Paul Arduini | Selected Works Volume 03

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

06

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.

07

08

MUSEO DEL LUDUS MAGNUS / ROME, ITALY, PROJECT 01

MUSEO DEL LUDUS MAGNUS / ROME, ITALY / PROJECT 01

09

MUSEO DEL LUDUS MAGNUS / ROME, ITALY, PROJECT 01

PROCESS

10

MUSEO DEL LUDUS MAGNUS / ROME, ITALY / PROJECT 01

11

12

MUSEO DEL LUDUS MAGNUS / ROME, ITALY, PROJECT 01

13

MUSEO DEL LUDUS MAGNUS / ROME, ITALY / PROJECT 01

15

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.

16

MUSEO DEL LUDUS MAGNUS / ROME, ITALY / PROJECT 01

17

MUSEO DEL LUDUS MAGNUS / ROME, ITALY, PROJECT 01

1.

3.

4.

6.

SCALE: 1/16" = 1'-0" 10’

50’

25’

18

5.

7.

SECTION PERSPECTIVE 0’

2.

MUSEO DEL LUDUS MAGNUS / ROME, ITALY / PROJECT 01

8.

9.

10.

UP

DN UP

DN

DN

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

UP DN

DN

19

DN

1.

PIAZZA DEL CO

LOSSEO

VIA LABICANA

VIA DI S.

GIOVANN

I IN LATE

RANO

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.

20

MUSEO DEL LUDUS MAGNUS / ROME, ITALY / PROJECT 01

VIA LABICANA

2.

3.

4.

DN

UP

DN UP

DN

DN

5.

DN

6.

UP

DN

DN

7.

DN

VIA DI S.

GIOVANN

I IN LATE

RANO

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

21

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

22

+ LOWER CAFE + TO CIRCULATION + TO GALLERY SPACES + OUTDOOR SEATING / STEPS + TRAINING ARENA RUINS

2

3

4A

4

5

6

MUSEO DEL LUDUS MAGNUS / ROME, ITALY / PROJECT 01

1

6A

A

B 1.

2.

UP

C

3.

D UP

4.

E

6.

8.

9.

10.

F

UP

11.

G

UP

5.

UP

12.

H

7.

13.

14.

I

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

23

1

2

3

4

4A

5

6

6A

A

B

4.

1.

UP

2.

DN

3.

UP

C DN

5.

DN

D 12.

E 6.

13.

14.

UP

15.DN

F

G

7.

11.

DN

8.

10.

9.

H

MUSEO DEL LUDUS MAGNUS / ROME, ITALY, PROJECT 01

I

01 - FIRST FLOOR MUSEUM SCALE: 1/32" = 1'-0" 0’

10’

50’

25’

24

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

2

3

4A

4

5

6

MUSEO DEL LUDUS MAGNUS / ROME, ITALY / PROJECT 01

1

6A

A

B 1.

DN

2.

C

3.

D E

DN

4.

8.

9.

UP

DN

G

5.

6.

F

10.

7.

H 11.

12.

13.

14.

I

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

25

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

26

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"

27

MUSEO DEL LUDUS MAGNUS / ROME, ITALY / PROJECT 01

EXTERIOR GLAZING

28

MUSEO DEL LUDUS MAGNUS / ROME, ITALY, PROJECT 01

MUSEO DEL LUDUS MAGNUS / ROME, ITALY / PROJECT 01

29

30

MUSEO DEL LUDUS MAGNUS / ROME, ITALY / PROJECT 01

31

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

34

LIBRARY AT AUDUBON TERRACE / NEW YORK, NY / PROJECT 02

LIBRARY AT AUDUBON TERRACE / NEW YORK, NY / PROJECT 02

35

36

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.

37

38

LIBRARY AT AUDUBON TERRACE / NEW YORK, NY / PROJECT 02

LIBRARY AT AUDUBON TERRACE / NEW YORK, NY / PROJECT 02

39

W 156TH STREET

B

C

D

8

A

8.

7

2.

UP

6

9.

1.

5

3.

DN

4

4.

7.

5.

3

6.

DN

LIBRARY AT AUDUBON TERRACE / NEW YORK, NY / PROJECT 02

1

2

UP

01 - FIRST FLOOR PLAN

1. LOBBY / CIRCULATION DESK 2. WORK ROOM / BOOK DROP 3. STAFF LOUNGE 4. MECHANICAL 5. SINGLE USER RESTROOM

SCALE: 1/16" = 1'-0" 0’

5’

20’

10’

40

35’

6. SINGLE USER RESTROOM 7. TEEN CENTER 8. GALLERY / EXHIBIT SPACE 9. SCULPTURAL GARDEN

D

B

A

C

D

8

8

C

1.

