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by
Erika Franke
B.S.A.D. Massachusetts Institute of Technology
June 1977
Submitted in Partial Fulfillment of the Requirements
for the Degree of
MASTER OF ARCHITECTURE
at the
Massachusetts Institute of Technology
September 1979
Signature of Author
------------
Department of Architecture
June 18, 1979
Certified by
Maurice Smith, Professor of Architecture
Thesis Supervisor
---------------.---------------------------- '
Imre Halasz, Chairman
Graduate Students
for
Committee
Departmental
Accepted by
dzotch
copyright
-) Erika Franke 1979
MASSAcHUSFTS INSTITUTE
CF T27IOLG
197Y
27 9
LIBRARIES
2
ABSTRACT
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by Erika Franke
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Submitted to the Department of Architecture on June 19, 1979 in partial fulfillment
of the requirements for the degree of Master of Architecture.
This thesis documents in drawings a design process based on the Fogg Museum's
requirements for a new extension building for the purpose of housing the Eastern
art collection.
It includes the design of a generative building piece establishing an "exhibition
territory." This territory is assembled to realize a schematic design generated
from the information provided by the art collection, the context, and the new
museum program.
Thesis supervisor: Maurice Smith
Title: Professor of Architectural Design
3
ACKNOWLEDGEMENTS
I gratefully acknowledge Prof. Maurice Smith for his generous teaching;
the late Prof. Carlo Scarpa for sharing some of his time to tell me about
his work, and his colleague Sr. Pino Tommasi for his help in visits to
Vicenza; Suzanne Doeringer of the Office of Planning of the Fogg for
discussions about the program; Steve Imrich for drawings of 32 Quincy
Street, and Bill Shepherd of the Harvard University Planning Office for
providing maps and drawings of the site.
4
TABLE OF CONTENTS
Abstract
page
-- 2
.......
...
Acknowledgements
--
...
Introduction
3
-- 5
Schematic Design Dra win gs
.................. ..
The Collection
..........................
- -26
Building Elements
..........................
*
Generative "Exhibiti on Territory" Piece
Organization Studies
Bibliography
...
.........................
...
. .............. .......o.
Appendix A: Program-Da ta Appendix B:
......
. .
Scarpa references
...............
35
- -45
-- 62
--84
.87
.......................... 93
5
INTRODUCTION
University has announced plans to build a new Fogg Museum/Fine Arts
Department building on the site now occupied the the Allston/Burr Lecture Hall
at Quincy and Cambridge Streets.
The Fogg has been planning to expand their facility for many years. They
had planned only to add a wing to the existing building at 32 Quincy Street, but
Harvard
in June '78 sufficient funds became available to demolish the Allston/Burr building
and to construct the new facility there. A three-story, 60,000 square foot building
will be designed to house
--galleries, curatorial spaces, and storage for the collection of
Islamic, Oriental, and classical art
--classrooms and faculty offices
--galleries for temporary exhibitions
--museum support functions: conservation (shops and laboratories),
registrar, superintendent.
The new facility will be a 60% increase over the existing facilities, and the
percentage increase of gallery space will be about 75%.
In addition, the existing facility will be renovated to house the Western
art collections and the curatorial departments for prints, drawings, and photographs. The library will remain in the existing building but will expand by
5000 to 10,000 square feet on the lower floors. Plans to add a wing on the
Prescott Street side of the existing building (adjacent to Carpenter Center)
6
await the completion of the new facility.
Program Issues
Consultation with the Office of the Director of Planning of the Fogg has
highlighted the following program issues:
--It is important to the Fogg to house both teaching and museum functions in
both the existing and the new building, as this continues a tradition of daily
interchange among students, faculty, museum collections and the public which has
proved fruitful since the Fogg was built in 1927.
--It is basic to the Fogg's philosophy to house a variety of collections in
the same facility facility rather than to specialize by area or period as some
museums do; that is, the Fogg wishes to maintain a strong contact between the new
facility, which will house Islamic, Oriental, and classical collections, and the
old facility, which will house Harvard's Western Collections. They wish to avoid
creating a divided "Athens East and Athens West." This means that the pedestrian
link across Broadway, be it a bridge or a tunnel, is of fundamental importance in
the design.
--Temporary exhibitions: the Fogg is looking forward to having the capability
of mounting temporary exhibitions. The existing building's service access is a
small unsheltered driveway which makes delivery and handling difficult for staff
and causes objects to be vulnerable to the weather. In order to facilitate
7
exhibit changes, service access and the receiving department must be both adequate
in size and protected from weather.
