Continuing Architectural Heritage Contemporary Addition and Reuse of Historic Buildings Zak Robinson | Graduate Thesis | Professor Ronaszegi | May 2012
Continuing Architectural Heritage: Contemporary Addition and Reuse of Historic Buildings Zak Robinson Accepted in Partial Fulfillment of the Requirements For the Degree of Master of Architecture at: The Savannah College of Art and Design Š May 2012 Zak Robinson The author herby grants SCAD permission to reproduce and distribute publicly paper and electronic thesis copies of document in whole or in part in any medium now known or hereafter created.
Signature of Author and Date_________________________________________________________
_______________________________________________________________________________/__/__ Arpad Ronaszegi, Professor of Architecture, Committee Chair
Date
_______________________________________________________________________________/__/__ Catalina Strother, Professor of Architecture, Faculty Advisor
Date
_______________________________________________________________________________/__/__ Justin Gunther, Professor of Historic Preservation, Topic Consultant
Date
Continuing Architectural Heritage: Contemporary Addition and Reuse of Historic Buildings
A Thesis Submitted to the Faculty of the Architecture Department in Partial Fulfillment of the Requirements for the Degree of Master of Architecture Savannah College of Art and Design
By Zak Robinson Graduate Thesis (Arch 799) Savannah, GA May 2012
Table of Contents
List of Figures
2
Thesis Abstract
4
Thesis Proposal
6
Historic Preservation
10
History of Preservation
12
Methods of Intervention
14
Design Aproach
22
Contemporary Architecture
24
Contextualism
26
Debate and Guidelines on Contemporary Design
27
Differing Opinions
30
Continuing Heritage
31
Contemporary Design within Savannah
32
Conceptual Analysis
38
The Problem
40
The Concept
42
Design Strategies
43
Site Analysis
49
Program
71
Schematic Design
80
Sketches and Diagrams
82
Plans
88
Perspectives
93
Design Develpment
97
Building Codes
99
Plans
100
Details
106
Perspectives
107
Conclusion
114
Final Documentation
115
Presentation Board
137
Bibliography
140
Images Cited
Fig. 1.1 - http://www.georgiatrust.org/images/hayhouse/hay_house.gif Fig. 1.2 - http://www.georgia.org/SiteCollectionImages/Industries/Entertainment/Camera%20Ready/ Counties/Bibb/Hay%20House%20Interior.jpg Fig. 1.3 - http://www.history.org/almanack/places/hb/hbpalpc2.cfm Fig. 1.4 - http://www.nps.gov/hps/tps/standguide/reconstruct/reconstruct_approach.htm Fig. 1.5 - http://www.tate.org.uk/modern/images/tatemodern_exterior.jpg Fig. 1.6 - http://www.tate.org.uk/modern/images/tatemodern_turbinehall.jpg Fig. 1.7 - Tyler, Norman. Historic Preservation. 2nd ed. New York: W.W. Norton & Company, 2009. P 107. Fig. 1.8 - Tyler, Norman. Historic Preservation. 2nd ed. New York: W.W. Norton & Company, 2009. P 107. Fig. 1.9 - Tyler, Norman. Historic Preservation. 2nd ed. New York: W.W. Norton & Company, 2009. P 109. Fig. 1.10 - http://www.themorgan.org/about/images/renzo-madison-entrance.jpg Fig. 1.11 - http://www.themorgan.org/about/images/renzo-model_1.jpg Fig. 2.1 - Tyler, Norman. Historic Preservation. 2nd ed. New York: W.W. Norton & Company, 2009. 104. Fig. 2.2 - http://www.msa.mmu.ac.uk/atelieritalia/venez/atitwork.htm Fig. 2.3 - http://picasaweb.google.com/lh/photo/GQcunVQabDYv6YyZZbUCOw Fig. 2.4 - http://www.flickr.com/photos/derboti/3799981534/ Fig. 2.5 - http://www.wallpaper.com/art/scad-museum-of-art-in-savannah-georgia/5501 Fig. 2.6 - http://www.wallpaper.com/gallery/art/scad-museum-of-art-in-savannah-georgia/ 17052726/53312 Fig. 2.7 - http://savannah.for91days.com/2011/01/13/ellis-square/ Fig. 2.8 - http://dmscs.com/wp-content/uploads/2010/07/EllisSquareG.jpg Fig. 3.1-3.3 - Photos by Author
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Fig. 3.4 - http://www.themorgan.org/about/images/renzo-madison-entrance.jpg Fig. 3.5 - http://www.themorgan.org/about/historyImage.asp?id=68 Fig. 3.6 - http://www.wallpaper.com/art/scad-museum-of-art-in-savannah-georgia/5501 Fig. 3.7 - http://www.wallpaper.com/gallery/art/scad-museum-of-art-in-savannah-georgia/ 17052726/53312 Fig. 3.8 - 3.23 - Diagrams by Author Fig. 3.24 - http://www.archiexpo.es/prod/cultured-stone/aplacados-de-piedra-reconstituida-interior5646-15692.html Fig. 3.25 - http://picasaweb.google.com/lh/photo/N0j3QcS1K3OGOyCj_kbCyw Fig. 3.26 - http://www.nicsolutions.biz/project_gallery Fig. 3.27 - http://www.interpane.com/m/de/medien/resize/bildmaterial_industrie_indus_300dpi_ 11-02_punkthalter_g_436_330.jpg Fig. 3.28 - 3.31 - Diagrams by Author Fig. 3.32 - 3.38 - Photos by Author Fig. 3.39 - 3.63 - Diagrams by Author Fig. 3.64 - 3.69 - http://www.a-x-d.com/ Fig. 3.70 - 3.75 - http://www.fosterandpartners.com Fig. 3.76 - 3.81 - http://www.lamott.de/display.php?project_id=69 Fig. 3.82 - 3.85 - Diagrams by Author Fig. 4.1 - 4.55 - Images by Author Fig. 5.1 - 5.13 - Images by Author Fig. 5.14 - 5.23 - Images by Author with Photoshop assistance by Emily Hum Fig. 5.24 - Image by Author
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Continuing Architectural Heritage: Contemporary Addition and Reuse of Historic Buildings
Zak Robinson May 2012
This thesis focuses on the continuation of our architectural style within historic districts through the use of contrasting architectural elements. The goal of contrasting design is to respect the existing structures by putting an emphasis on the differences rather than similarities. The concept is that new and old design should be easily distinguishable from one another as it is a product of its own era. Therefore, we are able to continue the architectural heritage from every generation whether it’s past, present or future.
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Thesis Proposal
Thesis Statement
its importance within our heritage. If a
The design intent of this thesis is to restore,
building is deemed historic on a site, an
reuse and add to the existing structure on
architect, by code, has no choice but to
the intersection of Montgomery Street and
build around it or renovate it for reuse. The
Congress Street in the historic district of
significance of this thesis is to show that
Savannah, Georgia to create a Historic
contemporary architecture can be used
Preservation Museum. Today our culture is
as a tool to celebrate our history without
either stuck in the past or striving towards
severing it ties to its heritage.
new innovative designs. Architecture is
Significance of Study
one of the most important parts of being
In a historic city, more often than not there
able to tell the history of the people that
will be a large amount of unused or
lived before us. Destroying that history can
vacant buildings. Why is this? Most archi-
lead to a loss in knowledge of our heritage tects feel restricted in what they are able for future generations. Most contemporary
to build and will shy away from the adap-
architects tend to ignore our history and
tive rehabilitation of a historic building. In
culture and look mainly towards the
today’s society, we have the mentality
future. If an important existing building sits
that what we buy must be new. People
on the site in a prime location for a new
would much prefer a brand new car over
business, an architect will typically demol-
a used car that smells like smoke, has
ish the existing building and neglect to see
stains on the seats or a broken radio.
This gives a negative connotation that
and the heritage of the city. There are
when something is used it is dirty or dull.
multiple ways to approach the addition’s
When someone buys new, they have a
design. It can mimic the surrounding
much deeper connection to it. The intro-
historic elements, contrast with the existing
duction of contemporary into a historic
building or blend the two together. The
city can help to make the city feel new
code requirements as set down by the
and less dull or dirty. This study will help to
Secretary of the Interior’s Standards for
show how contemporary design can
Treatment of Historic Buildings will provide
coalesce with an existing design to create
strict limitations on what can be achieved
a new history and interest in unused
with the project.
spaces.
