WHERE SHOWN AT INTERIOR ELEVATIONS
1 3/4"
CORRIDOR
1 3/4"
CORRIDOR
INTERIOR ROOM
INTERIOR ROOM
1 3/4"
SECTION DETAIL @ DOOR HEADER
SECTION DETAIL @ ACOUSTIC PARTITION HEAD
SCALE: NTS
SCALE: NTS
3/4"
3/4"
1"
2"
2"
1"
1"
1 3/4"
1 3/4"
1 3/4"
SECTION DETAIL @ DOOR HEADER TRANSOM
SECTION DETAIL @ ACOUSTIC PARTITION HORIZONTAL
SCALE: NTS
SCALE: NTS
CORRIDOR
INTERIOR ROOM
1 3/4"
1/2"
ALIGN
2"
1 3/4"
5 1/4"
1 3/4"
1/8"
1/4" 2"
1 3/4"
SECTION DETAIL @ PARTITION WALL SILL
SECTION DETAIL @ ACOUSTIC PARTITION SILL
SCALE: NTS
SCALE: NTS
125
OVERUNDER Rendering completed prior
PROFESSIONAL WORK
to employment at OverUnder.
126
OVERUNDER
127
Rendering completed in collaboration with OverUnder,
PROFESSIONAL WORK
prior to employment.
128
OVERUNDER
129
PRECEDENT COMPARISON “LE CRESTE” CULTURAL CENTER UNA2 & Area Progetti Rosignano 162,115 sfMarittimo, Italy (2013)
MUSEO MAYA DE AMERICA OverUnder Guatemala City, Guatemala Total GFA Exhibition Space Public Space Support Space
SPECIAL 6,458 sf
107,639 sf 130,631 sf 31,484 sf
Total GFA Number Floors 4-9 Gallery to GFA Ratio Exhibition Space Public Space Support Space
BATHROOMS 3,229 sf
STORAGE 26,910 sf
30,677 sf 10,818 sf 19,547 sf 11,130 sf RESTORE 538 sf
GALLERIES 107,639 sf
SPECIAL STORAGE 538 sf
DROP-OFF ??? sf
SECURITY 538 sf
LOBBY 2,691 sf
CAFETERIA 2,691 sf
MARKET 1,615 sf
Number Floors Gallery to GFA Ratio
RESTAURANT 2,691 sf
CATER 1,076 sf
GIFT SHOP 538 sf
86,811 sf 25,144 sf 34,348 sf 49,858 sf
Number Floors Gallery to GFA Ratio
Number Floors Gallery to GFA Ratio
Number Floors Gallery to GFA Ratio
2 +1 ADMINISTRATIVE LEVEL
X 3 FLOORS
28,524 sf 35,908 sf 66,349 sf
Total GFA 1-2 Exhibition Space Public Space Support Space
21ST CENTURY MUSEUM OF CONTEMPORARY ART SANAA Kanazawa, Japan (2004)
KUNSTHAUS BREGENZ Peter Zumthor Bregenz, Austria (1997)
Total GFA Exhibition Space Public Space Support Space
Total GFA Exhibition Space Public Space Support Space
125,109 sf 47,921 sf 121,309 sf 3,800 sf
Number Floors Gallery to GFA Ratio
1-2
TATE MODERN Herzog and de Meuron London, England (2000)
CAIXA FORUM MADRID Herzog & de Meuron Number Floors 2-3 Madrid, Spain (2008) Gallery to GFA Ratio Total GFA Exhibition Space Public Space Support Space
61,774 sf 34,746 sf 47,361 sf 35,295 sf
Total GFA Exhibition Space Public Space Support Space
Total GFA Exhibition Space Public Space Support Space
6
x3 Gallery
Number Floors Gallery to GFA Ratio
X 2 FLOORS
Total GFA Exhibition Space Public Space Support Space
Total GFA Exhibition Space Public Space Support Space
2
Number Floors Gallery to GFA Ratio
+1 ADMINISTRATIVE LEVEL
Number Floors Gallery to GFA Ratio
7
THE MENIL COLLECTION Renzo Piano Building Workshop Houston, Texas (1986)
COLLAGE BUILDING Rahola Vidal 5 Barcelona, Spain (2011)
226,042 sf 80,277 sf 144,473 sf 81,569 sf
Total GFA Exhibition Space Public Space Support Space