Furthermore, the registrar, who records all
objects which come and go through the building's doors, must occupy
space
adjacent to the receiving area.
--Access and security:
since the Fogg desires a close physical proximity of
teaching and museum functions, the design must allow students access to the library
and allow faculty to come and go freely to their offices, whether or not the galleries
are open or closed.
The approach of the design is to strengthen the physical continuity of the
street, while creating a sequence of open garden areas along Quincy Street;
--to have movement through it which has a clearly defined association with
museum "'privacies";
--to have the major way through the building organize a collective experience
but allow for individual interpretation of the route;
--to make a place which allows a particular realm of experience: that of the
individual relating to larger collective phenomena/order;
--to allow the form to provide the means and opportunities for the individual
to define his relation to the collective by a range of definition in scale and in
spatial qualities.
8
SCHEMATIC DESIGN DRAWINGS
Fig. 1. --A context drawing of the city of Cambridge shows the old Fogg and the
new building occupying a special area in the radial street pattern of the center
of town. The museum buildings are on the southeastern end of the Harvard campus
which occupies oversized blocks of the radial center of the town. They are on a
street which is the meeting of the smaller grid pattern of the city to the south
and the large campus blocks to the north.
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Fig. 1.
-- context at 1:200
_
FOGG ART MUSEUM EXTENSION
IIAIlVAR)
UNIVERSITY
CAMRIII)GE, MASSACII USETTS
10
Fig. 2. --The aerial photo shows the museum site to be at a promontory point where
the two important vehicular streets of the area, Broadway and Cambridge Street,
converge at Sert's Science Center, where the roadway ramps
down underground to
carry traffic swiftly from south to north without becoming involved in the thick
traffic of the Harvard Square area.
C-
12
Fig. 3. --Harvard University's "Fine Arts Axis" along Quincy Street, including
Le Corbusier's Carpenter Center for the Visual Arts.
Fig. 3 a,b.
--Massing model study.
13
Fig. 3.--Fine Arts Axis
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Fig. 3a.-Massing model.
15
Fig. 4. --Ground plan and section.
The new building extends the directionality
of the existing Georgian Fogg building by means of a long wing running parallel to
Quincy Street, the main pedestrian path connecting Mass. Ave. and the river side
to Harvard's north campus area.
5 story apartment building.
The east side of the building is adjacent to a
The main entrance to the museum remains in the existing
building and the new building is continuous with the old by means of a double level
gallery bridge crossing over Broadway at 14 feet.
The stairwells of both the old and
new buildings are located along an axis running parallel to Quincy Street along
the
back edge of the site.
A double height circular lecture room below the sculpture court is contained
within a heavy enclosing wall.
It is surrounded by a special teaching gallery where
exhibits for the courses are hung.
The circular courtyard space is a pivotal area where the bulding changes direction,
"turning the corner" and extending down Cambridge Street. In this area the structural
grid changes direction, orienting the gallery clerestories directly northward.
This
creates some spaces which have a line of columns or an infill wall converging in
relation to the exterior enclosing wall which remains orthogonal to the geometry of
Quincy Street and the existing buildings, including Gund Hall.
An open garden space occurs at the corner of Broadway and Quincy Streets,
mirroring the small green space across the street belonging to the existing Fogg
A straight service drive 20 feet wide runs along the entire back of the
building in line with the existing service entrance to the old building. The drive
ramps down to a loading dock at the center of the new building at minus 10 feet.
building.
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FOGG ART MUSEUM EXTENSION
HARVARD UNIVERSITY
CAMIlRIlDGE, MASSACHUSETTS
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17
Fig. 5. --The new building is continuous with the existing building.
The gallery
visitor enters at 32 Quincy Street and goes up the stairs to the left of the
courtyard to the second floor where the sequence of Oriental galleries begins,
spanning Broadway by means of a wide space frame platform.
Hung from this
platform is a glazed enclosed link for staff, allowing faster traffic between
the old and new wings of the museum.
The visitor then is brought to the new museum wing where he walks along the
enclosing wall and is able to see conservatorial activity below. He then enters
the central area and can look down onto the circular skylit culpture court below.
Beyond is the Temporary Exhibition Gallery, a large tall room containing large
round columns with movable display "fins".
The east wing along Cambridge Street contains the Ancient collection.
It is connected at the gallery level by means of a bridge over the service
pass-through below.