The ultimate goal is to prove the need for
In designing new architecture within the
more contemporary architecture within
context of old, how do we relate the new
historic cities. The use of a new design, if
addition and rehabilitation contextually to
done correctly, can make the surrounding
the surrounding built environment? This
urban context stand out more; otherwise,
thesis will show the physical and theoreti-
it becomes monotonous and just blends in
cal connection between old and new. It
with the rest of the city. In designing a
will provide the challenge of how the new
museum for historic preservation, there
design will interact with the existing build-
needs to be an element that provides the
ing in order to put emphasis on its history
building with the opportunity to stand out
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and become a node or destination within
Methods of Inquiry
ture is always changing and that we
the city. If the museum is just another
There are many key issues that need to be
should not be limited to living in the past.
restored historic building, people might
explored throughout this design process.
Codes and regulations provided by the
not be interested in visiting it, as they do
Preservation and the different types of
city’s Historic Review Board will be studied
not realize it is a museum because it looks
ways it can be accomplished. The theory
and implement as much as possible into
just like most other buildings in the city. The
and background of architectural addi-
the final design.
significance of this study is to coalesce
tions to historic buildings needs to be
In the end, the final vision of this thesis is to
new and old architecture to form a new
explored, along with the concept of
have an addition and rehabilitation of the
history rather than always live in the past. If
adaptive rehabilitation. How do these
existing building that will allow for the
we always live in the past, we are losing
relate to one another? The research and
celebration of the historical building, of
our current culture. The layer of architec-
study of the theory behind contemporary
the city and of the culture. The design
tural elements in the city provides richer
design within a historic context will be
should fit within the surrounding context
knowledge of our culture than freezing a
analyzed. Case studies on these topics
and not deter from other buildings. The
city in a specific era. A building designed
become a key factor in providing
idea for the museum will be to provide the
today can be seen as a historic landmark
evidence that contemporary design is
people with a deeper understanding of
in a few hundred years from. So why stop
practical in helping celebrate the history
the importance of our history and culture
architectural growth? History needs to
of the city rather than deterring from it. An
and how we pass it on to the next genera-
continue; our contemporary culture
in-depth analysis of the city of Savannah’s
tion.
should not be neglected.
urban growth can illustrate that architec-
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Chapter One Historic Preservation
This chapter will investigate the origins of Historic Preservation. It aims to show where preservation came from and where it will be going in the future. There are multiple different ways in which historic buildings can be preserved, but there is never a correct solution for any one project. Thus, having a thorough understanding of these different methods of preservation helps the architect to choose which approach is the best choice for each situation.
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History of Preservation
Architecture is the framework of our
preservation, activities “tended to [focus on]…
heritage. Each and every building tells a story
important historical figures and associated
about the people that lived before and their
landmark structures” (Tyler 2nd, 27). The
cultural heritage. Throughout the past forty years, government’s involvement was restricted to practically every community in American society
establishing national parks and preserving natural
has acknowledged the importance of historic
features. Throughout the years the public and
heritage within the built environment. During the private paths of preservation blended together to course of these past few decades, many steps
create the preservation movement we have today
have been implemented in hindsight after the
(Tyler 2nd, 27).
deterioration of these historic landmarks, so
The first act of preservation within the
much so that the government has taken a
United States was to save Independence Hall in
significant role in designating and regulating
1816 from demolition. After much opposition, the
these places. Historic preservation ultimately has
city of Philadelphia purchased the building for
become the key to saving the history of our
preservation (Tyler 2nd, 27). Soon after, many
heritage for future generations to come.
historical societies and associations were founded
History of Preservation in the United States hoping to protect sites with relevance to the late Historic preservation has two distinctive
eighteenth and early nineteenth century architec-
paths from which it formed, private and public.
ture. The first association was named the Mount
During most of early preservation, the government
Vernon Ladies’ Association in 1853. The
was not a large influence. In the private sector of
association’s goal was to save the deteriorating
Mount Vernon, George and Martha Washington’s
nation’s first National Monument. Thus began the
Trust for Historic Preservation. The National Trust
home. They requested assistance from the govern-
United State’s first national funding for preserva-
aimed to coordinate the National Park Service and
ment, but the government declined (Tyler 2nd, 29).
tion. With the passing of the Antiquities Act of 1906 the private preservation sectors. This allowed for all
This new, private organization was developed and
the President had the ability to deem landmarks
aspects of historic preservation to be brought to a
directed by Ann Pamela Cunningham. After much
and structures as historic. This act established
new level of awareness (Tyler 2nd, 42). Seventeen
campaigning, their efforts proved successful.
penalties for destroying federally-owned sites and
years later, the National Trust published a book
Mount Vernon was to be restored. The association
became the nation’s first preservation legislation
titled With Heritage So Rich. The book documented
became a role model for preservation organiza-
(Tyler 2nd, 31). Eventually it led to the creation of
our heritage through photos of lost historic
tions that would soon follow. These new organiza-
the National Park Service in 1916, with their
structures and became indispensable to preserva-
tions focused on the preservation of buildings
primary focus of managing areas too large to be
tionists. Recommendations made in the book led
relating to important events and people (Tyler 2nd,
preserved and protected privately (Tyler 2nd, 32).
to the establishment of the National Historic
In 1933, the National Park Service, the
30).
Preservation Act of 1966. This act was the most
American Institute of Architects (AIA) and the
important act passed by Congress for historic
little or no part in the preservation of potentially
Library of Congress established the first federally
preservation. Prior to the act the primary focus was
historic buildings. Their primary focus was the
funded program to survey historic structures
on specific historic landmarks, but after it was
westward expansion of the nation. They finally
named the Historic American Buildings Survey
passed it allowed for locally run historic districts
announced Yellowstone National Park as a
(HABS). Thus began the government’s first signifi-
and funding for many preservation activities. The
protected area in 1872, which made it the world’s
cant presence within historic preservation (Tyler
act was a model for most present-day guidelines
first national park (Tyler 2nd, 30). In 1889, the Casa
2nd, 40). Ultimately in 1949, the public and private
(Tyler 2nd, 46-47).
Grande ruin in Arizona was designated as the
paths of preservation unified through the National
The government, on the other hand, took
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Methods of Intervention for Historic Structures
Preservation Preservation is the ceasing of processes that contribute to the deterioration of a building or site by making essential repairs to maintain its existing state. It is hidden work aimed in keeping a property as it was found (Fram, 42). There are various theories and philosophies that are associated with historic preservation. Most people see preservation as saving old buildings. Arguably some see preservation “as preserving cultural heritage, some as fostering urban revitalization, and some as contributing to sustainability and an alternative approach to current development practices� (Tyler 2nd, 18). With these different philosophies, preservationists often have differing views on how a building should be preserved. Some feel that it is necessary to keep the historic structure as is, yet others wish to restore it to its original designed condition. Preservation should be based upon each specific objective. A method
that works in one instance may not work in another (Tyler 2nd, 18).
Restoration
Figure 1.1
Restoration is the act of bringing a historic building
The challenge was deciding what time period to
back to a specific time period. Most often it is
restore the building to. The Georgia Trust for
brought back to its original condition. At times,
Historic Preservation (founded in 1973) decided
restoration is required when the historic integrity is
that they should represent each era. They restored
lost or when a specific time period is more signifi-
the rooms based on which was the most promi-
cant (Tyler 1st, 24). The Hay House in Macon,
nent. In order to preserve the history of all three,
Georgia is an example of restoration that is being
they would leave patches of the original paint in
done today. Three different families owned the
case they wished to someday restore it back to its
home: The Johnston’s, The Felton’s, and The Hay’s.
original design.
Figure 1.2
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Reconstruction Reconstruction is the replication of a historic structure’s design or materials. This method of construction is used primarily when the original structure no longer exists, and there is a strong need for it to be replaced for continuity. WilliamsFigure 1.3
burg, Virginia was one of the first colonial cities within the United States. In the 1920s, John D Rockefeller realized the importance of the city and began restoration of the entire town. The main problem was nothing remained of the structure of the Governor’s Palace that was the hub of the original town. The decision was to reconstruct the palace from what plans, paintings and documents they had available. It was completed in 1934 (Tyler 1st, 27-28).
