“Be the change that you wish to see in the world” Mahatma Gandhi
2
Those who strive for positive change within the world and those who provide outreach for the troubled and misunderstood
3
TABLE OF CONTENTS 6-9
SECTION 1: INTRODUCTION
10-23
SECTION 2: HISTORIOLOGY
26-43
US HOLOCAUST MEMORIAL MUSEUM
82-91 94-101
44-55
PENN NEUROLOGICAL INSTITUTE
56-69
ROYAL ONTARIO MAXXI MUSEUM 70-81 MUSEUM
SECTION 3: CASE STUDIES
SECTION 4: DESIGN & TECHNICAL CRITERIA HUMAN BEHAVIOR & COLOR
102-115
MENTAL DISORDERS IN CONTEXT
SECTION 5: TOPICAL EXPLORATIONS 44
116-123
SECTION 6: SITE ANALYSIS
124-135
SECTION 7: PROGRAM DEVELOPMENT
136-143
SECTION 8: BUILDING ANALYSIS & CODE
144
SECTION 9: EXECUTIVE SUMMARY
145-147
SECTION 10: BIBLIOGRAPHY
148-149
APPENDIX 5
SECTION 1: INTRODUCTION With museums about various topics around the United States and around the world, it is surprising why there is not a museum for one of the most complex subjects, psychology. Psychology had always been a fascinating subject. A museum was selected because it is the best, most suitable building type to encase this psychology-centered program. This psychology museum will feature various exhibits, which will utilize a combination of architectural components and technology to portray a collection of psychological disorders. Also part of the program, there will be offices in the top floors of the building that will be designated for administrative, research, and outreach programs.
6
Innovation is future. In modern times there has been a large push to make museums into an advanced learning experience. Organizations like the American Alliance of Museums acknowledge the fact that “experiential” museums are more successful so with their “Innovation Labs”, museums are provided with resources needed and $40,000 grant money to create exhibits that target the new-age “experiential” museum roler1 . With an “experiential”, informative museum, guests would be able to learn more easily about various psychological disorders, by being placed in the perspective of someone with a disorder. With “experiential” exhibits for the museum, where each exhibit has various architectural elements, which collaboratively corresponds to the given disorder, guests will be able to learn more effectively.
In 2013, according to the National Institute of Mental Health reports, approximately 6% of adults in America, 13.6 million people, have a serious mental illness, equivalent to nine Philadelphia’s combined. A museum about the field of psychology, more specifically about various psychological disorders fits in Philadelphia well as a new addition to the pre-existing collection of museums that are based upon fields of study. This non-biased exhibit experience provides guests with a different perspective. An experience like this is necessary for a city so enriched with education. On a global scale, this museum is necessary because with an experientially-based comprehension of various disorders people would not respond violently to those affected by the disorder and provide more outreach to help cure and cope with it. There are various design goals for this psychological disorders museum. An overall goal is to create an innovative learning experience that resonates with the museum guests for the long-term. With integrative exhibition spaces, filled with architectural forms and technology, guests will be able to grasp a different perspective on how mental disorders work. Accompanying the integrative exhibition spaces is the informative signage which traditional museums are comprised of. Due to the highly diverse nature of the guests, signage will be multi-lingual, along with the incorporation of T-Coil technology to tend to the needs of the hearing impaired. The wayfinding for the museum will be clear so as not to confuse or discomfort guests as that is not the design intent for the program.
With thorough research the goal is to discover factual information of the triggers of psychological disorders, symptoms, demographicbase, and how various psychological disorders interrelate. Aside from the factual information attained, statistic data will also be researched on a local, national, and global scale to help give light to the surprising magnitude of the disorders. Psychological disorders such as claustrophobia, dissociative identity disorder, schizophrenia, obsessive compulsive disorder, and others will be subject to research. Along with basic database research and attaining various statistics from the National Institute of Mental Health database, interview sessions with psychologist Doctor Pauline Prince about what triggers the disorders or intensifies the symptoms in the context of an architectural space. Part of the research, the most important part, involves the translation of the disorders into an architectural context for exhibit spaces. This innovative program will keep to the modern goals of sustainability as well. Sustainability and environmental impact are considered factors for the museum. The natural daylight coming in through the main central skylight of the space will be a large electric conservation of energy for the space. On the top of the building, outlining the building’s skylight, solar panels will supply the building with more energy. Along the outer edges on the roof of the building there will be a green roof system that will allow for the mitigation of storm water and sewer overflows. This mitigation is necessary for the urban context of Philadelphia, as it addresses the common sewage drainage problems that cities have.
With a green roof system the amount of heat flowing from the building is reduced, therefore less energy is to be used to maintain a temperature. The heat flow data for a green roof system can be seen in figure A. The main reception space will have materials that promote indoor air quality and do not off-gas toxic chemicals into the air. Along with these materials, plants will also be introduced into the space to further provide sufficient indoor air quality. Knowledge of spatial planning and how people respond to architectural spaces are skills that will be applied to this museum project. The role of the designer for this museum is to un-biasedly design various exhibition spaces that are an architectural translation of a respective disorder in a way that makes users highly informed, and on a society level open to provide outreach to those in need. Discrimination and humiliation against mental disorders prevents those affected from getting help, as indicated by National Alliance on Mental Illness’ graph shown in figure B. Due to this factor, outreach programs will be added to the program, along with a research department. The outreach programs will be comprised of nonprofit organizations. Their role in the program is to assist those affected by mental disorders who go to them in need of help. The money that will fund these outreach organizations will come from seminars and informational sessions held in the auditorium. The research and outreach sect of the program will provide employees and volunteers adequate space and appropriate resources. to achieving the guest impact goals while satisfying the client.
7
Research and outreach will be adjacent to each other so that convenient communication can be held between the departments. Overall, the role of the designer is fundamental to achieving the guest impact goals while satisfying the client. The client is a renowned psychiatrist, Doctor Craig Wilson, in the Philadelphia area who specializes in catering to patients with anxiety disorders, the most common mental disorder in the United States affecting approximately forty million adults on a national level, as shown in figure C. Due to the fact that only one-third of those affected by the disorders seek treatment, Wilson wishes to share his passion for psychology innovatively in the context of a museum, in a way that raises un-bias awareness to society on how common and minor various psychological disorders can be. Wilson’s personal expectations for the museum will be achieved through the nature of the exhibits and the integrated outreach and research sect of the program. Between his expectations and the design objectives, there is a mutual concern for the experience of the user. The guests, employees, and volunteers of the museum, the users, are comprised of a large demographic group. Guests of the museum range from preteen to late seventies, of all ethnicities, races, and religions. Some of the guests are affected either directly or indirectly by the disorders, while other guests have a fascination for psychology and its vast complexities.
8
The employees of the facility are from different ethnic groups and ages ranging from late twenties to late sixties; while volunteers are of various ethnic groups of ages ranging from early twenties to late sixties. The needs of the employees will be addressed with easy and close proximities between their work spaces. Volunteers are specifically comprised of people who are undergraduate and graduate students of psychology and psychiatry, those who are interested in humanitarian efforts or are directly or indirectly affected by the disorders. The research portion of the program will tend to the needs of undergraduate and graduate studies. Students are able to use the resources supplied in the research department to complete assignments or satisfy general interest. To supplement to their studies, students are also able to volunteer in the outreach sect of the program, alongside the students would be the other non-student volunteers who are either interested in the subject or are directly or indirectly affiliated with disorders. The museum will cater to guests of a wide range of demographics in terms of age, gender, ethnicity, race, and religion. Philadelphia, being a city of tourist attraction and the building having close proximity to other attractions such as Independence Hall and Liberty Bell, there will be a wide range of demographics expected for guests. Due to these demographics, consideration will be taken in terms of appropriate multi-lingual signage for museum guests. Universal signage such as restroom symbols will be used as well for the multilingual guests. T-coil technology will also be implemented for the hearing impaired guests. Due to the highly informative nature of the museum signage for the wide range of demographics is a necessity.
resources
r1. Bell, Ford. American Alliance of Museums, “Innovation Labs for Museums.� Last modified 2013. Accessed July 28, 2014. http://www.aam-us.org/resources/center-for-the-future-ofmuseums/projects-and-reports/innovation-lab-for-museums.
9
HISTORIOLOGY THE BEGINNING OF THE MUSEUM
10
SECTION 2
“Architecture should
speak of its time and place, but yearn for timelessness.� -Frank
Gehry
Architect
11
overview
NANNA ZIGGURAT
PREHISTORIC
12
The museum originates under the key concepts of preservation and interpretation. Findings from Paleolithic burials and the communication of them in the form of cave paintings reinforce the basis of the museum. A precursor to the scheme of a museum had been discovered as early as the second millennium BC at Larsa, Mesopotamia.r2 British archaeologist, Sir Leonard Woolley discovered a museum label tablet dating to sixth century BC next to an “unearthed temple school” in the Babylonian City.r3 Through further studies, the tablet had been identified as belonging to Ennigaldi-Nanna, the priestess, who owned an educational museum there.r4 An image of the nearby site of the Ennigaldi-Nanna museum is shown in figure 1.
1
Museums had been around for centuries, with their specific origins unclear one of the first museum derivations dates to Ancient Alexandria under the reign of Ptolemy I. In Ancient Alexandria, the term “museum” dates back to the term mouseion relating to the “realm of muses”, where gods and goddesses of history, poetry, dance, and various other arts would meditate. r1 The earliest museums lacked the character found today and architects were rarely contacted to develop a distinct program. Capitoline Museum in Rome, Museo Pio Clementino in Vatican City, and Musee Louvre in Paris of the late eighteenth to early nineteenth centuries were among the first public museums to be opened.
MUSEUM AT ALEXANDRIA
2
3
ACROPOLIS IN ATHENS
Traces of the origination of museums are derived from Ancient Greece. The term “museum” comes from the Greek term “mouseion” meaning “seat of the Muses”.r5 In third century BC, Ptolemy I Soter founded the Museum at Alexandria, depicted in figure 2, which had a college of scholars and a library serving more as a “prototype university” than an institution.r6
A vague concept of the museum was discovered in the fifth century BC at the Greek pinakotheke of the Acropolis in Athens, shown in figure 3, which is a structure filled with paintings honoring the gods.r7
13
RENAISSANCE
VILLA MEDICI
4
The Renaissance, however, brought on the desire to learn, new ideas and beliefs, a reawakening. Galleries, as they were called, were established and filled with various artworks so that young artists could educate themselves.r8 The desire to learn fueled the need for vast collections of art displayed in spaces with ample sunlight. During the fifteenth century, an outstanding collection of sculpture and paintings was formed by Cosimo de’ Medici and his descendants in Florence.r9
After falling to the government ownership, Villa Medici, as shown in figure 4 was accessible “’to the people of Tuscany and to all nations’” in 1743 and later opened to the public in 1582 after converting offices into public space.r10 An example of one of the paintings owned by Medici can be seen in figure 5. Like Medici, other palaces’ collections have been converted into galleries. BIRTH OF VENUS BY SANDRO BOTTICELLI MEDICI COLLECTION
14
5
ENLIGHTENMENT
DORIA GALLERY
6
Palatial collections, owned by wealthy powerful aristocrats, were characterized by the seventeenth century highly ornate, more intimate, structures. The proprietors’ appreciations for artwork was greatly reflected in the abundance of paintings of both religious subjects and natural landscapes that were dispersed throughout the palace.r13 These intimate structures were filled with frescoes and “rich ornamentation” for the main spaces, new and old statues distributed throughout. r14 The chapels that often accompanied these collections were decorated with cultural influences such as furniture for worship purposes and religious paintings.r15
MUSEO PIO CLEMENTINO
7
During the Enlightenment and Renaissance times, exhibits in private homes across Europe had sprung up to display their treasures for limited periods of time. In 18th century Europe, there were three types of museums exhibits, consisting of “scientific collections of art”, “palatial collections”, and “museums of art with a custodial staff”.r11 Each type was attributed to a private collector, whether “eccentric abate”, powerful aristocrat, or reigning monarch.r12 By the eighteenth century in Rome, all domestic establishments were incorporated into museums like the palaces of the Pope, aristocrats, foreign ambassadors, and collegiate students.r16 The Roman paints are comprised of five categories: papal and civic, private, scarce princely, native owned by foreign monarchs, and archaeologist collections.r17 The Doria Gallery is one of the museums of present-day to retain its 1790 collection of hundreds of pictures and sculptures, as pictured in figure 6.r18 Museo Pio Clementino in Vatican City, shown in figure 7 opened in 1772 to exhibit an extensive collection of antiquities. The Neoclassical architecture of the building was a precedent for various European countries, such as Germany and its Nationalism Era .r19
15
The Enlightenment brought on precedented changes to museums on a global scale, as education became the focus across the world. As the emphasis for education continued the attendance rates in museums escalated. With the changes in plan and emphasis on education a larger spectrum of people become associated. In 1683 what had been Elias Ashmole’s home was gifted to the University of Oxford as the Ashmolean Museum, seen in figure 8. Containing a vast assortment of the Tradescant collection, the museum became one of the first institutions to collect “rarities of art and sciences” to use for educational purposes.r20 The Ashmolean had been relocated since and the Museum of the History of Science has taken its place.r21 The increased interest in the exotic and world exploration influenced Parliament to preserve a collection in a museum. As a result, less than a century later Parliament put forth funding for the British Museum, featuring private collections of the monarch, becoming the first museum to be supported by public revenue.r22 The government assumed responsibility to preserve collections “’not only for the inspection and entertainment of the learned and the curious, but for the general use and benefit of the public”.r23 With the government’s interest in travel arose new design demands to further harbor the exotic treasures.