6.

5

5

6

6

7

7

2.

DN

10.

4

4

UP

9.

3.

7.

3

3

4.

DN

UP

UP

2

2

DN

8.

DN

1

1

5.

SECOND & THIRD FLOOR PLANS SCALE: 1/16" = 1'-0" 0’

5’

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’

41

LIBRARY AT AUDUBON TERRACE / NEW YORK, NY / PROJECT 02

B

A

42

LIBRARY AT AUDUBON TERRACE / NEW YORK, NY / PROJECT 02

LIBRARY AT AUDUBON TERRACE / NEW YORK, NY / PROJECT 02

43

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.

44

LIBRARY AT AUDUBON TERRACE / NEW YORK, NY / PROJECT 02

45

TERRACE ELEVATION SCALE: 1/16" = 1'-0" 0’

5’

20’

10’

35’

156TH STREET ELEVATION SCALE: 1/16" = 1'-0" 0’

5’

20’

10’

46

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’

47

48

LIBRARY AT AUDUBON TERRACE / NEW YORK, NY / PROJECT 02

LIBRARY AT AUDUBON TERRACE / NEW YORK, NY / PROJECT 02

49

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

52

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.

53

54

LOEB DRAMA CENTER / CAMBRIDGE, MA / PROJECT 03 LOEB DRAMA CENTER / CAMBRIDGE, MA / PROJECT 03

LOEB DRAMA CENTER / CAMBRIDGE, MA / PROJECT 03

55

56

LOEB DRAMA CENTER / CAMBRIDGE, MA / PROJECT 03

LOEB DRAMA CENTER / CAMBRIDGE, MA / PROJECT 03

57

58

LOEB DRAMA CENTER / CAMBRIDGE, MA / PROJECT 03

59

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

60

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

61

62

LOEB DRAMA CENTER / CAMBRIDGE, MA / PROJECT 03

LOEB DRAMA CENTER / CAMBRIDGE, MA / PROJECT 03

63

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.

66

THE CUBE / PROJECT 04

Interaction Space

68

THE CUBE / PROJECT 04

Contemplation Space

69

70

THE CUBE / PROJECT 04

THE CUBE / PROJECT 04

71

72

THE CUBE / PROJECT 04

THE CUBE / PROJECT 04

73

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.

76

LIBERTY ISLAND MUSEUM / LIBERTY ISLAND, NY / ARCHASM COMPETITION / PROJECT 05

77

^ Single Board Submission

78

LIBERTY ISLAND MUSEUM / LIBERTY ISLAND, NY / ARCHASM COMPETITION / PROJECT 05

LIBERTY ISLAND MUSEUM / LIBERTY ISLAND, NY / ARCHASM COMPETITION / PROJECT 05

79

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).

80

LIBERTY ISLAND MUSEUM / LIBERTY ISLAND, NY / ARCHASM COMPETITION / PROJECT 05

81

LIBERTY ISLAND MUSEUM / LIBERTY ISLAND, NY / ARCHASM COMPETITION / PROJECT 05

OBSERVATORY

82

LIBERTY ISLAND MUSEUM / LIBERTY ISLAND, NY / ARCHASM COMPETITION / PROJECT 05

83

84

LIBERTY ISLAND MUSEUM / LIBERTY ISLAND, NY / ARCHASM COMPETITION / PROJECT 05

85

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.

06 p. 87

88

DIGITAL FABRICATION / PROJECT 06

DIGITAL FABRICATION / PROJECT 06

Photographs by Dylan Bush

89

90

DIGITAL FABRICATION / PROJECT 06

DIGITAL FABRICATION / PROJECT 06

BRAINSTORMING

91

DIGITAL FABRICATION / PROJECT 06

WALL ASSEMBLY ISOMETRIC

92

ZIPTIE CONNECTIONS AT EVERY JOINT

3/8” THREADED ROD AND BOLTED CONNECTIONS WITHIN CENTER MODULE

93

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

94

DIGITAL FABRICATION / PROJECT 06

95

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-

96

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).

97

DIGITAL FABRICATION / PROJECT 06

EXHIBITION

98

DIGITAL FABRICATION / PROJECT 06

DIGITAL FABRICATION / PROJECT 06

99

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.

07

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.

102

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

103

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.

106

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.

110

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