Figure 1.4
Adaptive Rehabilitation/Reuse A historic building’s original function and
new construction attempts to be compatible with
use is often not practical within today’s society. The
existing, it must take into consideration and relate
approach of rehabilitation, also referred to as reuse,
to elements such as material, scale, massing, color
is used to adapt a structure to a new function or
and proportions. The new design will not fully
use. Norman Tyler, explains, “Rehabilitation
match the original but it will make a few connec-
describes a suitable approach when existing
tions to it. The majority of designers today tend to
historic features are damaged or deteriorated but
design so that the new construction does not
modifications can be made to update portions of
compete with the existing. Contrasting the original
the structure, even adapting the building for a new
elements is where contemporary design becomes
purpose” (Tyler 1st, 28). The majority of changes
controversial. The goal of contrasting design is to
happen primarily on the interior of the building.
respect the existing structures by putting an
The changes on the exterior are limited in order to
emphasis on the differences rather than similarities.
maintain the historic integrity of the building (Tyler
The contrast of an element such as a glass curtain
1st, 28).
wall system next to an older brick wall can put an Contemporary architecture has infiltrated
into historic preservation with the advent of new technology and design. Often new construction in adaptive rehabilitation aims to be compatible or contrast with the original historic elements. When
emphasis on both of the elements rather than one becoming superior to the other (Tyler 1st, 28).
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Case Study: Tate Modern in London, England The Bankside Power Station in London is an inspirational example of adaptive rehabilitation.
of an old building? Ultimately, they settled on the
The building was built in two different phases
reuse of the Bankside Power Station for its size and
between 1947 and 1963. The rising prices of oil
location. The turbine hall is used as the main
made the power station inefficient, so it was closed
entrance and provides space for large pieces of art.
in 1982. The factory remained empty until 2000
The boiler room is divided into individual galleries.
when the Tate Collection decided to convert the
A glass roof on the top allows light into the main
building to a new use. The Tate Collection was
hall and provides space for a cafĂŠ (Tate Moderns).
originally located in Millbank, London. They realized they had outgrown the original building and need to move to a different location. The question they were faced with was: does modern Figure 1.5
Figure 1.6
art need to be in a modern building or a conversion
Additions More often than not additions and
clearly differentiated from the old, and may fool
adaptive rehabilitation go hand in hand. An
an observer into thinking a recent construction is
addition is the expansion of an existing building.
older, part of the original historic structure.� This
When additions are made the existing building
idea of matching an existing structure limits
will be rehabilitated to function better. The major
design and is often looked down upon (Tyler 2nd,
issue associated with additions is contextualism
106-107).
as it primarily focuses on the exterior of the building. Questions often arise as to how well the old and the new designs will blend together.
Figure 1.7
Similar to adaptive rehabilitation, additions have
Compatible
three different design approaches that can be
Compatible design is the most common
utilized: matching, compatible and contrasting
technique used for additions. The new design
(Tyler 2nd, 106).
makes suggestions to the original size, scale,
Matching
material, color and proportions. This is often
The primary goal of matching is to just imitate
achieved through simplification of these
the existing features. Additions will be designed
elements. For example if the façade of a building
in the same style and use similar materials and
consisted of a series of four evenly spaced ornate
detailing. Norman Tyler states that, “Some critics
Romanesque windows, the addition can take the
question this approach, saying the new is not
size and spacing of those windows and simplify
19|20
them on the addition, which makes it compatible
architecture is a product of its own time (Tyler
with the existing building (Tyler 2nd, 107).
2nd, 108).
Figure 1.8
Contrasting As stated before, “The goal of contrasting design is to respect the existing structures by putting an emphasis on the differences rather than similarities.� The concept is that new and old design should be easily distinguishable from one another as it is a product of its own era. There are different ways to approach contrasting additions. The new structures, with little identity, can recede into the background of the old building, which makes the old building stand out. The new building could aggressively clash with the historic structure and context. This often makes the architects seem as if they put no consideration into the historic context with the thinking that
Figure 1.9
Case Study: Morgan Library by Renzo Piano For the Morgan Library in New York, Renzo ing approach to the addition. The center part that
Figure 1.10
Piano was challenged with designing an addition
extrudes out has a three-part structure, which
with a setting that consists of multiple contextual
relates to the existing building to the left of the
styles. The new addition needed to make a connec-
addition. It also relates to the simplicity and color of
tion between three different buildings on the site:
the existing building to the right of it. The physical
the original Morgan Library designed by McKim,
connections of additions are made of glass, which
Mead and White; the Annex designed by Benjamin
contrasts and gives more emphasis to the older
Wistar Morris; and the Morgan House. Renzo Piano
structures. The new addition is recessed back from
blended the compatible and contrast
the street, so it won’t clash with the existing buildings (The Morgan Library & Musuem).
Figure 1.11
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Design Approach
The role of preservation is important in
The focus of this thesis will be about
the conservation of our culture and heritage. Many adaptive rehabilitaion and additions to existing of today’s architects tend to overlook the impor-
historic structures. The theory of contrasting
tance of historic buildings. Frequently new
designs of old and new proves to be a difficult
constructions are attached to or placed next to
undertaking. It needs to take into consideration
historic structures with little or no consideration to
the theory of contextualism and the significance of
the impact on the surroundings. An architect
comptempory design within preservation. This will
needs to respect our heritage as it will be the key to be discussed in more depth in the next chapter. the knowledge of our past and a foundation our
With historic structures, there are regulations and
future. History cannot be repeated, and if it is lost, it codes that need to considered. Navigating and will be forgotten. If a building is replaced, it is not
weighing them against the need for contemporary
continuing history but rather making a new history. design in a historic district will be the challenge. When designing within a historic environment,
What defines something as historic? How can
there are many different issues that need to be
contemporary design create a new usefulness to
addressed and many solutions. One must study all
our historic structures and preserve the richness of
possible solutions such as whether it should be
our past?
preserved, restored, reconstructed, rehabilitated or enlarged.
23|24
Chapter Two
Contemporary Architecture
This chapter will investigates the idea of incorporating contemporary architecture into a historic built environment. It shows that the topic is nothing new and has been a subject of debate for many years. Knowing differing views on the topic can prove useful in providing evidence towards why it should be considered as a design idea. This chapter will prove the importance of continuing our architectural heritage thourgh the use of contemporary architecture.
25|26
Contemporary Architecture within a Historic Context
The goal of a historic preservationist is to preserve heritage for future generations. Then why is
Contextualism The term contextualism usually goes
it that we have to deny the architectural heritage of
hand-and-hand with contemporary design.
the present? The implementation of contemporary
Contextualism design approach “yields contem-
architecture as an addition to a historic building is
porary architecture that is sensitive to, and
often looked down upon and never thought of in the
compatible with, its surroundings” (Tyler 2nd,
initial design phases. With this thought, do we feel
103). There are two main elements to this design
that our current heritage will be lost for the future
method: context of time and context of place. The
generations? The United States, more often than
context of time is essential to understanding the
most countries, is content on designing monoto-
history of a building. Peter Eisenman provides an
nous, undistinguished and loosely referenced new
example of an arrow. In the picture, we do not
historical additions. De Teel Patterson Tiller states in
know whether the arrow is moving or is static.
the Forum Journal, a journal of the National Trust for
Without knowing where it came from or where it
Historic Preservation, “Best intentions of the most
is headed, we are unable to understand the
committed architectural review board aside, in doing
arrow. The image shows only a fraction of the
so, we rob future generations of the record of our
story of that arrow. The meaning is lost without
time, of what was important to us, of how we best
knowing the larger context. A building cannot
built here and now, particularly in rich setting of our
stand alone. It essentially is a part of a continuing
nation’s historic districts and neighborhoods” (De Teel
story becoming the link between the past and
Patterson Tiller, 6).
the future. The design should not neglect what
was there before and what is there currently.