16
ASHMOLEAN MUSEUM
Lighting and preservation in the gallery became of main concern for the people of the Enlightenment.r24 Use of natural sunlight and restoration of paintings within the spaces became paramount. Theorists like Diderot in Encyclopédie shares his support for precise schematic layout combined with the consideration for natural lighting and preservation of artwork.r25 Louvre’s committee sought to immerse galleries in natural lighting while restoring paintings to their original appearance.r26 Not only did Louvre become a place for admiring artwork, but it also accommodates the needs of young artists as the older galleries had.
8
FRENCH REVOLUTION Pre-French Revolution museums were diverse from the museums of today. There were galleries and government-owned museums where the royal wealth was exhibited to the less financially fortunate townspeople. Some galleries were in private homes in small closed-off spaces, while government-owned museums consisted of a series of small rooms and galleries. Before having an educational function, museums had been to flauntingly display possessions of royalty to the middle and lower classes. Louis XV opened a smaller Luxembourg Gallery for all to see an assortment of paintings from the royal collection.r27 When Denis Diderot had proposed a national museum for more of the royal collection led to its placement and opening in the Grande Galerie at the Louvre palace in 1793.r28 Post-Revolution, lighting, restoration, and spatial characteristics were some of the design considerations that were taken into account. The post-revolution museums converted the closed exhibition plan into an open plan consisting of a great long hall with open exhibition spaces.r29 The Grand Galerie was one of the museums to open up with the new design scheme, as shown in figure 9. Even though museums were changing, debate between the preferences of closed sanctified spaces to open flexible spaces continued.
In 1830, French theorist JNL Durand designed a program for a museum that combined the “open” and “closed” archetypes into one shell.r30 The “series of long sequential galleries surrounding four courtyards and a rotunda” inspired great architects like Karl Friedrich Schinkel’s Altes Museum, shown in figure 10 and Ludwig Mies van der Rohe’s National Gallery, shown in figure 11, which are both in Berlin. In these two works, Durand’s concerns for program and functional requirements are addressed.r31 The Altes Museum also brought significant change to museums as not only being a place hosting exhibits, but also a place for educating the public.
GRAND GALERIE
9
17
10
ALTES MUSEUM
Schinkel’s work, inspired by Durand’s archetypes, also played a significant role in German nationalism. According to Schinkel, specific architecture styles are for designated purposes. For museums, neoclassical monumental architecture is to be used. German nationalism architecture was to be comprised of components that reflect the German identity. Specifically, the architecture comes from the vernacular, or from the raw materials from the site and its surroundings. For the Altes Museum and other museums designed by Schinkel, stone from surroundings is used. NATIONAL GALLERY
18
11
modern-day Art enthusiasts and revolutionaries drove the building boom of 1960s. From the end of the next decade and into the 1980s new program expansion ensued. With the newer projects the focus became to expand pre-existing facilities to fulfill various newly established programmatic needs. In 1987, the Museum Program at the National Endowment for the Arts launched a project to produce a book about facility expansion and the considerations that need to taken into account to ensure that the facility is both aesthetically and functionally fulfills program demands. teams also have to account for the social, demographic, economic, and cultural factors as well.r32 Collaborations of Advisory Committees, comprised of a group of nationally distinguished museum professionals, were set up for meetings held over an eighteen-month time frame.r33 The group, to ensure an accurate profile of the institutional experience from both a corporation and individual standpoint, interviewed architects, staff, trustees, consultants, engineers, construction managers, and contractors.r34 Together these teams address the increasing complexities of museum design today. In the past, museums consisted of petite galleries for the quiet contemplation of the displayed items. With the current complexities, teams also have to account for the social, demographic, economic, and cultural factors as well.
While in the past museums were of a smaller scale, materials and lighting were simple selections. As a result, the more complex program along with the larger group of people involved, the selection of appropriate lighting and materials is not as simple. r35 Use of natural light was considered to allow for an aesthetically pleasing view for guests and aid in way finding. While natural lighting is beneficial, the intensity of it, subject to site location, can damage the display systems. Extent of daylight is considered in accordance with the maximum conditions of the site. r36
19
future With various incentives and functions the museum experience has extended beyond its architectural binding. With the incorporation of technology, guests are capable of taking components of the museum with them. At the United States Holocaust Memorial Museum, for example, guests can sign up for a newsletter for information of current events to be sent to their e-mails or phones. Aside from various technology considerations, the environment is also considered as being integrated into a museum experience.
UNITED STATES HOLOCAUST MEMORIAL MUSEUM
As the environment continues to deteriorate, action has been taken in the attempts to preserve it. Museums in recent time have taken the form of landscape and historic sites as opposed to architecture. The Mystic Seaport in Connecticut has been renovated into a maritime museum.r37 In Ballarat, Australia the Sovereign Hill Historical Park, shown in figure 12, has been restored into the gold-mining town it was renowned for.r38 The newest development has been the Ecomuseum of the Urban Community at Le Creusot-Montceau-les-Mines in France.r39 A system is created with the Ecomuseum that involves the community to stimulate comprehension of cultural, social, and environmental change.
20
SOVEREIGN HILL HISTORICAL PARK
12
13
RESOURCES r1. Davis, Douglas. The Museum Transformed: Design and Culture in the Post-Pompidou Age. New York: Abbeville Press, 1990. 12-15. r2. Kruus, Ülle. “The History of Museums.” Estonian Museum Association, 1998, 1. Accessed September 8, 2014. http:// www.muuseum.ee/uploads/files/g._lewis_the_history_of_ museums.pdf. r3. Kruus, Ülle. 3. r4. Kruus, Ülle. 3. r5. Kruus, Ülle. 3. r6. Kruus, Ülle. 1. r7. Kruus, Ülle. 3. r8. Davis, Douglas. 14. r9. Kruus, Ülle. 5. r10. Kruus, Ülle. 5. r11. Clark, Anthony. “The Development of the Collections and Museums of 18th Century Rome.” Art Journal 26, no. 2 (Winter 1967): 136. Accessed September 8, 2014. JSTOR. r12. Clark, Anthony. 136. r13-r18. Clark, Anthony. 137. r19. Kruus, Ülle. 10. r20. Davis, Douglas 14. r21. Kruus, Ülle. 8. r22. Davis, Douglas 14. r23. Kruus, Ülle. 9. r24-r27. Davis, Douglas 14.
r28. Kruus, Ülle. 9. r29- r30. Davis, Douglas. 16. r31. Henderson, Justin. “Foreward.” Foreword. Museum Architecture. Gloucester, MA: Rockport, 1998. 7-10. Print. r32. Darragh, Joan, and James S. Snyder. “Introduction.” Introduction to Museum Design: Planning and Building for Art, 3. New York: Oxford University Press in Association with the American Federation of Arts and the National Endowment for the Arts, 1993 r33. Darragh, Joan, and James S. Snyder. “Appendix D.” Afterword to Museum Design: Planning and Building for Art, 265. New York: Oxford University Press in Association with the American Federation of Arts and the National Endowment for the Arts, 1993. 4. r34. Darragh, Joan, and James S. Snyder. 5. r35. Darragh, Joan, and James S. Snyder. 14. r36. Darragh, Joan, and James S. Snyder. 14. r37-r39. Kruus, Ülle. 18.
21
IMAGE RESOURCES 1. http://www.panoramio.com/ 2. http://mnogomamok.ru/ 3. http://yetanotheridiotabroad.blogspot.com/ 4. http://www.tourisminitaly.info/ 5. http://www.simonbrushfield.com/ 6. http://www.aviewoncities.com/ 7. http://cdn.traveler.es/ 8. http://www.coolplaces.co.uk/ 9. http://www.lib-art.com/ 10. http://www.smb.museum/ 11. http://www.bc.edu/ 12. http://www.panoramio.com/ 13. http://www.potiondesign.com/
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23
CASE STUDIES
24
SECTION 3
US HOLOCAUST MEMORIAL MUSEUM
PENNN NEUROLOGICAL INSTITUTE
ROYAL ONTARIO MUSEUM
MAXXI MUSEUM
25
CASE STUDY US HOLOCAUST MEMORIAL MUSEUM
26
SECTION 3
“The first step towards change is awareness. The second step is acceptance.�
-Nathaniel Branden Psychotherapist
27
United States Holocaust Memorial Museum 28
HALL OF WITNESS FACING TEMPORARY EXHIBIT
US Holocaust Memorial Museum 100 Raoul Wallenberg Pl SWWashington, DC 20024 Six Levels: 191,882 ft2 Architect: James Ingo Freed, 1989 Owner: Federal US Government
The US Holocaust Memorial Museum is located in the urban environment of Washington DC, specifically a block down from the National Mall. It experiences moderate temperatures year round. This museum is relevant to the thesis project in that it uses various design decisions to create an experience in which guests feel lost. Likewise, for the thesis project with various exhibits based on factual information emotion and experience is created for guests.
2 SITE PLAN
The facility is federally owned. Due to the large amounts of concrete, steel, and glass used, there was a high construction budget for this museum, but since it was federally funded there are not financial affordability concerns.
1
Visitors of the museum are of all ethnicities, ages, races, and religions.When initially designed 300,000 annual visitors were expected. In reality the museum is visited by 1.6 million annually. The busiest time for the museum is during the winter holidays.
3 LOCATION PLAN
29
Design Concept & Style 30
The US Holocaust Memorial Museum’s concept is based on providing guests with a minimally guided, melancholy descending journey though 3 floors of bleak neutral-colored exhibition space in representation of the lost hopelessness emotion that the victims had experienced. Like a multitude of museums in Washington DC, Freed’s US Holocaust Memorial Museum “uses abstract grandeur for its own, bleak story”1. The building is a hybrid of Neoclassical and early Modernistic architecture2. The east entrance has a Pantheon resemblance with its semi-circular entry3. The interior contains various modernistic elements such as pilotis throughout the space4. Although the east entrance on the exterior and the pilotis of the interior are of respective styles, overall the interior and the exterior of the building are holistic.
4
HALL OF WITNESS WALL
5
EXTERIOR FACADE OF THE FIRST ENTRY
The exterior is comprised of both limestone and brick. Freed consciously selected both materials to poetically provide an distinction between the two older buildings of the museum. The division “marks a break between them, as the Holocaust is both part of the twentieth century and an unbridgeable dislocation within it”5.
6
EXTERIOR FACADE OF THE SECOND ENTRY
10 7 FIFTH LEVEL FLOORPLAN
8
FOURTH LEVEL FLOORPLAN
9
THIRD LEVEL FLOORPLAN
EAST WEST LONGITUDINAL SECTION
The museum is comprised of six levels. The fifth floor is private space consisting of administration, a conference room, archives, and classrooms. The fourth, third, and second levels, on the other hand, are public permanent exhibition spaces. There are three entrances into the museum, one of which is for groups. From the entrances guests can go to the main shop or to the main reception space called the Hall of Witness. From the Hall of Witness guests are able to go to the information desk to purchase their ticket or to the cloak room which is adjacent to the desk. At the dest, if needed, maps can be picked up. At the elevators on the main floor guests receive a victim narrative booklet. Each booklet features the narrative of a victim or survivor of the Holocaust. Every page of the booklet corresponds to an exhibit level6. Guests begin their journey by getting on the elevators, ascending to the fourth floor.
11
SECOND LEVEL FLOORPLAN
12
GROUND LEVEL FLOORPLAN
13
CONCOURSE LEVEL FLOORPLAN
31
Design Concept & Style- public vs private
7A
11A
8A
12A
FIFTH LEVEL FLOORPLAN
FOURTH LEVEL FLOORPLAN
9A
THIRD LEVEL FLOORPLAN
32
SECOND LEVEL FLOORPLAN
GROUND LEVEL FLOORPLAN
13A
CONCOURSE LEVEL FLOORPLAN
FIFTH LEVEL FLOORPLAN
8B
FOURTH LEVEL FLOORPLAN
9A
THIRD LEVEL FLOORPLAN
11B
SECOND LEVEL FLOORPLAN
12B
GROUND LEVEL FLOORPLAN
Design Concept & Style- Circulation
7B
13B
CONCOURSE LEVEL FLOORPLAN
33
Design Concept & Style- Structural systems 34
10A
EAST WEST LONGITUDINAL SECTION CIRCULATION
Beginning on the fourth floor, guests descend gradually to the ground floor, with a series of stairs, ramps, and elevators between each exhibit level. Each exhibit space per floor covers a specific time frame of World War II times. The fourth floor covers 1933-1939, the third 1940-1945, while the second covers 1945. When the museum was designed in the late 1980s James Ingo Freed made a design decision to deprive the museum of signage so that guests feel lost like the victims of the Holocaust had7. The fifth floor is for administrative, research, and victim registry purposes. Students and professionals are able to use the resources provided to fulfill their research inquiries.