18
Fig. 5. --gallery
plan
FOGG ART MUSEUM EXTENSION
IIARVARi) UNIVERSITY
CAMINRII)GE, MASSACIIISETTS
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19
Fig. 6. --Cross-section e -e along Cambridge Street.
The east wing rises to a
fifth story allowing views out towards Harvard Yard and the campus.
Fig. 7. --Section d -d through courtyard.
The circular sculpture court is
surrounded by gallery space which is in trun enclosed by walls along the street.
A curving ramp brings visitors from the main gallery floor down to the ground
level of the courtyard (i.e., the roof of the lecture room).
The open space is
covered by a round but assymmetrical skylight sloping to the north light.
The
enclosing walls are lit by large scoops. The light is allowed to fall on the
wall down to the floors below by leaving out a piece of the floor channel where
necessary.
Fig. 8. --Cross-sections through connector: a -a and b -b looking towards existing
building, and c -c looking towards the new building.
20
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--cross-section
FOGG ART MUSEUM EXTENSION
IIARVARI)
UNIVERSITY
CA M liRtI)GE, MASSACIHUSETTS
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FOGG ART MUSEUM EXTENSION
IARVARI) 1TNIVERSITY
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Fig. 8. --cross-sections through
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FOGG ART MUSEUM EXTENSION
HARVARD UNIVERSITY
CAMBRIIDGE, MASSACHUSETTS
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23
Fig. 9. --Quincy Street elevation, showing exterior stairs bringing visitors from
Broadway to the new museum entrance, where they join the connector-gallery level
overlooking the courtyard.
--Plan study showing use of the large scale "exhibition territory piece,
occurring eight times in the plan.
Fig. 10.
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FOGG ART MUSEUM EXTENSION
HIARVAR)
UNIVERSITY
CA NlilRI)GE, AIASSACIUSET TS
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--plan diagram showing
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territory" piece
FOGG ART MUSEUM EXTENSION
1AlRVARD1) IUNIVIi'SEI"Y
CAM ilit I 1)(E, NASSACilUNiA"'rS
26
THE COLLECTION
The Fogg has a rich Oriental collection with particular emphasis on
Chinese art.
The galleries contain artifacts dating from ca. 1550 B.C.
to A.D. 1912, including highly crafted ornamental bronze objects from the Shang
and Western Chou Dynasties (ca. 1550-771 B.C.); an extensive collection of the
"minor arts" of the Eastern Chou and Han dynasties (770 B.C. - A.D. 220), including
jewelry crafted in jade, inlaid bronze vessels, and a variety of personal objects.
Stone sculptures from the "Six Dynasties" period as well as the Sui and Tang
Dynasties (A.D. 265 - 906) and ceramics from the Sung, Yuan, Ming, and Ching
Dynasties (A.D. 960 - 912) are a part of the collection. In addition, the
museum houses examples of Japanese art, including about 4,000 Japanese
woodblock prints.
The Ancient collection contains Egyptian and Assyrian fragments and
Greek and Roman vases and sculpture.
The following pages show the location of typical objects of the collection
in the new museum scheme.
27
Figs.
11,
12, 13.
--Japanese prints and their locationin the bridge galleries.
--Chinese objects and their location
Fig,.14 a, b,
overlooking the garden.
onathe newsmuseumiside
Fig. 15 a, b, c. --Chinese objects, same location.
Fig. 16.
--Small Chinese jade relief, same location.
Fig. 17 a, b.
--Indian paintings, located in the gallery near the center of the
museum sequence.
Fig. 18 a, b.
--Small Persian paintings and their location in gallery bridging
to Ancient wing.
Fig. 11.
-- Fogg Collection
Sait5 Sharaku (Japanese, worked about 1789-1800)
Osagawa Tsuneo es Tonas2
Woodblock oruit
H. 378 x 254 mm (1478'x 10 in.)
Fogg Art Museum, Harvard University
Duel Collection
1933.4.511
Fig. 12.
-- Fogg Collection
HO SHINSUI (I896-I9
Japanese
Scarlet Lady, July 1916
Edition 130/150
H. 43.2 x 27.9 cm.
Gift - Charles Bain Hoyt
FOGG ART MUSEUM, HARVARD UNIVERSITY
1937.87
-
29
Fig.
1232 ir;-g
Collection
Japanese, 1797-1858
Butterfly and Peonies
Woodblock print, H. 24 x 33 cm.
Duel Collection 1933-4-317
Fogg Art Museum, Harvard University
I,
7:
Fig. 14.