one of the busiest intersections of the Grand
Architects tend to ignore this and only think of
Canal. On either side of the site, there is Gothic
the future. Similarly historic districts should not
and Renaissance palazzi. When Wright revealed
neglect the idea of what it is today, what it was
his design to the public, it triggered an immense
and what will become. The context of place puts
debate about its merits from 1953 to 1955. Many
emphasis on the building’s physical surroundings. well-known architects of the time were in It will have neighbors, making it a part of a
agreement with Wright’s design ideas, but others
collection of structures. The building needs to be
thought differently. They felt the design was ‘a
compatible with its neighbors but different at the
piece of inexcusable vandalism.’ Thus the design Figure 2.1
same time (Tyler 2nd, 103-104).
was rejected by Venice’s municipal council. They claimed that it would lose the vernacular of the historic building it sought to replace, and that the
Figure 12
First Debate on the Topic The concept of contemporary architecture within a historic context is not a new argument. In 1951, Frank Lloyd Wright was asked to design a building in Venice, Italy. The project was called Masieri Memorial. It was located in a
modern architecture was unsuitable in the historic city. This argument became one of “the first public debates on the matter of how (or whether) contemporary designed buildings can (or should) be integrated within historic precincts” (De Teel Patterson Tiller, 7).
prominent part of the city. The site could be seen from the Ponte del’ Academia and located on the
Figure 2.2
27|28
Guidelines for New and Old 2) “Such contemporary architecture, making
The National Trust for Historic Preservation
countries throughout Europe and the United States
deliberate use of present day techniques and
concluded with similar guidelines of relating old
began to understand the importance of regulating
materials, will fit itself into an ancient setting
and new buildings. They released a book called
the introduction of contemporary architecture into
without affecting the structural and aesthetic
Old and New Architecture: Design Relationship
historic contexts. A common agreement was made
qualities of the later only in so far as due allow-
written in 1980. The book provides an assortment
by preservationist groups through charters such as
ance is made for the appropriate use of mass,
of desirable design ideas for architectural
Venice Charter of 1964, the third ICOMOS
scale, rhythm and appearance” (ICOMOS, 1).
additions that differ from the original historical
(International Council on Monuments and Sites)
3) “The authenticity of historical monuments or
structure (sometimes called “theory of disjunc-
General Assembly in Budapest in 1972, and the
groups of building must be taken as a basic
tion”). It shows how a new building can work with
National Trust for Historic Preservation’s sympo-
criterion and there must be avoidance of any
the context of size, footprint, massing and detail
sium in 1977. They came up with four conclusions
imitations, which would affect their artistic
of the original building but still be different.
similar to the ones stated in the ICOMOS General
and historical value” (ICOMOS, 2).
These design ideas paved the way for the consen-
Assembly, which states:
4) “The revitalization of monuments and groups
sus that additions mimicking the historical
1) “The introduction of contemporary architecture
of buildings by the finding of new uses for them
context are not aesthetically pleasing and that
into ancient groups of buildings is feasible in so far
is legitimate and recommendable provided
contemporary design “should obey the impera-
as the town-planning scheme of which it is a part
such uses affect, whether externally or internally, tives of its own historical moment” (De Teel
involves acceptance of the existing fabric as the
neither their structure nor their character as
framework for its own future development”
complete entities.” (ICOMOS, 2).
Around ten to twenties years later, many
(ICOMOS, 1).
Patterson Tiller, 9).
Standard 9 In 1995, a revision was made to the Secretary of
contemporary design just so long as it is respect-
New Architecture: Design Relationship were
the Interior’s Standards for Rehabilitation, which
ful to its context. These standards are used as
coalesced and incorporated into the Secretary of
changed Standard 9 to read:
guidelines for architectural review boards, zoning
the Interior’s Standards for Rehabilitation. It
1995)
boards and planning commissions. As a guide-
consists of ten standards of advice on how to
related new construction will not destroy historic
line, they are open to interpretation by local
balance preservation with rehabilitation.
materials, features, and spatial relationships that
officials so what one review board may pass
Standard 9 speaks directly of new additions and
characterize the property. The new work shall
another may reject. This revision, however, has
how they should behave. Standard 9 originally
be differentiated from the old and will be
created a ripple effect within addition design that
read:
compatible with the historic materials, features,
may allow for contemporary ideas to coalesce
The design ideas in the book Old and
1978)
“Contemporary design for alterations
“New additions, exterior alterations, or
size, scale and proportion, and massing to protect with the original design (De Teel Patterson Tiller,
and additions to existing properties shall not be
the integrity of the property and its environment” 10).
discouraged when such alterations and additions
(De Teel Patterson Tiller, 9).
do not destroy significant historic, architectural,
The new revision to the standards makes
or cultural material, and such design is compat-
the statement that different but compatible is the
ible with the size, scale, color, material, and
preferred method of design, leaving the idea of
character of the property, neighborhood, and
contemporary design open as a possibility. It has
environment” (De Teel Patterson Tiller, 9).
been argued that nothing in the rewrite restricts
29|30
Differing Opinions The concept of contemporary design set within a historic district is an unfamiliar theory to
the concept of a machine and the push towards a
members in federal, state and local government
new age, which generally ignored the surround-
preservation departments “are rarely adequately
most people. Generally speaking, preservationists ing context and demonstrated a lack of respect
schooled or prepared for these complex visual
have the mindset that we need to do anything to
towards its history. “The architecture profession
decisions” (De Teel Patterson Tiller, 11). These
preserve the past with little knowledge of the
bears significant responsibility for so many
review boards will often lack the advice from an
current architectural style. Similarly, an architect’s
inferior designs foisted into historic districts
architect, which leads towards biased decision
focus is so much on the future of architectural
nationwide. Unlike in Europe, historic design
that may ultimately end with a boring design just
design styles that they neglect the important
contextualism remains largely ignored in most
to blend in with the surrounding context. A larger
surrounding historical context. These conflicting
U.S. architectural school curricula today” (De Teel
amount of citizens have been involved at review
ideas surfaced as a result of the Second World
Patterson Tiller, 11). The United States is only a
board meetings and serving on committees but
War. The majority of preservationist realized that
few hundred years old whereas Europe has been
more for social and political reasons. The average
the destruction of war caused heavy losses of our
around for thousands of years. With that much
response to something that is different is more
architectural heritage. It resulted in a hefty
history, there is no way to completely ignore the
often than not negative. Thus, contemporary
increase in the preservation of older buildings
surrounding context. The idea of context is new
designs are often looked down upon, so people
vital to continuing their heritage. Also around the
in the United States as architects are just now
resort to vaguely historicized addition, as they are
Second World War, architectural modernism and
beginning to understand the importance of
safer.
urban planning proved to be destructive towards
architectural heritage. The preservationist field is
thousands of historical buildings and the loss of
a recent process towards saving our history,
heritage. The modernist movement focused on
which might be flawed. Many review board
Continuing Our Heritage Imagine a hundred years from now when we look
integral part of the initial design phases. It should
ings curtails our architectural heritage. “We
at a historic city and wonder what happened in
not be explored as an afterthought. Contempo-
experience a complexity of generations of
the last hundred years of architecture. Whether
rary design in a historic context is the most
occupancy expressed through architecture and
we like or hate a building’s design, it is crucial
difficult challenge to successfully achieve when
material culture, layer on layer, generation by
towards the continuum of our architectural
designing an addition. When done effectively,
generation, tangible and intangible. Historic
heritage. “Good contemporary design is funda-
however, it can become the most rewarding. It is
places have the power to speak to us as vital and
mental to that interaction with the future and the
able to celebrate our past and current heritage
living links between us and those that have gone
past” (De Teel Patterson Tiller, 12).
for the future generations to come.