X 3 FLOORS
KIMBELL MUSEUM OF FINE ART Louis Kahn Fort Worth, Texas (1972)
Number Floors Gallery to GFA Ratio
Total GFA Exhibition Space Public Space Support Space
7
118,404 sf 18,513 sf 110,604 sf 7,800 sf
77,263 sf 30,580 sf 36,199 sf 41,064 sf
X 4 FLOORS
NEW ACROPOLIS MUSEUM Bernard Tschumi Architects Athens, Greece (2009) 371,355 sf 133,494 sf 149,425 sf 221,930 sf
Number Floors Gallery to GFA Ratio
Number Floors Gallery to GFA Ratio
3
37,028 sf 27,717 sf 28,578 sf 8,450 sf
+1 ADMINISTRATIVE LEVEL
FUNDACIÓ JOAN MIRÓ Sert, Jackson and Associates Barcelona, Spain (1975)
18,896 sf 1,343 sf 7,319 sf 11,577 sf
Number Floors Gallery to GFA Ratio
Number Floors Gallery to GFA Ratio
2 +2 ADMINISTRATIVE LEVELS
Total GFA Exhibition Space Public Space Support Space
98,221 sf 28,115 sf 45,262 sf 52,958 sf
1
SINES CENTRO DES ARTES Aires Mateus Sines, Portugal (2005) Total GFA Exhibition Space Public Space Support Space
Total GFA Exhibition Space Public Space Support Space
ADMIN 2,153 sf
AUDITORIUM 4,844 sf
AUNEAU CULTURAL CENTER Architecture Patrick Mauger Auneau, France (2009) 102,257 sf
LIANGZHU CULTURE MUSEUM David Chipperfield Architects Hangzhou, China (2007)
MADINAT AL ZAHRA MUSEUM Nieto Sobejano Architects Cordoba, Spain (2008)
LIBRARY/ RESEARCH 1,615 sf
75,132 sf 1,300 sf 48,100 sf 27,032 sf 8-9
NINGBO HISTORIC MUSEUM Amateur Architecture Studio Ningbo, China (2008) 91,988 sf 26,458 sf 33,766 sf 54,347 sf
Total GFA Exhibition Space Public Space Support Space
2-3
Number Floors Gallery to GFA Ratio
322,917 sf 124,646 sf 290,034 sf 32,776 sf 3
ENLARGED EXAMPLE
DE YOUNG MUSEUM Herzog and de Meuron San Francisco, California (2005)
KOLUMBA KUNSTMUSEUM Peter Zumthor Cologne, Germany (2007)
Total GFA Exhibition Space Public Space Support Space
Total GFA Exhibition Space Public Space Support Space
387,501 sf 103,667 sf 163,256 sf 224,245 sf
Number Floors Gallery to GFA Ratio
PROFESSIONAL WORK
Total GFA Exhibition Space Public Space Support Space Number Floors Gallery to GFA Ratio
130
Number Floors Gallery to GFA Ratio
3
IDEA STORE WHITECHAPEL Adjaye Associates London, England (2005)
CLYFFORD STILL MUSEUM Allied Works Architecture Denver, Colorado (2011) 56,629 sf 14,208 sf 27,642 sf 28,987 sf
Total GFA Exhibition Space Public Space Support Space
5
Number Floors Gallery to GFA Ratio
+7 TOWER
2
KENNEDY CENTER FOR ARTS Machado and Silvetti Associates Clinton, NY (2014) Total GFA Exhibition Space Public Space Support Space
37,028 sf 3,700 sf 21,090 sf 15,938 sf 5
28,524 sf 16,899 sf 22,314 sf 6,211 sf
+2 ADMINISTRATIVE LEVELS
Number Floors Gallery to GFA Ratio
89,000 sf 3,300 sf 75,000 sf 14,000 sf 2
OVERUNDER
KALMAR MUSEUM OF ART Tham & Videgård Hansson Arkitekter Kalmar, Sweden (2008)
“LE CRESTE” CULTURAL CENTER UNA2 & Area Progetti Rosignano Marittimo, Italy (2013)