-- Foqq Oriental Collection
30
Jude disk (pi) with openwork
design
Ch inese, late Eastern Chotu
dynasty
Grenville L. Winthrop
Bequest
1943.50.547
L
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Chinese, late Eastern Choul
dynlast y
Bronze
Grenville L. Winthrop
Bequest
1943.52.108
UP
31
Fig. 15 a, b, c. --Fogg Oriental Collection
Ritual vessel of the type fangi, with t'ao-t'ieh mask
Chinese, Shang dynasty
Bronze
Grenville L. Winthrop
Bequest
1943.52.109
Ceremonial weapon handle
Chinese, Shang dynasty
Bronze with turquoise inlay
Grenville L. Winthrop
1943.52.26
Bequest
Ritual vessel of the type yu
Chinese, early Western Chou
dynasty
Bronze
.
Grenville L. Winthrop
Bequest
1943 SP 107
Fig. 16. -. Fogg Collection
Jadedragon and bird configuration
Chinese, Late Eastern Chou period
ca. 5 th century B.C.
Length, 150 mm; height, 55 mm; thickness, 7 mm.
Fogg Art Museum, Harvard University
Grenville L. Winthrop Bequest
1943-50-447
32
Fig. 17 a,b.
--4ogg Collection
Indian, Rajasthan, Bundi, late 18th century
Lady Yearning for Lover
Gouache-opaque color on paper
H. 243 x 162 mm (9Y6 x 6/8 in.)
Fogg Art Museum, Harvard University
Gift -John
Kenneth Galbraith
1972.352
Indian, Mughal, ca. 1635
Prince Conversing with Philosophers
Color on paper
H. 368 x 229 mm (14%2 x 9 in.)
Fogg Art Museum, Harvard University
Gift - Eric Schroeder
in honor of John Coolidge
1968.47
Fig. 18 a, b. --Fogg Islamic Collection
Persian, Khurasan, Sabzivar, ca. 1580
Composite Camel
Color on paper
H. 283 x 178 mm (11%8 x 7 in.)
Fogg Art Museum, Harvard University
1954.57
Purchase - Alpheus Hyatt Fund
Attributed to Mirza 'Ali' in Tabriz
Persian, 16th century
Seated Princess, ca. I.S40
Color on paper, H. 18.1 x io.8 cm.
6
Gift - John Goelet 19S8. 0
Fogg Art Museum, Harvard University
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34
35
BUILDING ELEMENTS
36
Column studies
Fig. 19.
--Studies for structural column incorporating display wall elements.
Fig. 20.
--Studies for round column with display panels attached.
Fig. 21.
--Floor-to-floor display column.
Fig. 22.
--Two-story display column.
Extendable "fins".
Material changes with
each extension.
Fig. 23.
--Two-story round column for Temporary Exhibition Room. Steel ring
track at base and top for attachment of a display panel "wall" which can rotate
into different positions changing the geometry of the Exhibition Room.
Fig. 19.
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Fig. 24.
--Buddhistic statues chiselled in the wall of the mountain at Lang Ying
Ssu, Hangchou (from Siren, plate 111).
Fig. 25.
Sketch for curved wall element for dis'play of statues.
Cast concrete.
I
Fig. 24.
Fig. 25
45
GENERATIVE "EXHIBITION TERRITORY" PIECE
46
Fig. 26.
--Initial sketch for large scale piece of 2000 to 3000 square feet,
The dimensions are derived from the
establishing an exhibition region.
existing Fogg building, and the disposition of spaces from the direction of
movement and the site geometry. This form occurs eight times in the gallery
plan, modified in various ways by its relationship to the circulation path,
the presence of the enclosing wall, etc.
Fig. 26 a. --Plan view of a..study model.
Fig. 26 b. --Elevation view of model.
Fig. 26 c. --Oblique view of model.
Fig. 26.
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--model
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b. elevation
c. oblique
IOGG ART MUS]\JEUM
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IIARNARIL 'N IVIRSITY
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49
Fig. 27.
Plan and section study of the piece, showing a long gallery skylight
and light "scoops" to shed diffuse light on walls.
Fig. 27.
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Fig. 28.
--Axonometric showing poured concrete "ground,"linfill walls and columns.
Fig. 29.
--Axonometric showing the territory inhabited.
daylights the 24' square room enclosures.
A circular clerestory
52
Fig. 28.
Fig. 29.
53
54
Fig. 30.