The creation of new historicized build-
before and those yet to come. Historic neighbor-
Think of what power contemporary
hoods speak to the continuum of life and
architecture could have within a historic context
endeavor” (De Teel Patterson Tiller, 12). The
and how interesting an intergenerational design
visually interesting part of being in a historic city
conversation could become, rather than being
is being able to look around at all the different
“trapped in history with little sense of future
styles of architecture layered on top of one
befitting its powerful and magnificent past” (De
another and know that it has a rich heritage. A
Teel Patterson Tiller, 13). It allows the viewer to
building with multiple additions from different
understand and interpret the history of that
time periods has more to tell and is thus more
building through the layering of design. Contem-
exciting than a new building that is built in the
porary design is not always the best design
same style as the building right next to it.
decision for an addition, but it should be an
31|32
Savannah and Contemporary Architecture
Savannah is one of the most well-known historic cities within the United States. Its core value is to preserve as much of the city as possible to provide an example of historic cities and to preserve its heritage. The city follows the Secretary of the Interior’s Standards for Rehabilitation and also has a strict set of guidelines on what is allowed to be built within the city’s historic district. With these strict regulations, it is often difficult to incorporate contemporary style into a design, but there are a few examples in the city of contemporary architecture that works with the surrounding context.
Case Study: Jepson Center The Jepson Center for the Arts, designed
Figure 2.3
The Jepson Center is typically viewed as the
by Moshe Safdie and Hansen Architects, is a
primary example of contemporary architecture in
contemporary architectural design located in the
Savannah. It is a design that pushes the boundar-
heart of Savannah’s Landmark Historic District.
ies of being compatible to almost becoming
The challenge was to be unique but work with
contrasting. The building is successful in drawing
Savannah’s urban fabric. Safdie states the
from the rhythm and pattern of its neighboring
building’s design “respects the traditional grid of
buildings and the rest of the surrounding context.
the historic district. The glazed façade on York
It uses a staggered white stone that is compatible
Street engages tree-lined Telfair Squarer and is
with the staggering of brick and the white stone
formed by two white architectural concrete
and stucco used in many of the other surround-
‘screens’ framing glass walls, which break up
ing buildings. The introduction of a predomi-
the…(120-foot) frontage into bays of less
nately glass façade facing the square pushes the
than…(60 feet), as required by the Historic
boundary of the typical vision of new design
Savannah guidelines” (Safdie Architects).
within the context of old, which has proved
Figure 2.4
successful.
33|34
Case Study: SCAD Museum The SCAD Museum of Art sits on the site of the
Savannah, which requires the new structure to
The eight-six foot tower fits into the skyline as
original headquarters of the Central of Georgia
abide to the design guidelines set by the city of
one of the highest points within Savannah’s
Railway. The majority of the original building had
Savannah. The firm Sottile & Sottile was given the
downtown district. Their contrasting design
fallen to ruins. Only parts of the exterior façade
task of designing a contemporary art museum
approach makes the original structure stand out
on the west side of Turner Boulevard and a few
while preserving the walls that still remained. The
more than that of the new addition. Thus,
rooms on the side closest to Martin Luther King
new design was placed between the original
providing a prime example of how contrasting
Junior Boulevard remained intact. The site is
walls, which helps demonstrate to the viewer the
contemporary architecture can be successful in
located in the Landmark Historic District of
importance of the original building’s heritage.
celebration of a passed heritage (Sottile & Sottile).
Figure 2.5
Figure 2.6
Case Study: Ellis Square The site of Ellis Square originally was a part of Savannah’s City Market. A portion of City
visitors’ center is primarily glass walls with a
Market was torn down in 1954 to make way for a
butterfly roof. The design is minimal and has little
new parking garage. The garage was an attempt
relationship to its surrounding context. It is not
to provide additional parking downtown to
overpowering the other buildings because of its
encourage shopping. The city realized the
diminutive size. Even though it might not be the
importance of the site, and the parking garage
most successful design that it could have been, it
needed to be removed. In 2005, the garage was
is a step towards the notion of incorporating
torn down and placed underground. This
contemporary architecture within the city of
provided the opportunity to create an urban
Savannah (City of Savannah).
plaza at street level. The square also consists of a
Figure 2.7
contemporary visitor center and restrooms. The
Figure 2.8
35|36
Concluding Thoughts The concept of designing contemporary architecture within a historic context is challenging and highly controversial. The debate on whether we should accept this design idea has been continuing for over fifty years. There is no correct solution to the issue, but steps have been made that allow for more variety in architectural design within our ever-growing historic districts. New design relies heavily on its surrounding context. If this context is ignored, the building design will prove unsuccessful. When done correctly, however, it provides us with the opportunity to create a link “between us and those that have gone before and those yet to come,� and allows for the continuum of architectural heritage.
37|38
Chapter Three Conceptual Analysis
This thesis focuses on the continuing of our architectural style within historic districts. It is the reuse and addition to the vacant building located on the corner of Montgomery and Congress Street in Savannah, Georgia. The building will be reused as a museum to celebrate Historic Preservation to give the viewer an understanding of what goes into preserving buildings, furniture and other elements.
Left: Hilton Garden Inn detail; copying architectural style. Bottom: Hilton Garden Inn from Franklin Square. Top Right: The Cay Building, to be completed on Elis Square in 2012. Figure 3.2
Figure 3.1
Figure 3.3
39|40
The Problem
Historic cities are a vital link to the history of previous generations. When we look at older cities, we see a layering of architectural styles and heritage. Whether the design was successful or not, it is a part of our history, even buildings that are being built today. Preservation is the key to saving history for future generations and the continuum of architectural heritage. When we preserve historic districts however, we become “trapped in history with little sense of future befitting its powerful and magnificent past.� Imagine a hundred years from now when we look at a historic city and wonder what happened in the last hundred years of architecture.
Figure 3.4
Figure 3.5
Top Left: Morgan Library in New York City designed by Renzo Piano. Top Right: The Morgan Library addition provides a perfect example of how to incorporate today’s traditions within a historical context. Bottom Left: SCAD Museum designed by Sottile and Sottile. Bottom Right: Certain contrasting architectural elements create an emphasis on the existing brick to celebrate the history of the building. Figure 3.6
Figure 3.7
41|42
Contrasting architectural elements
another as it is a product of its own era.
provide the opportunity to incorporate
Therefore, we are able to continue the
today’s style of architecture into a
architectural heritage from every genera-
historical context. The goal of contrast-
tion whether its past, present or future.
ing design is to respect the existing structures by putting an emphasis on the differences rather than similarities. The concept is that new and old design should be easily distinguishable from one
Contextualism
Celebrate Architecture
Preservation
Historic
Contemporary Heritage Existng
Contrasting New & Old Continuing
Figure 3.8
Materiality
The Concept
Design Strategies
The design strategies are a personal set of guidelines that will be used to help create the new plan for the addition. Without personal or city guidelines any building can be built on the site, possibly lacking the respect towards the already existing buildings.
Lack of Respect for Surrounding Context Figure 3.9
? North Elevation abstracted from site on West Congress and Montgomery Figure 3.10
43|44
Matching copies the surround contextual elements within the new building.
Figure 3.11
Compatible takes some architectural elements from the surrounding context without directly copying them, which is the most common method of designing in historic districts.
Figure 3.12
Contrasting, contemporary design, if done effectively, allows for the continuum of our architectural heritage with the respect of the existing context.
Figure 3.13
Height Short Pros -Does not overpower surrounding context Cons -Can become lost -Does not provide enough space as an addition
Figure 3.14
Tall Pros -Can stand as a landmark -Provides extra space for a small addition -Contrasts context Cons -Can be over baring -Amount of material on facade could clash to much with the neighboring buildings
Figure 3.15
Average Pros -Works proportionally with surrounding buildings -Does not exceed height restriction for the area Cons -May blend to much with other building heights -Does not make a statement if needed
Figure 3.16
45|46
Scale Small Pros -Can allow for path between buildings -Gives visual dominance to existing building Cons -Does not cover enough street frontage -May not provide enough space for the program -May not be enough to prove concept
Figure 3.17
Large Pros -Provides extra space -Can expand over existing Cons -Cannot go over neighboring building -Could become visually overbearing Figure 3.18
Average Pros -Hints to the idea of expanding over the existing building -Does not overpower its context Cons -Blends too much with context -Not enough of a statement Figure 3.19
Fenestration The building form of the city block is tall and narrow on the center lots and short and long on the end buildings. The center lots have a three or four part type within the windows. Figure 3.20
Visual Grid With this grid created by the fenestration, how should the grid be incorporated into the design of the new addition?