In recent time, the past 3 years, since Freed has left management, more signage has been added inside the museum to help with wayfinding. Initially there was expected to be roughly 300,000 visitors annually. but there are 1.6 million visitors annually8. Various circulation corridor spaces have been widened to account for the larger crowds. Michael Zisk, an architect of the US Holocaust Memorial Museum, describes some of the expansion measures taken to accomodate the later crowd9. According to Zisk , the skywalks connecting the exhibits had been widened10. Aside from signage, various measures have also been taken to open the museum experience to others. At the information desik, for example, visually- impaired guests can pick up a braille victim narrative booklet. The hearing-impaired can call ahead for a tour provided through T-coil system technology11. Since some of the victims of the Holocaust were the handicapped, special attention to the handicap guests is made.
14
SIGNAGE AT MUSEUM ENTRANCE
15
SIGNAGE AT MAIN EXHIBIT ENTRY
16
SIGNAGE AT LOWER LEVEL
TEMPORARY EXHIBIT ENTRANCE GATE
TEMPORARY EXHIBIT ENTRANCE GATE
17
18
19 HALL OF WITNESS
20
GALLERIA
35
36
HALL OF REMEMBRANCE
21
23
PERMANENT EXHIBITION SPACE
22
CLOAK ROOM ENTRANCE
24
STAGE IN THE 27 HALL OF WITNESS
37
Design Concept & Style- finishes & Furniture 38
Materials & Finishes: Hard surfaces like steel, glass, concrete, and brick are genorously applied in the interior. These materials are appropriate in that they successfully aid the cold ambiance of the subject matter of the museum. With the complete glass encasement the guests in the skywalks are able to see those standing in the museum lobby, and those in the lobby can see them. The museum’s skywalks help guests experience the essence of the hopelessness that the victims had endured.
Fixtures, Furniture, & Equipment:
SKYWALK
25
26
ARTIFICIAL LIGHTING OUTSIDE TEMPORARY EXHIBIT
Museums typically have an abundance of benches between exhibit spaces and in the lobby to provide guests with the opportunity to relax if necessary. For the US Holocaust Memorial Museum resting stops are not abundant to encourage guests to proceed without stopping and represent the bleak, harsh nature of the Holocaust. Exposed ceilings within the exhibits and soft, dim lighting are additional elements which aid to the overall experience. The artificial lighting, track lighting, is not overbearing or too bright to help contribute to the gloom of the Holocaust. The Hall of Witness, the reception space, is lit by natural lighting coming in through the skylight, while the various artificial light fixtures on the walls are ornamental. The purpose of the reception space is to welcome guests, so a welcoming lit space is suitable, of which the museum offers with its naturally lit reception space. The artificial lighting in the exhibition spaces, on the other hand, succesfully contributes to set the appropriate mood for the subject matter.
interior design- Color , Ornament, & survey
ARTIFICIAL LIGHTING OUTSIDE TEMPORARY EXHIBIT
27
39
Colors: The overall color palette consists of neutral colors such as black, grey, and white. The color palette is most sucessful in the exhibits as the colors assis in setting a serious mood for the bleak context.
Art, Decorative Elements & Accessories: The exhibition spaces are primarily comprised of information boards, artifacts, and video clips about the Holocaust and other events that are directly related such as World War II. Shown on the left is a portion of one of the exhibits.
Post Occupancy:
DANIEL’S STORY EXHIBIT
40
28
Upon interviewing, Nick of guest services, it became clear which factors benefit the museum and which do not programmatically12. Due to the unclear wayfinding nature of the program, guests often inquire the guest services desk about the location of the restrooms, inconveniently located in the concourse level. According to Nick, the lighting qualities and overall design concept are strengths for the museum13. On the other hand, the lack of a restroom on the main floor and scarce amount of signage are negative qualities of the space.
Evaluation: After a study of the US Holocaust Memorial Museum, the negative and positive qualities became clear. Positive qualties are its purposesupporting lighting and its design concept, including the human factors that were taken account of. Negative qualities are its halfhidden museum shop, which can easily be passed without noticing, its scarce signage, and lack of restroom facilities on the main floor.
1- Meyerhoff Theater 2- Theater Lobby 3- Green Room 4- Amphiteatre 5- Stairs to Hall of Witness 6- Education/Conference Center 7-Classrooms 8-Cinema Space 9-Lift Lobby 10- Temporary Exhibition Space 11- Entrance for Individuals 12- Group Entrance 13-Stage 14- Hall of Flags 15- Hall of Witness 16- 15th Street Entrance 17- Patrons’ Lounge 18- Cloakroom 19-Bookshop 20- Loading Dock 21- Permanent Exhibition 22- Ante-Chamber 23- Hall of Remembrance 24- Galleria 25- Hall of Learning 26- Tower of Victims 27- Library/Archives 28- Administration 29- Conference Room 30- Survivor’s Registry
Administration (62,784ft2) Collections Storage & Processing (24,904ft2) Auditorium (7,919ft2) Classrooms (3,248ft2) Exhibition Space & Preparation (51,225ft2) Research (CAHS) (4,061ft2) Library (6,050ft2)Food Services (2,897ft2) Museum Shop (2,599ft2) Buildings & Ground Services (23,039ft2) Registry (2,156ft2)
Spaces, rooms, & adjacencies
Floorplan Legend:
41
resources
r1-r5. Dannatt, Adrian, and Timothy Hursley. United States Holocaust Memorial Museum: James Ingo Freed. London: Phaidon Press, 1995. r6. Nick. “US Holocaust Museum.” Interview by author. August 18, 2014. r7-r10. Michael Zisk. “US Holocaust Museum.” Interview by author. June 26, 2014. r11-r12 . Nick. “US Holocaust Museum.” Interview by author. August 18, 2014.
PHOTO RESOURCES Cover: http://thebohemianlifestyle.com/tag/new/ 1. http://triposs.com/dc/holocaust_museum 2. https://www.google.com/maps/ 3. https://www.google.com/maps/ 4. http://galleryhip.com/volkswagen-holocaust.html 5. https://www.google.com/maps/ 6. http://techstyle.lmc.gatech.edu/hate-studies-and-the-holocaust-memorial-museum/ 7-13: 7A-13A. Dannatt, Adrian, and Timothy Hursley. United States Holocaust Memorial Museum: James Ingo Freed. London: Phaidon Press, 1995. 14-18. iPhone5s 19. http://holocaust.hklaw.com/photos/2007PHOTOS/THR-FRI/index.asp 20. iPhone5s 21. http://en.wikipedia.org/wiki/United_States_Holocaust_Memorial_Museum#mediaviewer/File:Holocaust_Remembrance_Week.JPG 22. iPhone5s 23. http://redigo.ru/geo/North_America/USA/poi/32400 24. iPhone5s 25-26. iPhone5s 27. http://www.wisconsinhistory.org/HolocaustSurvivors/teachers.asp 28. http://www.ushmm.org/information/exhibitions/museum-exhibitions/remember-the-children-daniels-story/
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43
CASE STUDY PENN NEUROLOGICAL INSTITUTE
SECTION 3
“In the grip of a neurological dis-
order, I am fast losing control of words even as my relationship with the world has been reduced to them.� -Christopher Hitchens Journalist
45
PENN NEUROLOGICAL INSTITUTE 46
PENN NEUROLOGICAL INSTITUTE ENTRANCE
Penn Neurological Institute 330 South 9th Street #3 Philadelphia, PA 19107 Four Levels: 25,000 ft2 Architect: Samuel Rhoads, 1871 Owner: Penn Hospital
The Penn Neurological Institute is located in the urban environment of Philadelphia, neighboring Penn Hospital, and experiences moderate temperatures year round. This building is relevant as it is a facility that provides medical treatment and performs studies on neurological issues of the brain. The thesis project portrays various mental conditions through exhibitions, while also including a mental disorder research departments in the program. The facility is owned by Penn Hospital.1 The Penn Hospital area is in the historic district of Philadelphia. The facades of colonial historic architecture have ornate stone arches that encase arched windows. Each floor is separated by an ornate stone cornice, which runs along the perimeter of the facade of the building. The second and third floors have rectangular windows each with an ornate stone header, as seen in the facade, The center three windows of the second and third levels in the facade are separated by columns. Evidenced by the numerous types, materials and varying levels of detail on the facade, it is assumed that there was a high construction budget.
2
SITE PLAN
3 3
1
LOCATION PLAN
47
Design Concept & Style
The exterior style is historic colonial due to its urban context. The interior, however, does not correspond to the exterior’s style. The curved ramp located in the lobby of the institution is an organic form that is derived from more modern architectural styles. The highly linear-based floor plan schematics, often supplemented by a central datum as seen in the previous diagrams, reflect the colonial style. Collectively, the schematics of the floor plan and the exterior are holistic to the colonial style.
5 EXTERIOR BUILDING ELEVATION
At the top of the steps is an elevator for patients and employees. At the top of the stairs and ramp is the entrance to a physical therapy practice that is not under the same ownership as the neurological practice located on the third floor. However, the physical therapy practice, Penn Therapy and Fitness, provides its services to a selection of the patients of the third floor practice. The second floor contains the office spaces for the administrators, physicians, and support staff.
Visitors of the institute are the employees, those with dystonia, multiple sclerosis, amyotrophic lateral sclerosis, cognitive impairment, and psychogenic disorders and their families.2 The Penn Neurological Institute’s concept is based on the use of a collection of whites, wood veneer, and sinuous curves which sets patients at ease.
4
48
EXTERIOR PERSPECTIVE
Upon entry into the facility, there is a parking validation podium on the immediate right. To the left is a sinuous non-ADA compliant ramp and six steps. 6
EXTERIOR WINDOW DETAIL
7
THIRD LEVEL FLOORPLAN
8
SECOND LEVEL FLOORPLAN
9
FIRST LEVEL FLOORPLAN
Along with the ramp, the curvilinear acoustic ceiling tile system also coincides with the same organic style. The third floor and the remainder of the interior are comprised 7A of natural materials and color palette. THIRD LEVEL FLOORPLAN Within medical facilities natural colors, tones, and materials are used in order to induce a tranquil temperament for guests.3 In addition to natural colors and tones, curves and forms are also used to evoke a calm environment for patients.4 For this reason, natural tones and sinuous curves are used throughout the entirety of the practice. Specifically in the lobby the ramp and the ceiling are sinuous moments 8B designed to secure a tranquil environment. SECOND LEVEL FLOORPLAN In the third level practice space, the ramp’s form is reflected in the reception desk with its corresponding ceiling element forms. On the third floor, visitors are directed to the reception desk, where appointments are established and mediated, Rounded elements created in the ceiling and floor transition encloses the reception 9B desk with an adjacent waiting room. FIRST LEVEL FLOORPLAN
49
Design Concept & Style| public vs private & DATUM
7C
7D
8C
8D
THIRD LEVEL FLOORPLAN PUBLIC VS PRIVATE
SECOND LEVEL FLOORPLAN PUBLIC VS PRIVATE
9C
FIRST LEVEL FLOORPLAN PUBLIC VS PRIVATE
THIRD LEVEL FLOORPLAN CENTRAL DATUM LINE
SECOND LEVEL FLOORPLAN CENTRAL DATUM LINE
9D FIRST LEVEL FLOORPLAN CENTRAL DATUM LINE
The portion of the program to the right of the reception desk is designated mainly for record holding, research and medical consultations, and research management. To the left of the reception desk is a wall that creates a buffer between the waiting room and twelve treatment spaces, a laboratory, and a secondary reception space. From the waiting room the patients are either admitted into a treatment room with a doctor or the research consultation room with a graduate student or volunteer.
FRONT LOBBY STAIRS
10
11 FRONT LOBBY RAMP
51
Design Concept & Style- artificial lighting
Circulation throughout the space is guided by signage and wayfinding. Upon entry into the facility there is a sign behind the parking validation podium that aids visitors with wayfinding.
12
MAIN LOBBY CEILING ELEMENTS
According to Sue Reichwein of the Penn Neurological Institute, as the practice treats the handicap, the facility’s lobby is not designed for practicality.5 The ramp at the entrance, while aesthetically soothing, does not comply with ADA regulations. In addition, the upper level of the lobby space has polished tile flooring, which poses a hazard and physical challenge for the patients.6 Overall, the space’s aesthetics takes precedence over the patients’ needs.
13
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Graduate medical students and full-time staff from the Penn Neurological Institute conduct various studies of the neurological disorders in contribution to medicinal advancements in the field. Similarly the proposed museum will incorporate a research program of neuro-conditions for the advancement of medicine.
MAIN LOBBY CURVED CEILING ELEMENTS
While the space was impractical, in areas like the lobby, wayfinding is clear and the use of natural lighting optimized. In the third floor, the medical practice the use of natural colors and organic forms aids in soothing patients. The schematic layout of the practice reflects the program well; specifically the wall in the waiting room provides a visual and acoustic barrier for the treatment rooms. While artificial lighting is equally as important as natural daylight, the abundance of artificial fixtures competes with the natural daylighting.