Construction:
square columns with short fins support slabs 12' wide
The slab spans 20 feet with a 6' cantilever at each end to span
half of the 12' bay. The space between the slabs is 1' (the column dimension),
and 30' long.
allowing air and water ducts to rise through the building where necessary.
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Fig. 31.
--Level changes may be achieved by notching the fin at different heights
to receive the channel slab.
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--The relationship of the "exhibition territory" to the column grid.
Left, the piece shown used with the long direction of the column bay (the
direction of movement); right, the piece shown used 90 degrees to the long
Fig. 32.
direction of the bay.
59
Fig. 32.
60
Fig. 33.
--Addition of the territories, open spaces created.
61
Fig. 33.
62
ORGANIZATION STUDIES
63
Fig. 34. --Scheme showing the form of the piece at 1"=40' scale. Heavier enclosing
walls define the three main regions of the museum: the long conservator's wing,
the courtyard region, and the Ancient wing on the north on Cambridge Street.
Fig. 35.--Plan study at 1/8" = 1'.
Fig.36.
--Chinese garden path and pavilion (from Siren, p.
Fig. 37. --Chinese balustrades (from Siren, p.
Fig. 38.
).
).
Study model of scheme showing courtyard and curved bridge, at 1/16" = 1'.
64
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Ornamental balustrades from Yuan Yeh represeting the brush-handle pattern.
Y6 Ch'un-ting gardenin
lHui-chou, showing paved
path leading to the rampart of the city wall.
essential were the hollow rocks and stones that made
the "mountains" so fascinating. It was especially
There are no definite rules for the planning of gardens,
and the reason for this is that one borrows scenery from
Nature. In this connection, however, the four seasons
should be taken into consideration.
through these that something of the magic of wild
Nature and of its power to stir the imagination was
When the woods and the open fields appear in contrast,
introduced into the gardens. (Plate 30.) For it was
only scattered trees and bamboos are required. If the gartheir function to serveasa substitute for the wonderden is situated in a noisy town one should choose a seful landscapesseenin dreais and magically repsre- cluded spot offerine an exensiv vi-- - -~
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Ornamental balustrades representing variations on the brush-handle pattern.
67
Fig. 38.
................................
68
Fig. 39.
--Bridge leading to Heron Isle, Northern Pond, from Iwayima/Itoh, p. 19.
"Bridges have a meaning diametrically opposed to that of the grand
staircases often used in the West to lead down into a garden. Staircases
command and extend space but bridges in Japanese gardens make no
distinctions as to which is the nearer and which the farther shore, the
time reigning in these gardens is reversible. As soon as time is
arrested, its irreversibility is denied. Accordingly, we can cross a
bridge and move into the future or return to the past and using
the bridge as a center, we can exchange past and future whenever we
like."
Itoh, p. 33.
0,-
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Fig. 40.
70
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Fig. 40.
--Site geometry.
Study at 1/16" = 1' of the morphology of two geometries in the plan:
the geometry of Quincy Street and Harvard Yard, and the northward direction
Fig. 41.
introduced
Fig. 42.
in the new scheme.
Axonometric study showing walls.
Fig. 41.
72
73
Fig. 42.
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Fig. 43.
--Study model of "scoop" lighting courtyard gallery walls.
1/2"
=
1' scale.
North light simulation.
Fig. 44.
--South light simulation.
Fig. 45.
Study model at 1/4"
columns.
=
1' scale of Temporary Exhibition Room with round
75
Fig. 43.
-a.
77
Fig. 45.
78
Fig. 46.
--Perforated marble screens, Red Fort, Delhi (Shahiahanabad) (from
Volwahsen, Living Architecture:
Islamic Indian).
Fig. 47.
:-Plan sketch.
Fig. 48.
--Gallery floor plan sketch.
Fig. 49a.
--A village reservoir, Kapadvani (from Herdeg, Formal Structure in Indian
Architecture).
Fig. 49 b.
Fig. 50a.
--A village reservoir and cistern, Kapadvanj (from Herdeg).
--The Ou Garden at Suzhou (Jiangsu)
(from Pirazzoli-T'Serstevens,
Living Architecture: Chinese).
Fig. 50 b.
--Doors of Palace of Peace and Long Life, Imperial Palace (from
Pirazzoli-T'Serstevens).
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Fig. 50 a,b.
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BIBLIOGRAPHY
Aloi, Roberto.
Musei: architettura-tecnica.
Milan:
Ulrico Hoepli Editore, 1962.
Esposizioni: architettura-allestimenti.
Editore, 1960.