Figure 3.21
Abstract Grid The grid does not have to be literally represented in the design. It can be abstracted but still refer back to the context, which may better distinguish old from new. Figure 3.22
47|48
Existing Materiality Figure 3.23
Stone material is similar to the surrounding context, which may not work for contrasting design.
Wood is visually contrasting the existing materials, but it does not have the sense of permanence that the existing has. Figure 3.24
Figure 3.25
Steel or metal can contrast the existing materials and it also provides a sense of permanence that wood is lacking.
Figure 3.26
Glass is visually transparent, and brick is solid, which creates visual contrast. It also has a sense of permanence like metal or stone.
Figure 3.27
Site Location
Sav
an
Figure 3.28
na
hR
ive
r
49|50
in Lu
ther
King
Jr Blv d
Bay S t
Mart
W Br
yan S t
W Ju lian S t
Figure 3.29
W Co ngre ss St
Existing historic building
Figure 3.30
Figure 3.31
Jeffe rson St
Brou ghto n St
Barn ard S t
Mon tgom ery S t
Empty lot for addition
Site Context
Figure 3.32 - West
Facade
Figure 3.33 - Garibaldi’s
Figure 3.34 - West
with Original Signage
Congress Street
Figure 3.35 - Brick
Figure 3.36 - East
and Stucco
Facade
Figure 3.37 - Franklin
Square and City Market
51|52
Rough Building Height of 30’
Building to be Rehabilitated
Site of Addition
Likely orginal brick covered with stucco
Rough Building Height of 36’
Garibaldi’s Restuarant
West Congress Street
Figure 3.38 - North
Facade
Site History
Steam Fire Eng. No 2
Shed
Storage
Forest City Mills Haynes & Elton
Montgomery St.
W. Congress St.
1884 Sanborn Map John Shick originally owned the land and sold it to George W. Hardcastle in 1854. In that year, Hardcastle had the building on 30-38 Montgomery St built. It was originally called Forest City Mills. Notes on the Sanborn map of 1884 state “Forest City Mills-Haynes & Elton- run of stone, smut mach. 3rd, brand 3R, very little wheat grinding done principally corn, lights, gas, fuel, and wood.”
Figure 3.39
Wholesale Mdse.
Iron Pipe
Figure 3.40
Plumber’s ’ Supplies
Montgomery St.
W. Congress St.
1898 Sanborn Map The property changed hands a few times between 1854 and 1898. In 1857, tax records show that Francis J. Champion owned the property, yet it kept the name Forest City Mills. In 1866, George Washington Garmany purchased the property. On the tax records, it states that in 1873 Garmany, Trustee, owned the property.
53|54
Stge.
Stge.
Wholesale Radio
Wholesale Mdse.
Wholesale s Dry Goods o
Montgomery St.
W. Congress St.
1916 Sanborn Map The tax records show that the lot immediately to the East was combined with the building in 1866. For the most part, the building was utilized as a retail store as it was situated right next to City Market. The lot to the East of the building was primarily used as storage spaces.
Garage
Figure 3.41
Wholesale Mdse.
Wholesale Radio
Figure 3.42
Wholesale s Dry Goods o
Montgomery St.
W. Congress St.
1954 Sanborn Map Sometime between 1916 and 1954, the storage structures were removed, and the lot remains empty to this day. The main building however, continued to be used as a wholesale store. In 1993, it housed the 606 East Cafe for nine years until they closed in 2002. The building has been vacant ever since.
Site Analysis
55|56
Historic District
Sav
an
Figure 3.43
na
hR
ive
r
Historic Buildings There are appoximately 1700 historic buildings in downtown Savannah, Georgia. Making it the largest National Historic Landmark District in the United States.
Sav
an
Figure 3.44
na
hR
ive
r
57|58
Museums
Sav
Ships of the Sea Maritime Museum
an
Telfair Museum Jepson Center SCAD Museum Roundhouse Railroad Museum
Owens Thomas House Museum Davenport House Museum There are few museums Located in of the largest historic districts in the United States. Of which, there are no Historic Preservation Museums for being one of the leading cities in preservation. Figure 3.45
na
hR
ive
r
Building Heights 8-14 Storys 6 Storys 5 Storys 4 Storys 3 Storys 1-2 Storys
Sav
an
na
hR
ive
r
The building height restriction for the site is four stories.
" 107'-4 14
Figure 3.46
59|60
Building Landmarks 8-14 Storys 6 Storys 5 Storys 4 Storys 3 Storys 1-2 Storys
Sav
an
Location of site, which could provide opportunity for a new landmark. Emporis- First Union Bank SCAD Museum Tower Cathedral of St. John the Baptisit
Figure 3.47
na
hR
ive
r
Last Square
Sav
an
Franklin Square is the last remaining intact square on Montgomery Street. Liberty Square was cut down in size by Montgomery Street, a parking garage and the city courthouse. Albert Square was cut by Montgomery Street and the Civic Center.
Figure 3.48
na
hR
ive
r
61|62
City Entry The primary entry to the city of Savannah terminates at Franklin Square. If or when the I-16 fly-over is removed, Montgomery Street still is interupted by the square, which makes it a point of interest within the city.
Sav
an
Figure 3.49
na
hR
ive
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City Market
Figure 3.50
67|68
No Place of Destination After its completion, Ellis Square has become a popular tourist destination to accompany City Market, but there is no counter balance on the other side of the market.
? Ellis Square
Figure 3.51
Place of Destination The proposed site the opportunity to serve as a counter balance to the contemporary design of Elis Square.
Elis Square
Figure 3.52
65|66
Public Parking There are two parking garages near the site. These are popular for tourist to park in because they are located close to city market and Broughton Street. When tourist park there, they will often walk past the site, which makes it a good location to attract tourists.
Ellis Square
Figure 3.53
Vehicular Traffic A lot of traffic More than average traffic Average traffic Little traffic Very little traffic
Figure 3.54
67|68
Pedestrian Traffic A lot of traffic More than average traffic Average traffic Little traffic
Figure 3.55
Solar Analysis
Summer sun angle is 81degrees.
Proposed Building
Winter sun angle is 38 degrees.
Marc by Marc Jacobs to the South
Figure 3.56
Close building proximity limits the use of natural light during the winter. The addition could provide the ability to bring more light into the building.
Figure 3.57 Proposed Addition
Proposed Building
Figure 3.58
Marc by Marc Jacobs to the South
69|70
Wind Analysis
Summer
Fall Congress St.
Montgomery St.
Montgomery St.
Congress St.
Figure 3.59
Figure 3.60
Spring
Winter Congress St.
Figure 3.61
Montgomery St.
Montgomery St.
Congress St.
Figure 3.62
Program
60’
Existing Building
32’
Empty Lot
Approximate Square Footages
90’
Gallery
90’ x 60’ = 5400 SqFt per Floor
90’ x 32’ = 2800 SqFt per Floor
5400 x 3 (Floors) = 16,200 Total SqFt
2800 x 4-8 (Floors) = 11,200 - 22400 Total SqFt
27,400 - 38,600 Total SqFt Figure 3.63
9,200 - 12,900
Working Gallery
6,100 - 8,600
Studios
5,000 - 7,500
Classrooms
1,500 - 2,300
Shop
2,500 - 3,300
Cafe and Kitchen
3,000 - 4,000
71|72
Figure 3.64
Figure 3.65
Figure 3.66
AxD is an architectural firm that specializes in creating spaces for living, working and learning. This building was originally a warehouse that is now converted into a working studio and open gallery. They paid specific attention to emphasize the existing brick and historical features to create a dynamic interior space.
Figure 3.69
Always by Design AxD Figure 3.67
Studio/Gallery
Foster + Partners Reichstag Norman Foster states that rehabilitation and addition of Reichstag is “rooted in four issues: the significance of the Bundestag as a democratic forum; a commitment to public accessibility; a sensitivity to history; and a rigorous environmental agenda.� The building took a beating during the world war. After removing some of the layers added in the 90s they revealed “the striking imprints of the past, including graffiti left by Soviet soldiers.