AUNEAU CULTURAL CENTER Architecture Patrick Mauger Auneau, France (2009)
Total GFA Exhibition Space Public Space Support Space
Total GFA Exhibition Space Public Space Support Space
Total GFA Exhibition Space Public Space Support Space
27,588 sf 8,557 sf 12,142 sf 15,446 sf
Number Floors Gallery to GFA Ratio
4
Number Floors Gallery to GFA Ratio
+1 ADMINISTRATIVE LEVEL
BASE - CENTER FOR CULTURE AND CREATIVITY Onsite Studio Milano, Italy (2016) Total GFA Exhibition Space Public Space Support Space
Total GFA Exhibition Space Public Space Support Space
3
Number Floors Gallery to GFA Ratio
Total GFA Exhibition Space Public Space Support Space
2
118,404 sf 18,513 sf 110,604 sf 7,800 sf
X 3 FLOORS
X 2 FLOORS
Number Floors Gallery to GFA Ratio
Total GFA Exhibition Space Public Space Support Space
4
Total GFA Exhibition Space Public Space Support Space
5
Total GFA Exhibition Space Public Space Support Space +2 ADMINISTRATIVE LEVELS
58,700 sf 13,400 sf 38,950 sf 19,750 sf 9
Total GFA Exhibition Space Public Space Support Space +1 ADMINISTRATIVE LEVEL +2 MECHANICAL LEVELS
Number Floors Gallery to GFA Ratio
MANETTI SHREM MUSEUM OF ART SO-IL Davis, California (2016)
ARKELL ARTS CENTER designLAB Canajoharie, NY (2007)
Total GFA Exhibition Space Public Space Support Space
Total GFA Exhibition Space Public Space Support Space
Total GFA Exhibition Space Public Space Support Space
3-4 +1 ADMINISTRATIVE LEVEL
Number Floors Gallery to GFA Ratio
X2 FLOORS +4 PUBLIC LIBRARY LEVELS
89,000 sf 3,300 sf 75,000 sf 14,000 sf
Number Floors Gallery to GFA Ratio
MUSÉE UNTERLINDEN EXTENSION Herzog & de Meuron Colmar, France (2015)
Number Floors Gallery to GFA Ratio
8-9
2
BLACK FAMILY VISUAL ARTS CENTER Machado and Silvetti Associates Hanover, New Hampshire (2012)
Number Floors Gallery to GFA Ratio
82,882 sf 51,667 sf 81,321 sf 1,561 sf
75,132 sf 1,300 sf 48,100 sf 27,032 sf
KENNEDY CENTER FOR ARTS Machado and Silvetti Associates Clinton, NY (2014) 37,028 sf 3,700 sf 21,090 sf 15,938 sf
NEW MUSEUM SANAA New York, NY (2002) 110,000 sf 3,434 sf 34,040 sf 75,960 sf
3
Number Floors Gallery to GFA Ratio
7
Number Floors Gallery to GFA Ratio
+1 ADMINISTRATIVE LEVEL
LONDON DESIGN MUSEUM OMA London, England (2016) Total GFA Exhibition Space Public Space Support Space
Number Floors Gallery to GFA Ratio
IDEA STORE WHITECHAPEL Adjaye Associates London, England (2005) 17,362 sf 2,250 sf 7,500 sf 9,862 sf
18,896 sf 1,343 sf 7,319 sf 11,577 sf
COLLAGE BUILDING Rahola Vidal Barcelona, Spain (2011)
Number Floors Gallery to GFA Ratio
NEVERS CULTURAL CENTER Ateliers O-S Architects Nevers, France (2012) Total GFA Exhibition Space Public Space Support Space
1
CAIXA FORUM MADRID Herzog & de Meuron Madrid, Spain (2008)
180,791 sf 22,262 sf 69,429 sf 111,362 sf
Number Floors Gallery to GFA Ratio
30,677 sf 10,818 sf 19,547 sf 11,130 sf
29,063 sf 9,750 sf 19,507 sf 9,556 sf 1