Bargellini, Piero. I ponti di Firenze. Florence:
Professionale "Leonardo da Vinci," 1968.
Milan:
Ulrico Hoepli
Edizioni dell'Istituto
Brawne, Michael. The New Museum: Architecture and Display.
Washington: Frederick A. Praeger Publishers, 1968.
New York and
Futagawa, Yukio and Itoh, Teiji. The Classic Tradition in Japanese Architecture:
Modern Versions of the Sukiya Style. New York, Tokyo, and Kyoto: Weatherill/
Tankosha, 1972.
Griswold, A. Whitney et al. The Fine Arts and the University. Toronto and New York:
The Macmillan Company of Canada and St. Martin's Press in Association with York
University, 1965.
Herdeg, Klaus. Formal Structure in Indian Architecture.
Klaus Herdeg, 1967.
Ithaca, New York:
Hopkinson, R.G.; Petherbridge, P.; Longmore, J. Daylighting.
Heinemann, 1966.
London:
85
Illuminating Engineering Society. Lighting of Art Galleries and Museums. IES
Technical Report, no. 14. London: The Illuminating Engineering Society,
December 1970.
New York, Tokyo,
Iwamiya, Takeji and Itoh, Teiji, Imperial Gardens of Japan.
and Kyoto: Weatherhill/Tankosha, 1968.
Japanese Architecture:
Kinoshita, Masao.
Sukiya.
Tokyo:
Shokukusha, 1964.
Kirby, John B. Jr. From Castle to Teahouse: Japanese Architecture of the Momoyama
Period. Rutland, Vermont and Tokyo: Charles E. Tuttle, 1962.
Garden City, New York:
Malraux, Andre.
Museum Without Walls.
Newsom, Samuel.
A Thousand Years of Japanese Gardens.
Pirazzoli-T'Serstevens, Michele.
Grosset and Dunlap, 1971.
Living Architecture:
Tokyo:
Chinese.
Doubleday and Co., 1967.
Tokyo News Service, 1953.
New York:
SCARPA
Conversations:
Visits to:
Vicenza, November 1977, September 1978.
Canova Gallery, Possagno, Treviso;
Olivetti Showroom, S. Marco, Venice;
restauro of the Castelvecchio Museum, Verona;
restauro of the Querini Stamplalia Library, Venice;
Cemetery Brion-Vega, S. Vita, Treviso;
People's Mutual Bank, Verona (under construction);
house, Bardolino (under construction);
restauro for the Academy Gallery, Venice.
86
Articles:
Scarpa, Carlo. "Architettura italiana 1963".
82 - 83 (1964): entire issue.
Edilizia moderna
"Ampliamento della gipsoteca canoviana a
Possagno (1956-57)." Casabella continuita 222 (1958): 8 - 14.
. "Sistemzione museografica di Castelvecchio a
Verona." [The regional prizes awarded by the Istituto Nazionale
di Architettura for 1964.] L'Architettura: cronache e storia 12
(1966): 25 - 62.
"The Museo Correr, Venice."
(1962):
159
-
.
Botlero, Maria.
Architectural Design 32
65.
Space Design, June 1977:
entire issue.
"Italy--Carlo Scarpa the Venetian; Angelo
Mangiarotti the Milanese." World Architecture 2
(1965): 98 - 111.
"Venice: Problems and
Architecture Review 149 (1971):
Richards, J. M. and Rogatrick, Abraham, eds.
Possibilities."
entire issue.
Smith, Maurice. "Not Writing on Built Form..."
no. 4 (1969).
Volwahsen, Andreas.
Living Architecture!:
Harvard Educational Review.
Islamic Indian.
London:
Vol. 39,
Macdonald, 1970.
87
APPENDIX A:
Program Data
5.0.
THE NEW MUSEUM -
5.1.
Room Summary
Room *
PROGRAM REQUIREMENTS
Type of Space
ORIENTAL ART . .
A.l
A.2
A.3
A.4
A.5
A.6
A.7
A.8
.A.9
A.10
A.ll
A.12
A.13
A.14
A.15
A.16
A.17
A.18
A.19
A.20
A.21
A.22
A.23
A.24
A.25
A.26
A.27
. .
Area:
. .
.
.
. .
. .
.
. .
.
. .. .
.