Figure 3.70 Figure 3.73
Figure 3.74
Figure 3.71
Figure 3.72
Figure 3.75
73|74
Lamott Architekten Public Library
Figure 3.76
Figure 3.79
The existing building was built in 1895 to house the Landau slaughterhouse. It is now reused as a public library to accommodate 75,000 books, CDs and periodicals. The new addition provided the room to hold the large amount of books. The concept was to make a clear transition between old and new architecture. The addition contains the entry, foyer, exhibition area, cafe, children’s library, and main reading room with open stacks. The bridges on the interior make the transition between the old and new architecture, which emphasize the differences in materiality.
Figure 3.78
Figure 3.80
Figure 3.81
Working Gallery
Classrooms
Cafe
Studios
Kitchen
Figure 3.82
Shop
Gallery Gallery
Main Gallery
Circulation
Montgomery St.
Congress St.
Gallery
Circulation
75|76
Outdoor Gallery
Studios Classrooms
Working Gallery
Figure 3.83
Kitchen
Shop
Main Gallery Cafe
Glass and Metal Construction or material that is contrasting and gives a sense of permanence.
Brick and Stucco facade
Large amount of pedestrian traffic provides attention towards the building
Congress St.
Utilize Maximum Amount of Space
Show what Preservation is about
Cafe
Transparent
Montgomery St.
Transparent
Encourages people to come in.
Vehicular traffic is forced to turn next to site which forces driver to look towards the new addition. Figure 3.84
Glass facade on upper levels will help bring natural light into the building.
77|78
View s to
Re m em be r
ral ectu t i h c Ar Heritage
Landmark
Cro
Figure 3.85
ss V ent ilat ion
from
We
ste
rly
Win
d
Public Interaction and Outdoor Space
St
ac
k
Ve
nt
ila
tio
n
79|80
Chapter Four Design
This thesis focuses on the continuing of our architectural style within historic districts. It is the reuse and addition to the vaccant building located on the corner of Montgomery and Congress Street in Savannah, Georgia. The building will be reused as a museum to celebrate Historic Preservation to give the viewer an understanding of what goes into preserving buildings, furniture and other elements.
Schematic Design
Designing a building in a historic city is a challenging task to accomplish. The building has to be designed to fit within the surrounding context while also attempting to fit within personal and city guidelines. The goal was to create a design that will become unified with the original structure but also can be visually read as a separate building through contrasting elements.
81|82
Preliminary Sketches
Figure 4.1
Figure 4.2
Figure 4.3 Figure 4.4
Figure 4.5
Figure 4.7
Figure 4.8
Figure 4.9 Figure 4.6
83|84
Figure 4.10
Figure 4.11
Figure 4.13
Figure 4.12
Figure 4.14
Figure 4.15
Figure 4.16
Concept Diagrams Intersection
New Figure 4.17
Old
85|86
Top of Building to Left
Reversal of Solid and Void Existing Openings on East Facade
Top of Building to Right
Grid from Interior Continued to Exterior
Open to Welcome Public
Figure 4.18
Figure 4.19
Heavy Timber Beam
Figure 4.20
I-Beam
I-Beam Glass Glass
Drop Ceiling Able to See Existing Structure and Allow for Natural Light Figure 4.21
Figure 4.22
Existing Floor
Heavy Timber Beam Show Connection Between Old and New
Glass Figure 4.23
Brick with Original Signage
87|88
The new entry of building will be located in the addition portion of the design. The main lobby contains the core circulation and the beginning of procession through the main gallery.
West Congress Street
Gallery - Current Local Projects
Lobby/Entry
UP
Gallery - Local Completed Projects Women
Importance of Historic Preservation
Montgomery Street
First Floor Plan
Men Service Elevator
N Figure 4.24
2’ 0
32’
8’ 4’
16’
Second Floor Plan
The second floor consists mainly of more gallery space for the museum. The opening to below part provides the view towards the signage wall and opens up the main lobby space to allow for more natural light.
Open to Below
Gallery Old/New
Service Elevator
Figure 4.25
89|90
Third Floor Plan
The third floor is similar to the second except that it has office spaces on the south side of the original building. The new addition is set back from the original to allow guests to see the physical connection between old and new.
Open to Below
Gallery Finished Works
Rest.
Conference Office
Office
Office Service Elevator
Figure 4.26
Fourth Floor Plan
The fourth floor gives the guests the opportunity to learn how architectural elements are preserved or restored. In the working gallery, a preservationist would be working and explaining to people the process to which they have to go through to bring these elements back to life.
Open to Below
Outdoor Space/Larger Works
Working Gallery
Process of Preservation
Service Elevator
Figure 4.27
91|92
Fifth Floor Plan
The top floor is the indoor and outdoor cafe space. The surrounding buildings are no higher than four stories. This provides guests the ability to relax and reflect on the unique heritage that the city of Savannah has to offer.
Outdoor Seating Cafe
Kitchen
Figure 4.28
Rest.
Outdoor Cafe
Working Gallery
Cafe
Cantilevered Structure Over Existing
Outdoor Space Wall with Existing Signage
Elevator Galleries
Figure 4.29
Entry/Lobby
93|94
North Perspective
The design keeps the street frontage that is required in the city’s guidelines. The new addition above is recessed to make sure it does not visually over power the existing building.
Figure 4.30
Interior Lobby
The East wall of the original building is partially removed to expose the connection between the new and old. This was done by inverting the solids and voids that use to service the older additions.
Figure 4.31
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Third Floor/Signage Wall
The wall on Garibaldis on the East side of the new addition contains original signage. This signage will be preserved behind a glass wall to help enhance the visual of the old ways of advertising.
Figure 4.32
Design Development
This portion of the design was focused mainly on the details of how the design can be feasible. A new addition to an existing historic structure provides many unique challenges. The main one being the physical connection that is made between old and new. The other issue that was addressed was fixing the interior design to: create more visual interest in the main lobby, rework the layouts of the gallery spaces and add more service spaces with the addition of a basement.
97|98
Figure 4.39
Figure 4.33
Figure 4.34 Figure 4.38
Figure 4.35
Figure 4.36
Figure 4.37
Figure 4.40
Building Code
Occupancy Type: A-3 - “This group includes recreational amusement, and worship uses not specifically falling under other Assembly groups, including, for example galleries, auditoriums, churches, community halls, courtrooms, dance halls, gymnasiums, lecture halls, libraries, museums, passenger station waiting areas, and the like.”
Contruction Type: I-B - Requires 2 hour fire rating Occupancy Load: 5 sq.ft. net per occupant
Max Travel Distance: Unsprinkled - 200’ Sprinkled - 250’ Max Common Path - 75’ Dead End Corridor - 20’ Door Width - Min. - 32” net clear Max - 48” nominal
99|100
Basement Floor Plan
After more investigation of the original
were added to utilize the existing base-
building, it was determined that it con-
ment for storage. The East side of the
tained a basement that could be
addition is open to allow natural light to
utilized for addition space. In the new
filter into the basement and give space
addition, restrooms and service spaces
to display works.
UP UP
UP
Figure 4.41
First Floor Plan
After research of building codes, it was
be used as gallery space. The vertical
necessary to incorporate a secondary
circulation was moved to run along the
form of emergency egress. The place-
signage wall rather than having a
ment of restrooms in the basement
central core.
provided extra room on the main floor to
DN
UP
UP
DN
Figure 4.42
UP
101|102
Second Floor Plan
The second floor addition was reduced
better see it and provide space for the
in size to provide more visual space for
vertical circulation. Light wells were put
the main lobby below. The east side of
in the existing part of the building that
the floor was relocated farther away
runs from the roof down to the base-
from the signage wall to be able to
ment. This allows for more natural light.
UP
DN
UP
UP
Figure 4.43
Third Floor Plan
The third floor is similar to the second
along the main gallery to help open up
other than the landing for the main
the buildings and allow the viewer to see
staircase is in a different location. The
the physical connection between the
floor on the existing building is cut away
new and old.
UP
DN
UP
UP
Figure 4.44
103|104
Fourth Floor Plan
The fourth floor is the working gallery,
extended to allow for the light wells in
which is cantilevered over the original. It
the existing building. This floor also
contains a partial glass floor allowing
provides the access to the roof of the
guests to see the structure below. The
existing structure serving the outdoor
I-beams holding the new structure were
gallery and roof garden space.