WAITING ROOM ENTRY
WAITING ROOM FURNITURE
14
15
CEILING ELEMENT ANNOTATIONS
MATERIAL ANNOTATIONS
16
17
18
19
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Spaces, rooms, & adjacencies 54
Floorplan Legend:
1- Administrator Office 1A- Administrator Offices 2- Archives 3- Consulting Room 4- Exam Rooms 5- Laboratory 6-Main Lobby 7-Research Offices 8-Private Physical Therapy Practice 9- Reception Space & Waiting Rooms 10- Restrooms 11- Staff Lounge
Administration: Oversees the overall functions of the practice and its doctors Archives: Stores patient files and medical history, now in process of switching to an electric database Consulting Room: Hosts meetings held between doctors and/ or researchers with patients here. Researchers introduce patients with new studies being conducted & request their participation Exam Rooms: Hosts appointments between patients and doctors Laboratory: Processes blood samples to evaluate brain health Research Offices: Hosts workspaces for medical research, conducted by full time staff and residency medical students
Administrator Office (192ft2) Administrator Offices (6,269 ft2) Archives ( 240 ft2) Consulting Room (180ft2) Exam Rooms (x12) (100ft2) Laboratory (50ft2) Main Lobby (780ft2) Research Offices (192ft2) Private Physical Therapy Practice (5,489ft2) Reception Space & Waiting Rooms (1,020ft2) Restrooms (x3) (48ft2) Staff Lounge (144ft2)
resources
r1. Sue Reichwein. “Penn Neurological Institute.” Interview by author. August 13, 2014. r2. Sue Reichwein. r3. Ulrich, Roger S. “Effects of interior design on wellness: theory and recent scientific research.” Journal of health care interior design 3, no. 1 (1991): 104. r4. Ulrich, Roger S., 105. r5. Sue Reichwein. r6. Sue Reichwein.
PHOTO RESOURCES: Cover: https://blackboard.philau.edu/webapps/login/ 1. iPhone5s 2. https://www.google.com/maps/ 3. https://www.google.com/maps/ 4.iPhone5s 5. https://blackboard.philau.edu/webapps/login/ 6. iPhone5s 7A-7D: https://blackboard.philau.edu/webapps/login/ 8A-8D: https://blackboard.philau.edu/webapps/login/ 9A-9D: https://blackboard.philau.edu/webapps/login/ 10-19: iPhone5
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CASE STUDY ROYAL ONTARIO MUSEUM
56
SECTION 3.3
“Order is never observed; it is
disorder that attracts attention because it is awkward and intrusive.� -Eliphas Levi Journalist
57
royal ontario museum 58
ROLOFF BENY GALLERY
Royal Ontario Museum 100 Queens Park, Toronto, ON M5S 2C6 Six Levels: 100,000 ft2 Architect: Daniel Libeskind, 2007 Owner: Government of Toronto
The Royal Ontario Museum is located in the urban environment of Toronto, Ontario, neighboring the University of Toronto, experiencing warm, humid summers and lake-effect snowy winters. The building is relevant to the thesis as it is a museum with various volumes erupting from within the traditional historic exterior. Though the exhibits of the thesis project are to contain architectural elements within, the Daniel Libeskind’s Royal Ontario Museum uses industrial materials and forms in a way that creates a contrasting language between the interior and the exterior.
1
1
With the early 20th century, the facility was funded by the government of Ontario and the University of Toronto. The museum’s surrounding architecture is of the bay and gable style, notorious of the Toronto area. The east façade’s second and third stories are comprised of a series of groupings of three rectangular windows, each separated by a pilaster. The first story, the basement, has groupings of two windows which are aligned with the cluster of three above. Vertical portions, encasing the windows, recede into the façade. Exploding off of the north façade is a steel triangular structure with aluminum cladding and glazing, with a portion protruding into the west façade.
2
SITE PLAN
3 3
LOCATION PLAN
59
Design Concept & Style 60
5 EAST ELEVATION
Frank Darling and John A. Pearson designed the original, older portion of the building in the Romanesque style in 1912.1 Nearly a century later, 2007, Daniel Libeskind completed the museum’s renovation project consisting of a complex modern triangulated steel structure. Five volumes of steel structure are covered in aluminum cladding with strips of glazing throughout in various directions to allow for the entry of natural sunlight while simultaneously creating an experience for guests. Where the new addition and the preexisting building meet is the Gloria Hyacith Chen Court atrium space, from which a portion of the pre-existing façade can be seen.2 The exterior style is Romanesque due to its urban context. The interior, however, does not correspond to the exterior’s style. Libeskind’s addition shatters the holistic potential for the facility. The sharp angeled forms and the sole use of steel and glazing is more modern than that of Romanesque Architecture. However, the addition’s sharp angles correspond with the respective interior holistically.
MICHAEL CHIN-LEE CRYSTAL EXTERIOR
4
Libeskind’s steel glazing structure addition is called the Michael Chin-Lee Crystal. Each triangular volume, crystal is museum program space. The intersection of two crystals is space for two new galleries, with the Spirit House, a space for guest reflection, located in the void.3 Inside the fourth crystal is the Stair of Wonders, decorated by “exhibition vitrines at the landings”4. Within the fifth crystal is a restaurant. Where the crystals intersect, views into other galleries are created. 5
6
MICHAEL CHIN-LEE CRYSTAL ENTRY
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61
HYACINTH GLORIA CHEN CRYSTAL COURT
Design program- Private vs public
FIFTH LEVEL FLOORPLAN
8
THIRD LEVEL FLOORPLAN
9
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FOURTH LEVEL FLOORPLAN
10
11 SECOND LEVEL FLOORPLAN
FIRST LEVEL FLOORPLAN
12
SECOND BASEMENT LEVEL FLOORPLAN
13 BASEMENT LEVEL FLOORPLAN
14
15 LEGEND
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Design program FIFTH LEVEL FLOORPLAN
8
THIRD LEVEL FLOORPLAN
9
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FOURTH LEVEL FLOORPLAN
10
11 SECOND LEVEL FLOORPLAN
FIRST LEVEL FLOORPLAN
12
SECOND BASEMENT LEVEL FLOORPLAN
13 BASEMENT LEVEL FLOORPLAN
14
15 LEGEND
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Design Concept & Style- artificial lighting
16
ROLOFF BENY GALLERY
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BUILDING SECTION
17
Withanattendanceofoveronemillionpeopleannually,theRoyalOntarioMuseum madeita programmatic goal to appeal to all demographics through accessibility and wayfinding. Circulation throughout the space is guided by signage and wayfinding. The exhibits have a system of wayfinding through their color-coordinated display system bases. Equipped with ADA ramps, visual-impaired wayfinding, and guided hearingimpaired tours, the Royal Ontario Museum sensibly tends to needs of all guests.6
The building’s 100,000 square feet and seven levels encase a collection of galleries and exhibits of various topics such as anthropology, paleontology, ecology, archaeology, and geology.7
ARCHAEOLOGY EXHIBIT
MUSEUM RESTAURANT
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19
Of the two basement levels, the first basement level is the Garfield Weston Exhibition Hall; the second is “Food Studio” Café and Eaton Theater. In the Michael Chin-Lee Crystal, on the ground level is the main entrance and store entrance. Within the pre-existing portion of the ground level are the anthropology exhibits about Native American, Chinese, Japanese, Korean, and Canadian cultures. Level two contains ecology exhibits pertaining to the life of birds, mammals, bats, as well as the endangered species. Within the triangulated steel structure are the paleontology exhibits with displays of full dinosaur skeletons suspended in the areas with higher ceilings. Level three is comprised of archaeology exhibits of various ancient civilizations, some of which include Rome, Egypt, Nubia, the Americas, and the Middle East. The fourth level, located in the addition, contains a textiles gallery and Roloff Beny Gallery. As it is towards the top of the Michael Chin-Lee Crystal structure, the Roloff Beny Gallery incorporates the facility envelope the most memorably in its display of contemporary art, photography, architecture, and design from across the globe. Each level carries its narrative consistently throughout.
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resources
r1. Dickson, Lovat. The Museum Makers: The Story of the Royal Ontario Museum. Toronto: Royal Ontario Museum, 1986. r2. Libeskind, Daniel. “Studio Daniel Libeskind.” Royal Ontario Museum. December 31, 2009. Accessed October 04, 2014. http:// daniel-libeskind.com/projects/royal-ontario-museum. r3-r5. Libeskind, Daniel. r6. Carding, Janet. “Royal Ontario Museum: Visitor Guide.” Welcome to Royal Ontario Museum. Accessed October 07, 2014. http:// www.rom.on.ca/. r7. Carding, Janet.
PHOTO RESOURCES
Cover: http://artsandfacts.blogspot.com/2013/11/10-architecturally-beautiful-museums.html 1. http://vorotila.ru/Arhitektura-doma-pamyatniki-zamki/Korolevskiy-muzey-Ontario-i68703 2. https://www.google.com/maps/ 3. https://www.google.com/maps/ 4. http://www.carlacarballodesigns.com/classic-meets-modern 5. http://archiscooppedia.blogspot.com/2013_12_01_archive.html 6. http://architizer.com/projects/royal-ontario-museum/ 7: http://architizer.com/projects/royal-ontario-museum/ 8-15: http://www.rom.on.ca/sites/default/files/imce/floorplan_lrg.pdf 16: http://architizer.com/projects/royal-ontario-museum/ 17: http://buildipedia.com/aec-pros/featured-architecture/keeping-up-with-torontos-evolving-architecturalidentity?print=1&tmpl=component 18: http://www.archilovers.com/projects/46847/royal-ontario-museum-rom.html 19: http://djmcrae.ca/commercial/
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CASE STUDY MAXXI Museum
70
SECTION 3.4
“Modernism released us from the constraints of everything that had gone before with a euphoric sense of freedom.� -Arthur
Erickson
Canadian Architect
71
maxxi 72
CIRCULATION SPACE
MAXXI Museum Via Guido Reni, 4A, Rome, Italy Six Levels: 290,626 ft2 Architect: Zaha Hadid, 2009 Owner: City of Rome
The MAXXI Museum is located on the outskirts of historic center Rome, Italy, a few blocks from Stadio Olimpico, experiencing hot dry summers and wet winters. The building is relevant to the thesis as it is a museum with various forms and ramps circulating through the space allowing guests to experience the architecture, along with the modern art contained within the exhibition spaces. With the design implementation of curvilinear forms, Zaha Hadid intrudes modern architecture into the heavily historic nature of the architecture of Rome. The exhibits of the thesis project are to contain architectural elements that evoke emotion within the guests, as the modern art exhibits and architecture of the MAXXI do.
1
In 1999 there was an international design competition, in which Zaha Hadid was put up against 15 other architects, including Steven Holl, Toyo Ito, Rem Koolhaas, Jean Nouvel, and Kazuyo Sejima.r1 Located on the outskirts of Rome’s historic core, Zaha Hadid Architects won the competition. Conceptually Hadid viewed the facility as a river. The predominantly concrete structure of the facility encompassed a series of “streams” which “converge, overlap, then change course” throughout. r2
2
SITE PLAN
3
3
LOCATION PLAN
73
Design Concept & Style
SHORT SECTION
Taking over 10 years to construct, the MAXXI allows guests an outlook on Hadid’s past, as well as that of Rome’s. The exterior style is modernistic and constructed of exposed industrial materials such as concrete, glazing, and steel. Holistic with the interior, the circulation spaces flow parallel to the exterior spaces for all three levels.
4
MAXXI EXTERIOR
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5
The entrance to the museum is open to all floors with a series of multiple sculptural bridges and stairways for circulation purposes run throughout the space, Scattered about the main lobby space is the museum’s bookstore, cafe, and information counter. Separate from the information desk, tucked away, is the coat room where all possessions are to be stored, as mandated by museum policy. Adjacent to the coat room is the auditorium space. The ground level also Around the block from the museum is the Piazza has a graphic collection, a temporary and regular exhibit. Mancini Antonio with close proximity to Stadio Olimpico. A courtyard space separates the 215,280 ft2 building from the road. Overlooking the courtyard is a cantilevered mass, where Exhibition Suite 5 is located. Throughout the courtyard are preserved military barracks from the early 20th century.r3 The facade of the exterior has an abundance of windows, allowing for the entry of natural light, a factor considered by Zaha Hadid as part of the design. Along with the windows, the facility is capped by a glass rooftop through which sunrays penetrate to a “system of computer-operated louvers that open and close according to the intensity of the sun”.r4 A steel grid system blocks the harsh south lighting coming in. 6
EXHIBIT ENTRANCE PATH
7
MAXXI EXTERIOR AT MAIN ENTRANCE
75
Design program & PRIVATE VERSUS PUBLIC
ROOF LEVEL FLOORPLAN
8
FIRST LEVEL FLOORPLAN
9
76
SECOND LEVEL FLOORPLAN
10
11 GROUND LEVEL FLOORPLAN
SECOND LEVEL FLOORPLAN
9A
FIRST LEVEL FLOORPLAN
Program
Second Level Floorplan: 1. Entrance Hall 2. Exhibition Suite 3 3. Exhibition Suite 5 First Level Floorplan: 1. Entrance Hall 2. Exhibition Suite 2 3. Exhibition Suite 3 4. Exhibition Suite 4 5. Auditorium
10A
Ground Level Floorplan: 1. Landscape 2. Entrance Hall 3. Reception 4. Temporary Exhibition 5. Graphic Collection 6. Exhibition Suite 1 7. Auditorium 8. Shop 9. Coffee Bar
LEGEND PUBLIC
GROUND LEVEL FLOORPLAN
11A
PRIVATE
77
Design Concept & Style- artificial lighting
12
EXHIBITION SPACE
78
The first level has three exhibits, an exhibition hall, and an auditorium. The acoustics of the first level are designed in a way that the sound from the auditorium radiates outwards to the exhibit spaces. While venturing through the exhibit spaces, the location of the auditorium, the source of the sound, is unclear as the noise echoes throughout the entire floor, providing experience. The second level two exhibits and an exhibition hall with the maintained connection of the black monumental bridges throughout. 13
CIRCULATION SPACE ASCENDING INTO EXHIBIT SPACES
Coves disperse warm artificial light along the path, the ceiling, and where the bridges meet the walls. Glass panels on the underside of the black monumental ramps span segmented lengths of the bridges rounding corners, providing mystery and anticipation for the guests below. Aside from the underlit bridges and passageways, the angled walls radiate a sense of mystery for the museum guests. The shapes, sizes, and content of the rooms aids to the mystery, creating an unprecedented museum experience.