8,936
Gallery A - India and Southeast Asia
800
Gallery B - Early China
640
180
Gallery B1
Gallery B 2
180
750
Gallery C - East Asian Buddhist Arts
600
Gallery D - Chinese Cave Sculpture
640
Gallery E - Chinese Painting/Dec. Arts
120
Gallery El
120
Gallery E 2
120
Gallery E3
640
Gallery F - Japanese Painting/Dec. Arts
120
Gallery F1
120
Gallery F 2
120
Gallery F 3
600
Gallery G - Japanese Prints
1,000
Storage
120
Storage - Large Sculptures
616
Study/Storage Room
180
Reception/Waiting Area
200
Office - Curator
140
Office - Assistant Curator
110
Office - Research Assistant
200
Office - Professor (Indian Art)
200
Office - Professor (Chinese Art)
140
Office - Associate Professor
140
Office - Professor Emeritus
140
Office - Visiting Prof./Rsch. Scholar
ANCIENT ART
. . . . . . . . . . . . . . . . . . . .
-
Gallery
Gallery
Gallery
Gallery
B.5
Office -
B.6
B.7
B.8
B.9
Office - Assistant Curator
Office/Study - Curatorial Assistant
Coin Room and Coin Safe Area
Storage
ISLAMIC ART
.
1
2
3
4
Egyptian Art
Near Eastern Art
Vases
Greek and Roman Art
B.1
B.2
B.3
B.4
C.1
C.2
C.3
C.4
Net Sauare Feet
.
.
.
.
500
500
500
1,000
200
Curator
.
4,030
.
140
175
175
840
2,280
.
Gallery - Islamic Paintings
Gallery - Islamic and Indian Objects
Storage - Objects
Study/Storage/Assistant's Office
640
160
200
400
0Z
00
Net Square Feet
Room #
Type of -Space
C.5
Office -
Curator
200
C.6
C.7
C.8
C.9
C.10
Office
Office
Office
Office
Office
-
Professor (Islamic Art)
Secretary
Visiting Prof. (Islamic Art)
Head of Islamic Architecture
Secy./Editor.(Islamic Arch.)
200
80
140
120
140
.
.
.
CONSERVATION
.
.
Area:
.
.
.
.
.
.
.
.
.
.
......
7,920
D.1
D.2
D.3
D.4
D.5
D.6
D.7
D.8
D.9
Office - Reception/Administration
Office - Head Conservator
Library/Study
Library - X-Ray and Slides
Office - Paintings Lab
Office - Paper Lab
Office - Sculpture Lab
Office - Ethnographic Lab
Office - Textiles Lab
300
150
200
150
120
120
120
120
120
D.10
Office
120
D.11
D.12
D.13
D.14
Laboratory - Paintings
kelining Area
Storage and Dark Area Examination
Spray Booth
-
Analytical Lab
Laboratory -
D.15
D.16
D.17
D.18
D.19
D.20
D.21
D.22
D.23
D.24
D.25
D.26
D.27
D.28
D.29
D.30
D.31
D.32
D.33
D.34
D.35
Paper
200
250
200 (
300
6501
400
60
60
Framing and Frame Storage
Mounting and Matting Room
Dry Treatment Room
Wet Treatment Room
Laboratory - Objects Examination
Shop
Welding Area
Air Abrasive Room
Wet Treatment Room
Storage and U.V. Viewing Room
fumigation Chamber
Laboratory - Textiles
Dry Treatment and Mounting
Wet Treatment Room
Storage
-Laboratory - Analytical
Microscopy Room
Sample Preparation Room
X-Ray and Photography
Dark Room
Storage Room - Solvent
PHOTOGRAPHY .
E.1
E.2
E.3
E.4
960
240
250
100
. .
. . .
Office
Studio A
Studio B
Darkrooms (3)
. .
. .
. .
.
. .
.
y
250
180J
100
350
350
200
500
200
200
250
100
50
. .
.
..
250
850
550
250
3f
Y"
f
1,900
Room #
Type of Space
REGISTRAR
.
.
.
F.1
F.2
Office Office -
F.3
Storage
.
.
.
.,.
.
.
.
.
..
. . ..
.-..
.
. .
.
.
Office Office -
.
.
.
. .
.
. ..
.
. .
.
. .
. .
.
.
.
.
.
..
...
.. .o
.
..
.
.. .
o..
.o.....
.
.
.
. .
..
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
. .
.
160
120
.
.
. .
Gallery
Teaching Gallery
-
2 ,200
400
EXHIBITIONS
800
.
SALES AND CATALOGUE STORAGE
.
.
.
.
.
.
. .
.
.
980
500
480
Sales Area
Storage Room
.
2,600
800
Study/Storage
.