UP
UP
DN
UP
Figure 4.45
Fifth Floor Plan
The fifth floor contains the indoor and outdoor cafe and kitchen space along with restrooms. The outdoor space now has a glass roof that cantilevers from the indoor portion of the structure.
DN DN
DN
Figure 4.46
105|106
Structural Details
The details help to show the interaction
Glass Roof
Concrete on Metal Deck Roof Roof
of old and new design. A connection
Railing for Outdoor Cafe
between a heavy timber beam and
Steel I-beam Column
steel I-beam is not common. Thus a unique bracket had to be designed to
Steel I-beam Joist Fifth Floor Glass Curtain Wall
join the two elements. The bracket design, however, needed to be larger to be able to support the timber, as the
Concrete Decking
W16x45 Steel I-beam column
end of the beam is the most common
Fourth Floor 3/4” Hardwood Flooring
place for shear failure. 1”x 3” Original Decking
Steel I-Beam Column
Hardwood Floor
Railing
Original Wood Decking
Metal T-Shaped Bracket to Support Timber Beam
Original Wood Joists
Gypsum Board Wrapped Around I-Beam
Original Heavy Timber Beam
Gypsum Board Third Floor
W16x45 Steel I-beam Joist
Original 2”x 8” Joists
Second Floor
Original Heavy Timber Beams 7”x 7”
Figure 4.47 Metal Stud
Hardwood Flooring
Wood Furring
Concrete on Metal Decking
Concrete
First Floor
Metal Decking
Gypsum
Original Brick Wall
New Concrete Wall
Open Web Joist
Steel I-Beam Existing Basement
Drop Ceiling
Basement
Wall Section
Figure 4.48
Figure 4.49
North Perspective
The perspective helps to give an idea as to how the new design will look within the existing context of the city.
Figure 4.50
107|108
Overview from North
The overview shows how the new addition rests above the existing and allows for vertical light wells in the center of the original building.
Figure 4.51
Congress Street View
Context is vital to the success of a design within a historic city. The view provides the rough idea of how the design has been successful in contextually contrasting with the surrounding buildings.
Figure 4.52
109|110
Main Lobby
The floors are set back to allow for a
display for the guests when they first
larger main lobby, and the large white
enter the museum.
wall provides the space for a main
Figure 4.53
View of Main Lobby
Opening up a part of the original wall near the main lobby allows for the interaction between old and new. Guests will be able to see details of the connections while being able to see the signage wall.
Figure 4.54
111|112
Working Gallery
The working gallery helps to demonstrate to the viewer the importance of historic preservation.
Figure 4.55
113|114
Chapter Five Final Design
Architecture is a way to write history.
architecture from a hundred years ago.
Every part of every building has a unique
Thus, the architectural heritage of today
story to tell us. Preserving historic
is being lost within our historic cities.
buildings provides the opportunity to
When we experience a historic city, the
share history with the future generations.
most unique aspect is the layering of
City officials have attempted this by
generations, which gives us the ability to
setting guidelines for new construction in
see history through architecture. Through
historic districts. However, these rules
the use of contrasting architectural
constrain today’s architectural style. The
elements with respect of the surrounding
strict rules have resulted in new
context, this inevitable gap in our
construction that mirrors the style of
architectural heritage can be fixed.
Figure 5.1
115|116
Basement Floor Plan
Resource Library
Prep/Office Space
UP
UP
Storage Mech.
UP
2’
Figure 5.2 0
32’
8’ 4’
16’
Figure 5.3 6' - 4"
20' - 0"
10' - 6"
8' - 0"
9' - 6"
10' - 4"
Main Gallery 12' - 8"
9' - 2"
19' - 7"
6' - 10"
20' - 0"
4' - 0"
6' - 5"
61' - 0"
DN
UP
DN
0 2’ 4’ 8’ 16’
11' - 3"
8' - 11"
10' - 3"
1' - 7 7""
19' - 11"
90' - 3"
First Floor Plan
30' - 0"
UP
UP
DN
32’
117|118
Second Floor Plan
UP DN DN
Gallery
UP
UP
DN
Figure 5.4
2’ 0
32’
8’ 4’
16’
Third Floor Plan
UP DN
Gallery
DN UP
UP
DN
2’
Figure 5.5 0
32’
8’ 4’
16’
119|120
Fourth Floor Plan
UP DN
UP
Rooftop Gallery
Working Gallery
DN
UP
2’
Figure 5.6 0
32’
8’ 4’
16’
Fifth Floor Plan
DN DN
Outdoor Seating
Cafe
Office
DN
Figure 5.7
2’ 0
32’
8’ 4’
16’
Main Gallery 11' - 3"
Storage 10' - 0"
Gallery 10' - 0"
Gallery 12' - 0"
13' - 11"
Working Gallery
Cafe 13' - 11"
121|122
Figure 5.8
Figure 5.9
123|124 Steel I-beam Column
Glass Roof
Hardwood Flooring
Concrete on Metal Deck Roof Roof
Railing for Outdoor Cafe
1’x 3” Original Decking
Steel I-beam Column
Original 2”x 8” Joists
Steel I-beam Joist
Original Heavy Timber Beam 7”x7”
Glass Curtain Wall
Steel I-beam Joist
Bolted Metal Bracket to Connect Timber to Steel
Figure 5.10
New and Old Connection
Concrete Decking
W16x45 Steel I-beam column
Hardwood Flooring
3/4” Hardwood Flooring
1’x 3” Original Decking 1”x 3” Original Decking
Original 2”x 8” Joists Gypsum Board
Original Heavy Timber Beam 7”x7” Original Structure Original Heavy Timber Column
Figure 5.11
Original 2”x 8” Joists
Hardwood Flooring
Original Heavy Timber Beams 7”x 7”
Concrete with Metal Decking
Concrete on Metal Decking
Open Web Steel Joists
Original Brick Wall
Steel I-Beam Joist
Drop Ceiling Wrapped with Gypsum
W16x45 Steel I-beam Joist
New Concrete Wall
Figure 5.12
Existing Basement
New Construction
Figure 5.13
Wall Section
125|126
Figure 5.14
North Overview
Figure 5.15
127|128
South Overview
Figure 5.16
Main Lobby
Figure 5.17
129|130
Signage Wall
Figure 5.18
View from Original into New
Figure 5.19
131|132
Working Gallery
Figure 5.20
Roof of Original
Figure 5.21
133|134
Indoor and Outdoor Cafe
Figure 5.22
Figure 5.23
135|136
Figure 5.24
139|140
Works Cited
Fram, Mark. Well-Preserved. 3rd ed. Ontario: Boston Mills Press, 2003. City of Savannah. “Ellis Square.” Web. 8 November 2011 < http://savannahga.gov/cityweb/p&tweb.nsf/ 02e67f6f5dc1d3e585256c2f0071940a/5ec6a1cca9ba14e68 52571f7002c8d62? OpenDocument>. De Teel Patterson Tiller. “Obey the Imperatives of Our Own Moment: A Call for Quality Contemporary Design in Historic Districts.” Forum Journal. Volume: 21. Summer 2007: 1-13. Print. ICOMOS. “Resolutions of the Symposium on the Introduction of Contemporary Architecture into Ancient Groups of Buildings.” Web. 5 November 2011<http://www.international.icomos.org/ publications/93towns7e.pdf>. Safdie Architects. “Telfair Museum of Art, Jepson Center for the Arts.” Web. 8 November 2011 <http://www.msafdie.com/#/projects/Telfairmuseumofartjepsoncenterforthearts>. Sottile & Sottile. “Savannah College of Art and Design Museum of Art.” Web. 8 November 2011 <http://www.sottile.cc/SCAD-Museum-of-Art-Sottile-Folio-Excerpts.pdf>. Tate Moderns. “The Building.” Web. 9 October 2011 <http://www.tate.org.uk/modern/building>. The Morgan Library & Musuem. “The Renzo Piano Expansion and Renovation.” Web. 9 October 2011. <http://www.themorgan.org/about/historyMore.asp?id=27>. Tyler, Norman. Historic Preservation. 1st ed. New York: W.W. Norton & Company, 2000. Tyler, Norman. Historic Preservation. 2nd ed. New York: W.W. Norton & Company, 2009.