Number Floors Gallery to GFA Ratio
104,050 sf 1,920 sf 73,500 sf 30,550 sf 3
18,000 sf 3,400 sf 10,000 sf 8,000 sf 2 +1 ADMINISTRATIVE LEVEL
131
132
Main Lobby 2,000
Vestibule 100
PROFESSIONAL WORK
ZONE A
Public Noncollection 8,400 sf total Temporary Exhibition Galleries 6,500
410
860
Museum Store 1,400
Visible Storage 1,400
Café 1,900
Reading Rooms 500 Museum Library 750
Educational Rooms 1,600
Total Net sf: 51,020 Grossing Factor: 50% Total Gross sf: 76,530
Permanent Collection Display 11,250
Cloakrooms/ lockers
Public Washrooms
80
Family/ Accessible Washrooms
Lobby Storage 50
MUSEUM PROGRAM ANALYSIS Quiet & Daylight
Quiet & Non-daylight
Loud & Daylight
Loud & Non-daylight
Critical Adjacencies
ZONE B
Public Collection 20,400 sf total
Collection Storage 2,500
2,600
Staff Offices/ Management
Nonpublic Collection 12,100 sf total
650
Staff Lounge
Collection Shipping/ Receiving 500
350
Loading/ Unloading Area 500
1,000
200
2,000
Exhibition Preparation
Café Stockroom 500
200
1,000
Noncollection Storage
350
Electrical Storage
Nonpublic Museum Library 500
Packing Materials Storage 200
Carpentry Storage 350
1,000
600
Janitor’s Equipment 270
Collection Circulation
800
850
Photographic Studio
Registrar’s Workrooms
Conservation Laboratories
Archives 550
Security Headquarters
750
Retail Stock Storage
Curatorial Workrooms
Security Stations
Crate Storage 850
“Dirty” Workshops 1,400
Staff Washrooms/ Showers 550
Staff Lockers 200
Staff Lunchroom
Packing/ Unpacking Space 500
Crating/ Uncrating/ Temp. Storage 500
OVERUNDER
ZONE C
ZONE D
Nonpublic Noncollection 10,120 sf total
133
ZONE A Public Noncollection 8,400 sf total Educational Rooms 1,600 Cloakrooms/ lockers
Public Washrooms
410 Museum Store 1,400
Lobby Storage 50
860 Family/ Accessible Washrooms 80
Main Lobby 2,000
Café 1,900
Vestibule 100
ZONE C Nonpublic Collection 12,100 sf total
Crate Storage 850
Collection Shipping/ Receiving 500
Packing/ Unpacking Space 500
Collection Storage 2,500
Loading/ Unloading Area 500
Exhibition Preparation 2,000
PROFESSIONAL WORK
Curatorial Workrooms 1,000
Registrar’s Workrooms
Nonpublic Museum Library
800 Photographic Studio 600
500 Conservation Laboratories 850
134
Crating/ Uncrating/ Temp. Storage 500
OVERUNDER
ZONE B
Museum Library 750
Public Collection 20,400 sf total
Reading Rooms 500 Temporary Exhibition Galleries 6,500
Visible Storage 1,400
Permanent Collection Display 11,250
ZONE D Nonpublic Noncollection 10,120 sf total
Staff Lounge
Staff Lockers
650
200 Staff Washrooms/ Showers 550 Security Stations
Staff Lunchroom 350
200 Noncollection Storage 1,000
Staff Offices/ Management 2,600 Retail Stock Storage 750 Café Stockroom 500
“Dirty” Workshops 1,400
Carpentry Storage 350
Electrical Storage 350
Security Headquarters 200
Janitor’s Equipment 270
Archives 550 Packing Materials Storage 200
135