14 MUSEUM RECEPTION SPACE
In the circuluation spaces between two exhibits feature various organic sculptures, significantly larger than a human body. Exhibits are filled with ecletic piaintings, installations, models, and collections. The subject matter for MAXXI collections vary, some of which include architecture, art, a Photography Centre, and biographies. The architecture collections consist of various artefacts and documents which potrays the conceptual ideology of the architectr5. The Photography Centre is an “innovative and flexible space”, supplement to the photographic exhibitions, where guests can research information about current exhibtionsr6. Unlike other museums, the MAXXI has more circulation space to display items. Sustainability at the MAXXI is lacking, except for the use of exterior glazing to encourage natural daylighting.
15 MUSEUM EXHIBIT
Zaha Hadid’s MAXXI museum is an innovative art museum in the sense that anxiety and curiosity fill the guests due to the unique architectural forms and variating room sizes, shape, and content. The bridges provide guests with the sensation that they are hovering through the main circulation spaces as opposed to strolling through.
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resources
RESOURCES
r1-r2. Pearson, Clifford. “MAXXI.” Architectural Reccord 198, no. 10 (October 1, 2010): 82. Accessed October 14, 2014. r3-r4. Rocca, Francis X. “Why Hadid’s MAXXI Works.” Wall Street Journal (Online), Mar 02, 2010. http://ezproxy.philau.edu:2048/ login?url=http://search.proquest.com/docview/237970198?accountid=28402. r5. Melandri, Giovanna. “Architecture.” MAXXI: National Museum of XXI Century Arts. Accessed October 16, 2014. r6. Melandri, Giovanna. “Photography Centre | MAXXI.” MAXXI Photography Centre Comments. Accessed October 18, 2014. http:// www.fondazionemaxxi.it/collezioni/collezioni-architettura/collezioni-specialiarchivi-tematici/?lang=en.
PHOTO RESOURCES
Cover: http://www.cnn.com/2012/09/27/europe/gallery/great-buildings-zaha-hadid/index.html 1. http://theendangeredsartorialist.com/tag/doris-salcedo/ 2. https://www.google.com/maps/ 3. https://www.google.com/maps/ 4. http://architizer.com/blog/top-10-21st-century-museums/ 5. http://www.archdaily.com/43822/maxxi-museum-zaha-hadid-architects/ 6. http://soonersinrome.wordpress.com/author/yichen14/ 7. http://discoveringdisegno.files.wordpress.com/2012/10/roma-010.jpg 8-11. http://www.archdaily.com/43822/maxxi-museum-zaha-hadid-architects/ 9A-11A. http://www.archdaily.com/43822/maxxi-museum-zaha-hadid-architects/ 12. http://it.enc.tfode.com/MAXXI_-_Museo_nazionale_delle_arti_del_XXI_secolo 13. http://www.ilbe.com/3885147647 14. http://www.ansa.it/web/notizie/canali/inviaggio/news/2011/02/17/visualizza_new.html_1586678901.html 15. http://romethesecondtime.blogspot.com/2010_07_01_archive.html
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DESIGN & TECHNICAL CRITERIA
82
SECTION 4.0
“Or heritage and ideals, our code and standards - the things we live by and teach our children - are preserved or diminished by how freely we exchange ideas and feelings.� -Walt
Disney
Animator
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FURNISHED EXHIBIT
Various components in a museum comprise the delivery of information and experience to guests.
Furniture, Finishes, and Equipment: Display systems used in exhibits have metal, wood veneer, glass, plastic, and laminate finishes. These display systems can be set from the wall by metal hardware, called stand-offs or glass or plastic cases placed against walls and in the middle of the space. Aside from the display systems, seating is also a necessary component for museums. Projectors, monitors, and speakers are also incorporated into display systems. Audio video receiver equipment, kept visually separate from the exhibits helps power all audio and video devices. Proper seating is a factor that should be considered. With the exhibition spaces, guests walk through, resting points are a necessity. Various seating types include banquet seating, chairs, benches, and built-in systems. The use of benches is most appropriate for children spaces as they can be moved to accommodate parental needs. Regardless of the seating type, any type that is not set against the wall should have backs and arms, since people with mobility impairments and the elderly use them to get up.
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MUSEUM DISPLAY SYSTEMS
3
INTERNATIONAL SPY MUSEUM EXHIBIT
4
DANISH NATIONAL MARITIME MUSEUM EXHIBIT
4
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ERGONOMICS: The ergonomic design decision for an exhibit is based on the demographic that the space is intended for. Exhibits for children have task surfaces, which are shorter in height than those used in an exhibit for adults. The eye-level for children is lower than that of adults, so for an exhibit geared towards children, displays are lower to the ground in elevation. Also, since they have keener vision than adults, font sizes and weights are not of as much concern.
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5
VIEWING DISTANCES
6
7
CLEARANCE LEGEND
RETAIL CLEARANCES FOR MUSEUM SHOPS
LIGHTING:
TECHNIQUES FOR ARTIFICIAL LIGHTING
8
Lighting design is integral part for museums. Lighting is a crucial element used in exhibition display systems. Subtle change in lighting from one space to another creates a visual disturbance. Emitting “hot-spots”, low-voltage fixtures create glare on hard surfaces, often times creating high contrast, illegible labels, and severe shadowsr1. While low-voltage fixtures exude obstructive “hot-spots”, they are the most common fixture to be specified for budget-conscious museumsr2. Although these lighting types have their aesthetic disadvantages, an abundance would create the appropriate environment at a fraction of the costr3. Use of fluorescent lighting is avoided as it does not show the complete color spectrum. “NoUVIR” fiber optic lighting is most appropriate light for exhibits as it resembles natural light well, but without the harsh subject-damaging nature of ultra violet and infrared lightr4. Since exhibits are never completely permanent, the lighting fixtures specified can be easy manipulated if need be to accommodate newer exhibitions. Without proper replacing and refocusing, there can be a glare problem created by the reflection of glass and plastic casesr5. Direct natural lighting is avoided for exhibition spaces, as its. In addition to the use of direct sunlight within exhibits disrupts visual flow, it also causes the fading and aging of displays.
TECHNIQUES FOR NATURAL LIGHTING
9
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SUSTAINABLE DESIGN: In recent time, museums have joined the environmental sustainability movement. To become Leadership in Energy and Environmental Design (LEED) certified a museum must be on the interior, as well as the exterior. Ways that museums can be sustainable are through the “use of local, green suppliers, premium parking spaces for hybrid vehicles, bicycle racks, changing rooms, and approaches to facilitate exhibit change and minimize waste are just a few of the operating strategies that can help reduce a museum’s carbon footprint and show the culture’s commitment” r6. Pre-existing buildings like Pittsburgh’s “Children’s Museum had gone under renovations in order to become more environmentally sustainable. Today the Children’s Museum draws 100% of its power from renewable energyr7. The museum’s renovations consisted of the reuse of building materials and locally manufactured, recycled materials and white roofr8.
10
CHILDREN’S MUSEUM AT PITTSBURGH
ACOUSTIC CONTROL: Each part of the program has its respective ideal noise levels. Appropriately addressing the acoustics of the main circulation spaces enhances the guest experience. Inadequate acoustic control conflicts with the visual appeal of exhibits. 11
88
MUSKEGON MUSEUM OF ART- ACOUSTIC CEILING
VISUAL CONTROL: Exhibition configurations not only provide for a capturing visual, but also provide for guided circulation through out the public portion of the program. A sense of mystery is provided fueled by the guests’ desire to proceed through the space. EXHIBITION SPACE CONFIGURATIONS
12
WAYFINDING AND SIGNAGE: Wayfinding is particularly pertinent in a museum context. With a series of exhibits, getting lost is an issue guests would face without proper wayfinding and signage.
THERMAL COMFORT CRITERIA: The heating ventilation and air conditioning (HVAC) systems must remain at a relatively consistent temperature and humidity for all collections and exhibits, to avoid possible damage to exhibited items and provide a comfortable environment for guests.
NATIONAL ART MUSEUM OF CHINA- SIGNAGE
13
89
AVERAGE VIEWING SITELINES
14
FONT PROPORTIONS
HEIGHT OF TABLE CASE
16
15
UNIVERSAL DESIGN- ADA AND CODE: According to Americans with Disabilities Act (ADA), three feet wide minimum corridors with dead ends must provide for a five feet turn radius. The handicapped have a lower eye level, so display heights should be established throughout the exhibits accordingly. The visually impaired experience difficulties reading some labels and signage. In this case all signs have slightly exaggerated font weights.
90
17
ACCESSIBLE LIGHTING LEVELS
RESOURCES
r1. Lueder, Rani, and Valerie J Berg. Rice. “Designing Museum Experiences for Children.” Ergonomics for Children Designing Products and Places for Toddlers to Teens. Boca Raton: CRC Press: Taylor & Francis Group, 2008. 895. r2. Lueder, Rani, and Valerie J Berg, Rice, 895. r3. Lueder, Rani, and Valerie J Berg, Rice, 896. r4. Miller, Ruth, and Jack Miller. “Museum Lighting- Pure and Simple.” NoUVIR. January 1, 1994. Accessed October 20, 2014. r5. Lueder, Rani, and Valerie J Berg, Rice, 896. r6. Jacobsen, John. “From Red Dinosaurs to Green Exhibitions.” Exhibitionist Spring 2009 (2009): 8. http://name-aam.org/uploads/downloadables/EXH.spg_09/4 EXH_spg09_From Red Dinosaurs to Green Exhibitions_Jacobsen.pdf. r7. Jacobsen, John, 8. r8. Jacobsen, John, 9.
PHOTO RESOURCES
resources
Cover: http://www.naviquan.com/page/baltimore-aquarium/1/ 1. http://theendangeredsartorialist.com/tag/doris-salcedo/ 2. http://blog.beforemario.com/2012_12_01_archive.html 3. http://www.recoilweb.com/preview-visit-international-spy-museum-23175.html 4. http://retaildesignblog.net/2013/11/19/danish-national-maritime-museum-exhibition-by-kossmann-dejong-helsingor-denmark/ 5. DeChiara, Joseph. Time Save Standards for Building Types. New York: McGraw Hill, 1990. 6. DeChiara, Joseph. Time Save Standards for Interior Design and Space Planning. New York: McGraw Hill, 1991. 7. DeChiara, Joseph. Time Save Standards for Interior Design and Space Planning. New York: McGraw Hill, 1991. 8. DeChiara, Joseph. Time Save Standards for Building Types. New York: McGraw Hill, 1990. 9. DeChiara, Joseph. Time Save Standards for Building Types. New York: McGraw Hill, 1990. 10. https://pittsburghkids.org/exhibits/makeshop 11. http://michigan.icito.com/art-museum-hosting-geary-jones-exhibit/ 12. DeChiara, Joseph. Time Save Standards for Building Types. New York: McGraw Hill, 1990. 13. http://en.cafa.com.cn/wp-content/uploads/2013/04/02-Life-Whispers-Solo-Exhibition-by-Zhang-Jiangzhou-Inaugurated-at-theNational-Art-Museum-of-China.jpg 14. Smithsonian Guidelines for Accessible Exhibition Design 15. Smithsonian Guidelines for Accessible Exhibition Design 16. Smithsonian Guidelines for Accessible Exhibition Design 17. Smithsonian Guidelines for Accessible Exhibition Design
91
TOPICAL EXPLORATIONS
92
SECTION 5
HUMAN BEHAVIOR & COLOR
MENTAL DISORDERS IN CONTEXT
93
TOPICAL EXPLORATIONS HUMAN BEHAVIOR & COLOR
94
SECTION 5.1
“Color does not add a pleasant quality to design- it reinforces it. � -Pierre
Bonnard
Visual Artist
95
individual-exhibit interaction: Learning styles
THE LISTENING POST IS AN EXHIBIT AT THE SAN JOSE MUSEUM OF ART WHICH INCORPORATES ADVANCED TECHNOLOGY INTO AN AUDIO VISUAL EXPERIENCE . A SERIES OF SCREENS DISPLAY SNIPPETS FROM ONLINE CHATS WHILE THE WORDS ARE SPOKEN BY AN AUTOMATED VOICE THROUGH A SYSTEM OF SPEAKERS.