3,900
375
525
3 ,000
RUGS, TAPESTRIES AND TEXTILES
P.1
P.2
P.3
420
180
Seminar Room (25 seats)
Seminar Room (35 seats)
Lecture Hall (200 seats)
SUPERINTENDENT
415
180
.
Office'
TEACHING FACILITIES
0.1
0.2
A0
120
EXHIBITIONS PREPARATION
N.1
,
160
Office
TEMPORARY
1
100
120
200
Office
PUBLICATIONS
. .
. .
..
Head
Assistants
PUBLIC RELATIONS .
M.l
M.2
. .
.
Reception/Information Desk
L.l
L.2
L.3
.
190
225
H.2
H.3
K.1
.
110
640
850
H.1
J.1
.
Office/Storage Room
Storage
FRIENDS OF THE FOGG
I.1
.
Registrar
Assistants
UNIVERSITY LOANS . .
G.1
G.2
Net Square Feet
Area:
.
.
.
.
.
.
.
.
... .
Office - Superintendent & Assistant
Shipping/Mail Room
Loading Dock
.
.
.
160
1 ,250
350
9,690
Room #
Type of SDace
P.4
P.5-
Carpentry Shop
Exhibition Finishing Room
900
660
P.6
Packing Room
500
P.7
Exhibition Unpacking & Storage
P.8
Case & Pedestal Storage
2,400
P.9
P.10
P.11
P.12
P.13
P.14
Crate Storage
Misc. Supply Storage
Staff Lounge
Locker Room
Toilet/Shower Room
Dressing Room
1,100
1,100
200
110
130
30
BUILDING SERVICE
0.1
Q.2
Q.3
Q.4
Q.5
.
.
Area:
.
.
Kitchenette
Lounge
Conference Room
Coat Room
Janitor's Closets
.
.
.
.
.
.'.
Net Square Feet
800
.......
2,500
160
1,800
250
200
90
(approx. 3 @ 30 s.f.)
TOTAL
48,431
NOTE:
A new museum buildingof 60,000 gross square feet (a
75% efficiency could accommodate 45,000 net squar_
.feett-sQme of the above functions will haveto remain in the Fogg Art Museum.
'.0
DEPARTMENT:
OR.IENTAL ART
ROOM TYPE-
TOTAL ASSIGNED OCCUPANTS-TOT AL AREA
FOREWORD
The Oriental Department, the most diverse of the curatorial divi-
sions of the Fogg Art Museum, is responsible for the arts of India
and Southeast Asia, Central Asia, China, Korea, and Japan.
The pri-
mary collections, described in the following gallery Design Information Sheets, are of extremely high quality and renown.
The department is the center for the activities of approximately
nine regular
is also the
dents and a
students, a
It
Fogg Museum and Fine Arts Department staff members.
focus of activity of approximately fifteen graduate stuIn addition to
large number of undergraduates as well.
steady stream of professional visitors come to this de-
partment to view its holdings and consult with faculty and staff.
Collectors bring objects for curatorial opinions. Visiting scholars examine objects in the department, some for a few hours, others
for extended periods of many months.
Certain crucial concerns have not been explored;
awaiting the re-
sults of a study by the Conservation Department, are specifications
for environmental conditions, such as humidity and light levels, in
galleries and storage areas.
Another concern is that of museum se-
curity, which-will be taken up by experts.
92
Fig. 51.
__.
PRESCOTT
__--
STREET
N
O
:-
UI)
)
Us
-----
QUINCY STREET
93
APPENDIX B:
Scarpa references
The Scarpa precedents show the delicate juxtaposition of old and new which
results from his way of working.
This word has a particular
meaning in the Italian context; it means the art of working with an old building
The greater part of Scarpa's work is restauro.
or an old urban fabric to in'troduce new uses or new physical elements.
The delicate
interaction of parts in a restauro may be described as a dialectic between the old
and the new, and the synthesis of the dialectic is a new expression, a new place.
Scarpa's restauro works contain within them the revelation of their history, and
this story is expressed by a way of working with materials and forms which is a
physical layering of elements such that they are a loose but clearly defined story
of the process of adding-to.
Fig. 52 a, b. --Converging walls in the Gipsoteca Canoviana, Possagno, by
C. Scarpa (photos by author).
Fig. 53.
--Independence of new glazed wall within old wall of the Castelvecchio
museum at Verona, by C. Scarpa (photo by author).
Fig. 52 a. b
94
Ul.
C3)
Lt
Li-