THE LISTENING POST
96
1
For years museums have attracted a vast crowd from across the globe. Museums have created experiences that impact visitors through both temporary and permanent exhibition. With an increasing amount of studies competed, it has been established that visitors go to museums in groups, whether it be with family, friends, or educational groups. Today, museums have made it their goal to become more innovative and up-to-date with the latest technology systems. With the installment of these new systems, museums aspire to create an experience for visitors that resonates in the long-term. In order to do so, museums designers must utilize systems that appeal to various learning styles. The use of the appropriate learning style within an exhibit appeals to the respective learner, making learning an enjoyable experience.
On an individual scale, visitors interact with the exhibit, retaining information. Different learning methods make information retention easier. Adults are classified as auditory, visual, and kinaesthetic learners. Even though adults learn through multiple styles, one style dominates. Of the general population, 80% of adults are visual learners.r1 On a broader scale, visitors interact with each other in exhibits.
2
CASE STUDY DATA BY EDUCTIONAL STUDIES STUDENTS
auditory Learners Auditory learners actively listen and are discouraged by written information. Verbal discussions, podcasts, recordings, and documentaries benefit the auditory learners. When it comes to fulfilling an everyday task, music or background music is used to aid performance.r2 In terms of a museum space, due to the need of technology for this group, traditional museums exhibitions are least suitable.r3 Overall, for exhibition spaces sound is a necessity. In order to appeal to this group, museums use interactive screens, voice recordings, and audio guides. r4
Visual Learners Visual learners, the most dominant group, learn through sight. They perform at their best in a quiet, noise-controlled environment, allowing for concentration and improved memory retention of the information provided. The preferred, beneficial forms of deliverables include handouts or PowerPoint presentations.r5 Museum design appeals to these learners through eye-catching displays and visuals, with less written information. For statistic and technical information, timelines, diagrams, and flow charts are the best.
3
COLOGNE NATIONAL SOCIALISM DOCUMENTATION CENTER
4
KIMBELL ART MUSEUM EXHIBIT
kinaesthetic Learners
5
SMITHSONIAN AIR AND SPACE MUSEUM
Kinaesthetic learners learn through a manipulative environment, unlike traditional museums. These types benefit most through demonstrations, hands-on activities, simulation, and role-playr6. Displayed objects and artefacts do not intrigue visitors as they can not be manipulated or held, display systems of objects would lose kinaesthetic learners’ interests and attention quickly.r7 Since art museums, along with some history museums, consist solely off of displays kinaesthetic learners avoid them.
97
individual-group interaction & color 98
A study was conducted at the science museum in London, studying the movement of visitors through an exhibit.r10 It was discovered that as a group of people left one exhibit display, another gathered around their place. From the study it was concluded that groups of people maintain their engagement in a display until the proceeding one is made available. In other cases larger groups of various parties either attract or repel more visitors. Such crowding creates tighter spaces within the exhibits, so it is important that there is appropriate circulation space, along with an appropriate amount of displays within a given space so as to regulate the flow of visitors through the museum.
In 1963, sociologist Erving Goffman introduced the concepts of “focused” and “unfocused” interaction, reflecting how two or more participants would engage with one another in an exhibit.r9 The “focused” interactions consist of a person, whose body is aligned, facing the display with undivided attention. The “unfocused” interactions consist of a person whose body is partially, or not at all, aligned with the display. Following his notion, were a series of studies that were made to discover the human response to one another in terms of exhibition viewing. According to the studies, visitors are sensitive to the presence of others, monitoring each other’s actions and activities.
WHATCOM MUSEUM- FAMILY INTERACTIVE GALLERY
6
color psychology Colors influence the mood of museum visitors. Likewise, the use of colors within a museum resonates different emotions among visitors. The use of cool colors such as blue, violet, and green creates a tranquil environment.r11 Blues, specifically, lowers blood pressure and decreases respiration. Violet suppresses appetite and relieves migraines. Green mentally and physically relaxes, reduces depression and anxiety. Warm colors such as red, orange, yellow, and pink mainly evoke energy and makes visitors aware of their environment. Reds stimulate brain activity, increase heart rate, and increase blood pressure. Oranges promote appetite. Yellows reduce depression, improve memory, and promote appetite. Pinks suppress appetite, relax muscles, and sooth. In an architectural space, color is used in wayfinding and museum displays. Certain colors are used to inspire quicker movement through the space, while others inspire slower. While individual colors may calm, combinations of colors can create an opposite effect. For example, red and green, individually a soothing color, together create an illusion of vibration, making visitors alert.
7
EMP MUSEUM WAYFINDING
8
POWERHOUSE MUSEUM WAYFINDING
9
NATIONAL MEDIA MUSEUM WAYFINDING
99
resources
r1. Blevins, Sonya. “Understanding Learning Styles.” Medsurg Nursing 23, no. 1 (Jan, 2014): 59. http://ezproxy.philau.edu:2048/ login?url=http://search.proquest.com/docview/1506150646?accountid=28402. r2. Blevins, Sonya, 59. r3. Hughes, Philip. Exhibition Design. London: Laurence King Publishing, 2010. 42. r4. Hughes, Philip, 42. r5. Blevins, Sonya, 59. r6. Blevins, Sonya, 59. r7. Hughes, Philip, 42. r8. Hughes, Philip, 42. r9. Lehn, Dirk, Christian Heath, and Jon Hindmarsh. “Exhibition Interaction: Conduct Collaboration in Museums and Galleries.” Symbolic Interaction 24, no. 2 (2001): 203. r10. Lehn, Dirk, Christian Heath, and Jon Hindmarsh, 204. r11. Kopec, Dak. Environmental Psychology for Design. New York: Fairchild Publications, 2012.
PHOTO RESOURCES
Cover: http://www.chromacove.com/NanoCove.html 1. http://www.justdesignstudio.com/events/listening-post-the-sound-of-the-internet/ 2. http://ijhssnet.com/journals/Vol_1_No_10_August_2011/19.pdf 3. http://www.museenkoeln.de/ns-dokumentationszentrum/pages/1376.aspx?s=1376 4. http://interactioncultureclass.wordpress.com/2014/02/10/aesthetics-in-art-and-design/ 5. http://airandspace.si.edu/exhibitions/how-things-fly/ 6. http://daytripswithdad.blogspot.com/ 7. http://www.studiomatthews.com/works/emp-museum-wayfinding 8. https://segd.org/tags/consolidated-graphics 9. http://practicalimagination.info/exhibitionists-top-tips-for-museum-design/
100
101
TOPICAL EXPLORATIONS MENTAL DISORDERS IN CONTEXT
102
SECTION 5.3
“Ju s t w h e n yo u t h i n k yo u
t h i n k yo u k n ow s o m e t h i n g , yo u h ave t o l o o k a t i t i n a n o t e r w ay. E ve n t h o u g h i t may seem silly, you must tr y. ” -Robin
Williams
Dead Poets Society, Actor
103
CLAUSTROPHOBIA 104
XIANGDONG FAIRY CAVE
Claustrophobia is the irrational fear of confined spaces. Those with claustrophobia experience minor to severe anxiety, the feeling or fear of losing control, hot flashes or chills. Physical symptoms include sweating, rapid heartbeat, nausea, difficulty breathing, dry mouth, and numbness. Psychological symptoms include the fear of fainting or dying, and the feeling of dread.r1 Claustrophobia is triggered in places like elevators, tunnels, subways, car washes, fitting rooms, and other confined or populated spaces.
2
CLAUSTROPHOBIA REPRESENTATION
Most claustrophobia panic attacks will peak within 10 minutes and last from five minutes to half an hour. Claustrophobia can be initially onset by a traumatic experience early in childhood from being either trapped in a confined space, bullied, and transportation-related unpleasant experiences. r2 Through gradual exposure to confined spaces, those affected by the phobia can be treated and cured, known as self-exposure therapy. r3 Another therapy is known as cognitive behavioral therapy, which involves counseling and exploration of thoughts, feelings, and behavior with hopes of finding an effective way of dealing with the phobia. r4
1
3
ELEVATOR CLAUSTROPHOBIA
In an architectural context, claustrophobia is represented through the narrowing of spaces and protruding volumes from all directions. 4
CLAUSTROPHOBIA IN CONTEXT
105
DISSOCIATIVE IDENTITY DISORDER
106
OUT-OF-BODY REFLECTION
Dissociative Identity Disorder is a condition that alters a person’s sense of reality. Someone with a dissociate disorder may feel loss of memory or feel that their body and environment is unreal, uncertain of who they are, and that they have different identities. Those with the disorder had been affected by a traumatic event during early childood. These events include physical, sexual, or emotional abuse such as war, kidnapping, or invasive medical procedure. Any age can be affected, regardless of head injury or health condition.r5 Of the three types of dissociative disorders, the others being dissociative amnesia and depersonalization-derealization disorders, the dissociate identity disorder is the most severe. Typical symptoms include behaving out of character, referring to oneself as ‘we’, and writing in different handwriting. They may also suffer from depression, mood swings, panic attacks, headaches, sleeping disorders, self-harm, and obsessive compulsive disorder.r6
6
DISSOCIATIVE IDENTITY DISORDER REPRESENTATION
Through psychotherapy and counseling, dissociative identity disorder can be treated.r7 A second technique is called eye movement desensitization and reprocessing 7 (EMDR) where patients are to follow the therapist’s finger DISSOCIATIVE IDENTITY DISORDER REPRESENTATION while communicating about their traumatic incident.r8
5
In an architectural context, dissociative identity disorder is represented through displacing a person from themselves through the use of mirrors and other reflective surfaces. With this type of architectural space, a person can have the opportunity to view other renditions of themselves against themselves. 8
DISSOCIATIVE IDENTITY DISORDER IN CONTEXT
107
SCHIZOPHRENIA 108
SCHIZOPHRENIA REPRESENTATION
Schizophrenia is a severe, brain disabling disorder. Affected individuals may hear voices, believe that others are reading their mind or are to bring harm.r9 People with schizophrenia experience a wide range of symptoms. A broad set of symptoms, affecting most include hallucinations, delusions, and movement disorders. r10 Of the symptoms, movement disorder is most apparent from a third person standpoint. where certain body movements are repeated. r11 The initial onset of schizophrenia was thought to have been seen in early adolescence, but new research findings suggest that the onset has been seen in children and older adults. Antipsychotic medication is used to treat schizophrenia and has been the way to since the 1950s.r12 In an architectural context, schizophrenia is represented through a randomized dispersion of hologram images and auditory clips to address symptoms of hallucination, hovering around and throughout a series of volumes.
9
10
HALLUCINATIONS
11
HEARING VOICES
12
SCHIZOPHRENIA IN CONTEXT
109
OBSESSIVE COMPULSIVE DISORDER 110
HYPER-OBSESSION FOR TIDINESS
Obsessive Compulsive Disorder is the performance of rituals centered upon an unhealthy obsession. For example those who have an obsession over dirt and germs have a ritual of washing their hands repeatedly.r13 Other rituals that the obsessive compulsive do is constantly chick things and count things in a particular order. Main symptoms of the Obsessive Compulsive Disorder include having repeated thoughts of fears, performing rituals such as hand washing, and lack control of undesirable thoughts and behavior. r14 A majority of the cases started in childhood or teenage years and can be accompanied by eating disorders, anxiety disorders, or depression. Medication and psychotherapy are both plausible treatment options.r15 Cognitive behavior therapy teaches an obsessive compulsive “different ways of thinking, behaving, and reacting to situations that help him or her feel less anxious or fearful without having obsessive thoughts or acting compulsively�.r16 Anti-anxiety and antidepressants can also be prescribed.
14
RITUAL REPRESENTATION
15
OBSESSIVE ORGANIZATION
In an architectural context, obsessive compulsive disorder, is represented through the creation of two spaces filled with volumes. One of the spaces will be filled with disorderly forms, asymmetry, and misalignment. The other space will be filled with organized, orderly forms that are aligned and symmetrical. With this drastic change there will be 13 a basic understanding of the obsessive compulsive. 16
OBSESSIVE COMPULSIVE DISORDER IN CONTEXT
111
other mental disorders- PHOBIAS & cognitive
FRIGHT REPRESENTATION
112
Astraphobia- Fear of Thunderstorms: People with astraphobia experience anxiousness, racing thoughts, rapid breathing and heartbeat, sweating, and sometimes panic attacks.r17 There are various treatments for this phobia such as gradual immersion into a simulated thunderstorm environment.r18 Astraphobia can be architecturally represented through an exhibit of close forms and loud thunder noises with accompanying flashes of simulated lightning. In terms of an exhibit, this one, along with other phobia exhibits will be smaller in size as they are not as complex.
Sociophobia-Fear of Social Media Detachment: Sociophobia is a more modern phobia in which people can not bear being detached from their cellular devices or other means of social media connection. Today’s world is slowly becoming completely digitalized and giving the population the impression that cellular devices are a means of life. This phobia will be featured in an exhibit where the cell phones of guests will be kept from guests and throughout the exhibit will be social media alert sounds and various footage of people accessing social media. Guests will in turn feel the involuntary need to check their phones, but will not be able to. As a result, the need to check their phones becomes more of a conscious decision.
Dyslexia:
17
Dyslexia is the inability or trouble to read and write like legibly or clearly. Evidence of dyslexia can be seen in early childhood as difficulty recognizing letters of the alphabet, difficulty learning new words, trouble rhyming, and trouble pronouncing words.r19 In order to correct dyslexia or cope, there are outreach programs in which the students can go to be tutored and get the extra academic help necessary to fulfill their studies.r20 In an architectural context, dyslexia will be portrayed on a feature wall, showing a series of sentences that someone without dyslexia writes with one a dyslexic one would write.
113
resources 114
r1. Keogh, Bruce. “Claustrophobia .” Claustrophobia. June 25, 2012. Accessed June 21, 2014. http://www.nhs.uk/conditions/claustrophobia/Pages/Introduction.aspx. r2. Keogh, Bruce. r3. Keogh, Bruce. r4. Keogh, Bruce. r5.Duckworth, Ken, and Jacob Freedman. “Dissociative Identity Disorder.” National Alliance on Mental Illness. April 1, 2012. Accessed June 20, 2014. http://www.nami.org/Content/NavigationMenu/Inform_Yourself/About_Mental_Illness/By_Illness/Dissociative_Identity_Disorder.htm. r6. Duckworth, Ken, and Jacob Freedman. r7. Duckworth, Ken, and Jacob Freedman. r8. Duckworth, Ken, and Jacob Freedman. r9. Collins, Francis. “Schizophrenia.” National Institute of Mental Health. June 16, 2012. Accessed June 1, 2014. http://www.nimh.nih. gov/health/topics/schizophrenia/index.shtml. r10. Collins, Francis. r11. Collins, Francis. r12. Collins, Francis. r13. Duckworth, Ken, and Jacob Freedman. “Obsessive-Compulsive Disorder.” National Alliance on Mental Illness. April 1, 2012. Accessed June 20, 2014. http://www.nami.org/Template.cfm?Section=By_Illness&Template=/ContentManagement/ContentDisplay. cfm&ContentID=142546. r14. Duckworth, Ken, and Jacob Freedman. r15. Duckworth, Ken, and Jacob Freedman. r16. Duckworth, Ken, and Jacob Freedman. r17. Manfredi, Theodore. “Thunder, Lightning and Astraphobia.” Health Guidance Organization. May 11, 2012. Accessed June 18, 2014. http://www.healthguidance.org/entry/15971/1/Thunder-Lightning-and-Astraphobia.html. r18. Manfredi, Theodore. r19. Lapkin, Emily. “Understanding Dyslexia.” National Center for Learning Disabilities. April 2, 2014. Accessed June 26, 2014. https://www.understood.org/en/learning-attention-issues/child-learning-disabilities/dyslexia/understanding-dyslexia. r20. Lapkin, Emily.
PHOTO RESOURCES Cover: http://themaskthatgrins.com/2014/09/10/the-footsteps/ 1. http://vorotila.ru/Arhitektura-doma-pamyatniki-zamki/Korolevskiymuzey-Ontario-i68703 1. http://spiceboxtravels.com/2014/06/ 2. http://www.tate.org.uk/whats-on/tate-britain/exhibition/turner-prize-1992/turner-prize-1992-artists-damien-hirst 3. http://trustmovies.blogspot.com/2012/08/dvdebut-of-latest-confined-space-film.html 4. http://avidcruiser.com/livevoyagereports/expedition/silver-galapagos-western-galapagos-islands/day-5-post-office-bay/ 5. http://www.loymachedo.com/2014/01/girl-confronts-her-rapist-teacher-after-16-years-loy-machedo-recommends/ 6. http://qilin.tistory.com/810 7. http://www.b92.net/superzena/kolaz.php?yyyy=2013&mm=03&nav_id=692460 8. http://www.omnia-amsterdam.com/press-release/new-narrator-man-without-life 9. http://www.yalescientific.org/category/full-lengths/83-4-full-lengths/ 10. http://apps.ketchum.edu/ceonline/courseview.asp?selclassid=21&selID=198&selOrderID=13 11. http://norwich.tab.co.uk/2012/12/page/2/ 12. http://pdm.com.co/tag/holograma/ 13. https://vallensbaek.inst.dk/DOK.vdir/__docinst5/HS/Dokumenter/POLITIKKER/Hygiejne.html 14. http://top-10-list.org/2012/02/08/top-10-signs-of-ocd-disorder/2/ 15. http://www.reddit.com/user/tictas 16. http://tbisanfrancisco.com/physical-move/ 17. http://hddramas.co/khauff-episode-92-full-ary-zindagi-17-september-2014-online.html
115
SITE ANALYSIS
EXISTING SITE, CONTEXT, CLIMATE & ZONING
116
SECTION 6.0
“There is no logic that can be
superimposed on the city; people make it, and it is to them, not buildings, that we must fit our plans.� -Jane
Jacobs
Journalist
117
CITY | TOWN | VILLAGE- PHILADELPHIA 118
HOUSEHOLDS WITH INCOMES OF $100,000 OR MORE
POVERTY CHANGE RATES
1
Farm Journal Building is located in the south eastern portion of Center City, where the Constitution portion of the city is located. Center City is comprised of approximately 1.55 million people, 582,000 householdsr1. Of the population, 45.5% are white and 44% are African American predominantlyr2. Between 1990 and 2000 Center City has had an increase of poverty levels from 16 to 17 percentr3. Higher income households are located along four major roadways including the Schuylkill Expressway, the Pennsylvania Turnpike, Route 202, and US Route 1. Adjacent and networked along them are clusters of high income households. The roadways allow for convenient commuting of the higher income population to job centers. Philadelphia has played a notorious role in the foundation of the United States. Having served as the nation’s capital from 1790 to 1800. Scattered throughout the urban fabric are various artifacts left behind by the former nation’s capital. These historic sites include Independence Hall, Liberty Bell, the Eastern State Penitentiary, Betsy Ross’’ House, and Penn Hospital. Today Philadelphia is home to a multitude of cultures, along with cultural and educational institutions. Philadelphia is known for its “Gayborhood”, Italian, Irish, African American population, art culture, and educational institutions.
2
These educational institutions are provided through museums, colleges, and free libraries. Museums scattered through Center City reach a multitude of studies.including art, medicine, history, archaeology, and science. Some of these museums include the Philadelphia Museum of Art, Mutters, the University of Pennsylvania Museum of Archaeology and Anthropology. From a day to day basis Philadelphia experiences an average temperature of 52.4 °F, 46 inches annually, 70% humidity, and 15 miles per hour wind speed. Furthermore, Philadelphia experiences cold winters and hot summers. Philadelphia’s architecture is frozen in the colonial times. With the historic nature of the city, the architecture is influenced. With time building codes have included historic preservation laws to maintain the facades of the colonial architecture lying on Philadelphia’s historic grid plan.
PHILADELPHIA MUSEUM OF ART
3
4
INDEPENDENCE HALL
5
LIBERTY BELL
6
1796 PHILADELPHIA CITY PLAN
119
NEIGHBORHOOD- WASHINGTON SQUARE WEST 120
Nestled along the circumference of Washington Square, in the Washington West neighborhood of Philadelphia, the Farm Journal Building has close proximity to museums and Penn Hospital’s Neuroscience department. The area is infused with colonial and Greek revival architecture corresponding to the history of the nation’s foundation in the area. WASHINGTON SQUARE WEST
WASHINGTON TRIBUTE
JEWELERS’ ROW
7
8
9
A total of 13,075 people, 7,592 households, reside in the neighborhood with a total of 4,970 in the workforce. Due to the high concentration of medical facilities and the Thomas Jefferson University there is a larger part of the population with Bachelor and Graduate degrees. While this is the case, the annual household income of the majority of the population is $10,000. The current famous Washington Square, harboring a tribute to George Washington, had been first used as a potters’ field and burial ground before it was made into a pasture in 1776. The northwest corner of the square is where a prison once stood durin the Revolutionary War. On Carstairs Row, located at Seventh and Sansom Streets, became a part of the rise of the oldest diamond district in the country. Today, Washington Square West is filled with a historic residential neighborhood, cafes, and restaurants for the local and tourist population.
STREET Farm Journal Building is located on West Washington Square. The perimeter of the square is decorated by historic colonial architecture, consisting mainly of four stories each. The surrounding buildings are comprised of mixed use where the first levels are businesses and non-residence uses, the upper stories are residencesr4. Today, like in the 1800s, the streets are graced by locals, tourists, and medical students. The square having once been a field, became a burial ground during the Revolutionary War. While it was a burial ground, the medical students have scavengered for the dead bodies with intentions of conducting studies on the corpses. The scavengers created an escalating problem for the square, resolved by heightened security.
EXTERIOR ENVIRONMENT
10
7
WASHINGTON SQUARE WEST
WASHINGTON SQUARE- BURIAL SITE
11
12
121
Site zoning
Site zoning
ZONING MAP- CMX-4
SITE ANALYSIS
122
13
14
The Farm Journal Building site is located in a Center City commercial mixed-use zone, available to both pedestrian and vehicular traffic. The Washington Square consists of one-way traffic with convenient bus availability for the locals. The site is particularly made available to handicap with ADA ramps and valet parking that utilizes the parking garage made available on Manning Street. On the side of the site facing the square is a positive view of the green square, while the opposing side of the site provides for a negative view consisting of old residences. Throughout the square there is an abundance of sidewalks, trees, outdoor benches, and lamp posts. The frequent visitors of the square and its well-lit environment provides no security concern. WIth the small roads, there is no noise pollution for the site.
resources
r1. Levy, Paul. “Neighborhood Profile: Washington West.” Living Here July 2012 (2012): 1-2. r2. Thompson, John. “State & County QuickFacts.” Philadelphia County, Pennsylvania. July 8, 2014. http://quickfacts.census.gov/ qfd/states/42/42101.html. r3. “Socioeconomic Conditions.” 2004 Indicator 4.1-4.5, no. Indicator 4.1 (2004): 28-32. r4. Hughes, Philip, 42. r5. Blevins, Sonya, 59. r6. Blevins, Sonya, 59. r7. Hughes, Philip, 42. r8. Hughes, Philip, 42. r9. Lehn, Dirk, Christian Heath, and Jon Hindmarsh. “Exhibition Interaction: Conduct Collaboration in Museums and Galleries.” Symbolic Interaction 24, no. 2 (2001): 203. r10. Lehn, Dirk, Christian Heath, and Jon Hindmarsh, 204. l Psychology for Design. New York: Fairchild Publications, 2012.
PHOTO RESOURCES
Cover: http://www.chromacove.com/NanoCove.html 1. http://www.justdesignstudio.com/events/listening-post-the-sound-of-the-internet/ 2. http://ijhssnet.com/journals/Vol_1_No_10_August_2011/19.pdf 3. http://www.museenkoeln.de/ns-dokumentationszentrum/pages/1376.aspx?s=1376 4. http://interactioncultureclass.wordpress.com/2014/02/10/aesthetics-in-art-and-design/ 5. http://airandspace.si.edu/exhibitions/how-things-fly/ 6. http://daytripswithdad.blogspot.com/ 7. http://www.studiomatthews.com/works/emp-museum-wayfinding 8. https://segd.org/tags/consolidated-graphics 9. http://practicalimagination.info/exhibitionists-top-tips-for-museum-design/
123
PROGRAM DEVELOPMENT & DOCUMENTATION 124
SECTION 7.0
“A designer knows he has achieved
perfection not when there is nothing left to add, but when there is nothing left to take away.� -Antoine
de Saint-Exupery
French Aristocrat
125
programming
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programming
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programming
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programming
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adjacency MATRICES
PUBLIC LEVELS
PRIVATE LEVEL
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THIRD LEVEL
FIRST LEVEL
SECOND LEVEL
SHOP EXHIBITION PUBLIC RESTROOMS STORAGE CAFE ADMINISTRATIVE OFFICES OUTREACH PROGRAMS RESEARCH/LIBRARY SEMINAR
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BUILDING ANALYSIS CODE REGULATIONS & STANDARDS 136
SECTION 8.0
“I think it’s the responsibility of a
designer to try to break rules and barriers.” -Gianni
Versace
Italian Fashion Designer
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existing building analysis
1
FARM JOURNAL BUILDING
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Farm Journal Building of Philadelphia at Washington Square, consisting of five levels, totaling 83,000ft2, was designed by Bunting & Shrigley in 1915. The area is infused with colonial and Greek revival architecture corresponding to the history of the nation’s foundation in the area. The exterior of the building is comprised of brick, stone, and cast iron. The interior of the building is comprised of a hybrid pallette of natural with industrial materials such as wood veneers, metal trimming, and granite flooring. The interior’s natural pallette addresses the medical office usage of the building and calms the patients. The building uses natural light coming in through the skylight to light five levels of the central core of the building.
FLOORPLAN- SOLID VS VOID
SECTION- SOLID VS VOID
2
3
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drawings -hierarchy | CODE
APPLICABLE BUILDING CODE INFORMATIONr1: REGULATIONS GOVERNED BY : CITY OF PHILADELPHIA ZONING ORDINANCE : CMX, CENTER CITY COMMERCIAL MIXED USE FIRE CODE : 2010 PHILADELPHIA FIRE CODE: INCLUDES 2009 INTERNATIONAL FIRE CODE BUILDING CODE AND DATE : 2009 INTERNATIONAL BUILDING CODE, EXISTING BUILDING ENERGY CODE: PHILADELPHIA ENERGY CONSERVATION CODE | 2009
INTERNATIONAL ENERGY CONSERVATION CODE
FLOORPLAN- HIERARCHY
FLOORPLAN- STRUCTURE
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5
4
SECTION- HIERARCHY
6
USER GROUP CLASSIFICATIONSr2: A- ASSEMBLY - A3- EXHIBITION & RESEARCH SPACES
FIIRE EXIT ENCLOSURESr2: 2 HOURS SHAFTS AND ELEVATOR HOISTWAYSr2: 2 HOURS
B- BUSINESS- OFFICES M- MERCANTILE- SHOP MINIMUM CORRIDOR WIDTH : 44 INCHES r2
NUMBER OF EXITS : 520 TOTAL OCCUPANTS | 4 FLOORS | 130 OCCUPANTS PER FLOOR 2 EXITS PER FLOOR r2
EXIT ACCESS TRAVEL DISTANCE (WITH SPRINKLER SYSTEM)r2: ASSEMBLY GROUP A-3 (MAIN USER GROUP): 250 FEET
SMOKE BARRIERSr2: 2 HOURS CORRIDOR FIRE-RESISTANCE RATINGr2: 0 HOURS- DOES NOT NEED INCIDENTAL USE AREAr2: STORAGE ROOM OVER 100 SQ FT: 1 HOUR OR PROVIDED AUTOMATIC FIRE EXTINGUISHING SYSTEM
BUILDING LIMITATIONS:: PHILADELPHIA REGISTRY OF HISTORIC PLACES- 3/10/1999- OFFICE BUILDING
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RESOURCES
RESOURCES: r1: Laverty, Bruce. “Farm Journal Building.” Philadelphia Buildings. January 1, 2014. Accessed December 1, 2014. http://www.philadelphiabuildings.org/pab/app/pj_display.cfm/75812. r2: INTERNATIONAL BUILDING CODE 2012
PHOTO RESOURCES: Cover Photo: http://www.psdraftingarchitects.com.au/brisbane-drafting-services 1. iPhone 5s 2-6. PROVIDED
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SECTION 9: EXECUTIVE SUMMARY Research about museum types and design and its human interactions has broadened the spectrum for the introduction of psychology into a museum context. Research about the deliverables and design considerations that museums use to inform and educate guests has been conducted. As a result, research has taken an overall focus on the experience of the guest and the way that the exhibits are perceived and its provided information, retained. Research has revealed that there are a multitude of museums types educating the population on a variety of topics. In order to create a lasting educational impression, the focus has to be not on the information to be provided, but rather the delivery of the information.Intermsofeducation,peoplearebrokendownintothreegroupsoflearningtechnique-auditory,visual,andkinaesthetic. The display systems utilized in museums appeal to the different learning types, as well as to the visual and hearing impaired. Intangible subjects are more challenging to learn about, but through creating a museum that portrays something intangible into a tangible experience, the subject can be grasped by guests. The museum will be based on abnormal psychology, featuring tangible architectural and exhibition translations of intangible mental disorders. Each mental disorder will feature two parts. The first part will feature the disorder in an environment created by forms, visuals, and audio to collaboratively the experience of the disorder. The second part will feature a space of traditional displays, auditory clips, and videos.
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1. Bell, Ford. American Alliance of Museums, “Innovation Labs for Museums.” Last modified 2013. Accessed July 28, 2014. http://www.aam-us. org/resources/center-for-the-future-of-museums/projects-and-reports/innovation-lab-for-museums.
SECTION 2.0 1. Clark, Anthony. “The Development of the Collections and Museums of 18th Century Rome.” Art Journal 26, no. 2 (Winter 1967): 136. Accessed September 8, 2014. JSTOR. 2. Darragh, Joan, and James S. Snyder. “Appendix D.” Afterword to Museum Design: Planning and Building for Art, 265. New York: Oxford University Press in Association with the American Federation of Arts and the National Endowment for the Arts, 1993. 3. Darragh, Joan, and James S. Snyder. “Introduction.” Introduction to Museum Design: Planning and Building for Art, 3. New York: Oxford University Press in Association with the American Federation of Arts and the National Endowment for the Arts, 1993 4. Davis, Douglas. The Museum Transformed: Design and Culture in the Post-Pompidou Age. New York: Abbeville Press, 1990. 5. Henderson, Justin. “Foreward.” Foreword. Museum Architecture. Gloucester, MA: Rockport, 1998. 7-10. Print. 6. Kruus, Ülle. “The History of Museums.” Estonian Museum Association, 1998, 1. Accessed September 8, 2014. http://www.muuseum.ee/uploads/ files/g._lewis_the_history_of_museums.pdf.
bibliography
SECTION 1.0
SECTION 3.1 1. Dannatt, Adrian, and Timothy Hursley. United States Holocaust Memorial Museum: James Ingo Freed. London: Phaidon Press, 1995. 2. Michael Zisk. “US Holocaust Museum.” Interview by author. June 26, 2014. 3. Nick Pane. “US Holocaust Museum.” Interview by author. August 18, 2014.
SECTION 3.2 1. Sue Reichwein. “Penn Neurological Institute.” Interview by author. August 13, 2014. 2. Ulrich, Roger S. “Effects of interior design on wellness: theory and recent scientific research.” Journal of health care interior design 3, no. 1 (1991).
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bibliography
SECTION 3.3 1. Carding, Janet. “Royal Ontario Museum: Visitor Guide.” Welcome to Royal Ontario Museum. Accessed October 07, 2014. http://www.rom.on.ca/. 2. Dickson, Lovat. The Museum Makers: The Story of the Royal Ontario Museum. Toronto: Royal Ontario Museum, 1986. 3. Libeskind, Daniel. “Studio Daniel Libeskind.” Royal Ontario Museum. December 31, 2009. Accessed October 04, 2014. http:// daniel-libeskind.com/projects/royal-ontario-museum.
SECTION 3.4 1. Melandri, Giovanna. “Architecture.” MAXXI: National Museum of XXI Century Arts. Accessed October 16, 2014. 2. Melandri, Giovanna. “Photography Centre | MAXXI.” MAXXI Photography Centre Comments. Accessed October 18, 2014. http://www.fondazionemaxxi.it/collezioni/collezioni-architettura/collezioni-specialiarchivi-tematici/?lang=en. 3. Pearson, Clifford. “MAXXI.” Architectural Reccord 198, no. 10 (October 1, 2010): 82. Accessed October 14, 2014. 4. Rocca, Francis X. “Why Hadid’s MAXXI Works.” Wall Street Journal (Online), Mar 02, 2010. http://ezproxy.philau.edu:2048/ login?url=http://search.proquest.com/docview/237970198?accountid=28402.
SECTION 4.0
1.Jacobsen, John. “From Red Dinosaurs to Green Exhibitions.” Exhibitionist Spring 2009 (2009): 8. http://name-aam.org/ uploads/downloadables/EXH.spg_09/4 EXH_spg09_From Red Dinosaurs to Green Exhibitions_Jacobsen.pdf. 2. Lueder, Rani, and Valerie J Berg. Rice. “Designing Museum Experiences for Children.” Ergonomics for Children Designing Products and Places for Toddlers to Teens. Boca Raton: CRC Press: Taylor & Francis Group, 2008. 3. Miller, Ruth, and Jack Miller. “Museum Lighting- Pure and Simple.” NoUVIR. January 1, 1994. Accessed October 20, 2014.
SECTION 5.1
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1. Blevins, Sonya. “Understanding Learning Styles.” Medsurg Nursing 23, no. 1 (Jan, 2014): 59. http://ezproxy.philau. edu:2048/login?url=http://search.proquest.com/docview/1506150646?accountid=28402. 2. Hughes, Philip. Exhibition Design. London: Laurence King Publishing, 2010. 3. Kopec, Dak. Environmental Psychology for Design. New York: Fairchild Publications, 2012. 4. Lehn, Dirk, Christian Heath, and Jon Hindmarsh. “Exhibition Interaction: Conduct Collaboration in Museums and Galleries.” Symbolic Interaction 24, no. 2 (2001)
SECTION 5.2 1.Collins, Francis. “Schizophrenia.” National Institute of Mental Health. June 16, 2012. Accessed June 1, 2014. http://www. nimh.nih.gov/health/topics/schizophrenia/index.shtml. 2. Duckworth, Ken, and Jacob Freedman. “Dissociative Identity Disorder.” National Alliance on Mental Illness. April 1, 2012. Accessed June 20, 2014. http://www.nami.org/Content/NavigationMenu/Inform_Yourself/About_Mental_Illness/By_Illness/ Dissociative_Identity_Disorder.htm. 3. Duckworth, Ken, and Jacob Freedman. “Obsessive-Compulsive Disorder.” National Alliance on Mental Illness. April 1, 2012. Accessed June 20, 2014. http://www.nami.org/Template.cfm?Section=By_Illness&Template=/ContentManagement/ ContentDisplay.cfm&ContentID=142546. 4.Keogh, Bruce. “Claustrophobia .” Claustrophobia. June 25, 2012. Accessed June 21, 2014. http://www.nhs.uk/conditions/ claustrophobia/Pages/Introduction.aspx. 5. Lapkin, Emily. “Understanding Dyslexia.” National Center for Learning Disabilities. April 2, 2014. Accessed June 26, 2014. https://www.understood.org/en/learning-attention-issues/child-learning-disabilities/dyslexia/understanding-dyslexia. 6. Manfredi, Theodore. “Thunder, Lightning and Astraphobia.” Health Guidance Organization. May 11, 2012. Accessed June 18, 2014. http://www.healthguidance.org/entry/15971/1/Thunder-Lightning-and-Astraphobia.html.
SECTION 6.0 1. Levy, Paul. “Neighborhood Profile: Washington West.” Living Here July 2012 (2012): 1-2. 2. Thompson, John. “State & County QuickFacts.” Philadelphia County, Pennsylvania. July 8, 2014. http://quickfacts.census. gov/qfd/states/42/42101.html.
SECTION 7.0 1. Michael Zisk. “US Holocaust Museum.” Interview by author. June 26, 2014.
SECTION 8.0 1. International Building Code 2012 2. Laverty, Bruce. “Farm Journal Building.” Philadelphia Buildings. January 1, 2014. Accessed December 1, 2014. http://www. philadelphiabuildings.org/pab/app/pj_display.cfm/75812.
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APPENDIX
INTERVIEW WITH NICK PANE OF VISITOR SERVICES AT THE UNITED STATES HOLOCAUST MEMORIAL MUSEUM: Author: How many visitors come to the museum annually? Pane: Initially 300,000 peope were expected, but today the museum sees 1.6 million visitors annually. Author: What are the demographics of the visitors? Pane: There is a wide range of demographics as the subject of the museum appeals to all in one way or another. Author: What type of accommodations have been made for unexpected rise of visitors? Pane: There has not been much architectural changes. If anything, there has been an expansion of the width of skywalks. During different seasons admission rates are lowered and are at other times free. In this way the amount of visitors throughout the year is regulated. Author: Is the lack of signage in the museum intentional? Pane: With the first architect there was a demmand for minimal signage to create the desired experience for guests. As of 3 years ago, more banners have been added in the main lobby. Author: Who is the owner of the museum? Pane: The museum is federally owned and 40% privately funded. Author: How many people approximately are employed at the museum? Pane: An estimated amount of 400 people work at the museum annually. About 10 to 20 employees and interns work at visitor services. The workforce is comprised of veterans, employees, interns, Holocaust survivors, and interns. The museum’s volunteers help raise money for the museum. Author: How would you describe the material palette used throughout the building? Pane: The vibe and concept of the museum is cold to go along with the referenced point in history.
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Author: How would you describe the mood of the museum? Pane: The mood of the museum is relevant to the museum’s topic and is somber and melancholy.
Author: What is the building’s best features? Pane: The permanent exhibits are the museum’s best features.They are heavy, not graphic, and they tell how it is. Author: If granted the opportunity, how would you improve the museum? Pane: I would add more wayfinding for visitors. The visitors constantly come up to me to ask where the restroom is. Because it is located on the lower level and there is not an adequate amount of signage, the visitors are often lost. Author: What kind of lighting is in the museum? Pane: There is natural lighting in the museum. This provides for a dreary experience. Any artificial lighting used is not loud or bright. Author: What type of accommodations are made for the handicap visitors? Pane: Braille cards are provided for the visually impaired. Special guided tours are also provided. T-coil systems are used for the hearing impaired. There is disabled outreach since a great amount of the victims were handicapped.
INTERVIEW WITH SUE REICHWEIN AT THE PENN NEUROLOGICAL INSTITUTE: Author: What kind of staff is apart of the administraction? Reichwein: The Administration is comprised of the administrators, physicians, administrative physicians, and support staff. Author: What kinds of patients does the facility see? Reichwein: The facility sees patients with neurological problems such as those with dystonia, sleep problems, multiple sclerosis, cognitive issues, amyotrophic lateral sclerosis, and some with psychogenic problems. Author: What programming is located on each floor? Reichwein: The third level has a clinic, laboratory, and research sect. The second level has administration offices, while the first has a physical therapy office which is under separate than the clinic, but services its patients. Author: If you were in the position to change the facility, what would you change? Reichwein: I would add more office space because it is a little crowded in the facility for staff. The polished tiles in the main lobby are slippery and create a hazard for guests.
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