The Integration of Existing
Building Apertures
for Daylighting and View
in Exhibition Environments.
A Master Thesis Presented to the Faculty of the Sustainable Interior Environments at the School
of Graduate Studies, Fashion Institute of Technology in Partial Fulfillment of the requirements
for the Degree of Master of Arts in Sustainable Interior Environments
By Lawrence Langham
May 2013
Mentor: Barbara Campagna
SUNY Fashion Institute of Technology
This is to certify that the undersigned approve the thesis submitted by
Lawrence Langham
In partial fulfillment of the requirements for the degree of
Master of Arts in Sustainable Interior Environments
_________________________________________________________________________
Grazyna Pilatowicz, Chairperson
_________________________________________________________________________
Barbara Campagna, Mentor:
_________________________________________________________________________
Mary Davis, Dean, School of Graduate Studies
Abstract
Daylight presents challenges as a source of illumination for exhibitions, notably because of
the damaging effects that UV radiation and high light levels can have on collections materials.
Daylight’s ephemeral quality means that it is much more difficult to control and predict in the
ways that artificial light can be. Additionally, there are also concerns regarding human comfort
in terms of glare and heat gain during periods of direct sunlight.
Yet daylight can be highly beneficial, bringing potential environmental, economic, and health
benefits, in addition to an array of interpretive, aesthetic, and programmatic possibilities. These
qualities make daylighting a crucial dimension in the development of sustainable strategies for
interior environments.
This thesis examines the challenges and benefits of daylighting in order to look at how daylight
apertures in exhibitions may benefit visitors, and offer opportunities to make connections
between the experiences presented in the exhibition and the broader context of the exterior
environment.
Existing literature from several interrelated disciplines was reviewed in the process of preparing this thesis. Professionals were interviewed, and museum site visits were conducted. A project was identified as a case study. Research, site analysis, preliminary view and daylight analysis
were conducted. A matrix of design options was compiled, tailored to the case study scope of
project.
The results indicate the importance of integrating daylighting expertise in the design process
and how careful consideration of view can enrich the visitor experience.
iii
Acknowledgments
“Friends are like windows
through which you see out into
the world and back into yourself... If you don’t have friends
you see much less than you
otherwise might.”
-Merle Shain
I am deeply grateful for the expertise, kindness, and patience of Grazyna Pilatowicz my thesis
instructor whose guidance has made this thesis possible. Through Professor Pilatowicz I have
had the great fortune to work with my mentor, Barbara Campagna, who brought insight and
depth from her background in historic preservation. Thanks very much to both of you for the
time that you have spent helping me. It has been a joy to work with you.
A number of FIT faculty that have been very helpful in this endeavor. Special thanks to Cathy
Bobenhausen, Donna David, Peter Johnston, Susan Kaplan and Francine Martini. Your suggestions and encouragement have been greatly appreciated.
The Sustainable Interior Environments program is a new adventure at FIT, and I have been
blessed to be part of a wonderful class. I would like to thank Alina Ana Coca; Christine Hyuang Kwon; Shannon Leddy; Olesya Lyusaya; Jessica News; Elizabeth Vergara; Michael Wickersheimer.
I am indebted to Laurel Marx for giving me the opportunity to work on the Keeper’s House
project with the Friends of the Old Croton Aqueduct and to Laura Compagni for her leadership
in the Interpretive Proposal and for allowing me to interview her and include her experiences
in this thesis.
Thanks also to Stephen Tilly and Andreas Hubener for sharing precious information and documentation about the Keeper’s House and to Karen Snider and Brianne Muscente for sharing
their professional experiences.
To my family: my parents; Richard and Joanne; my partner, Gabriel; my parenting partner, Kristin, and my daughter Grace. Thank you very much for helping me to see out into the world.
iv
Contents
iiiAbstract
ivAcknowledgments
v Table of Contents
1
Chapter One: Introduction
1
1
2
3
5
Thesis Topic
Research Questions and Methodology
Limitations and Delimitations
Definition of Terms
Chapter Two: Analysis
5 Review of Existing Literature
10 Site Visits to Precedents
21 Case Study: Keeper’s House, Dobbs Ferry N.Y.
21
Overview and History
23
Site Analysis
29
Daylight Analysis
31
View Analysis
36
Chapter Three: Synthesis
37 40 42
45
Design Options
Conclusions
Notes
Bibliography
v
1
Introduction
Thesis topic
The integration of existing building apertures
for daylighting and view in exhibition environments.
Research questions
• When designing interpretive exhibitions for existing buildings, how can designers integrate
daylight apertures while balancing concerns of human comfort?
• How can daylight apertures be used to make narrative connections between the content of
the exhibition and the exterior environment beyond the walls of the museum?
• Why is this important?
• How do exhibition designers collaborate with conservators and other team members to balance conservation considerations with visitor access to museum content?
• How have other designers integrated daylight with reflective exhibition components such as
monitors, display cases, and graphic panels?
1
Significance
Incorporating existing apertures for daylighting, view, and orientation into exhibition design in
restored, rehabilitated, and adapted buildings can entail rewards in aesthetic, economic, social
and ecological terms. Balancing visitor comfort, object care, theatricality, and narrative clarity
presents an array of challenges for the design team. The exhibition development and design
process must be addressed with careful analysis and consideration regarding the interplay
among the exhibition’s communication goals, the elements of the physical environment, and the
visitors.
Definition of most significant terms
For the purposes of this exploration the following definitions are applied:
Interpretive Exhibitions: Exhibition environments that use an array of media, interactive, and
immersive approaches to engage visitors in subject content.
Exhibition Narrative: The story that is told in the exhibition environment. Successful exhibitions have a coherent central thematic idea that is supported by each component within the
exhibition.
Daylighting: The use of building apertures in combination with reflective surfaces to provide
effective interior illumination using available natural light.
Conservation: The preservation of tangible cultural properties, which can include collections
objects, furnishings and other materials.
Historic preservation: “The process of identifying, protecting, and enhancing buildings, places,
and objects of historical and cultural significance.”1
Sustainability: The interconnectedness among environmental, social, and economic considerations and imperatives. Daylighting touches upon all three of these areas.
2
Methodology
Review of Existing Literature
Review of existing literature in overlapping areas of exhibition design, historic preservation,
object conservation, daylighting and museum lighting.
Interviews and Conversations
This thesis has benefited from interviews and conversations with a number of design professionals. Some of these have been formal and are noted as such in this document. Others have
been informal and have helped to guide the process of exploration by offering suggestions of
places to visit, books to read, and other resources. The array of expertise includes:
• Exhibition Designers
• Architects
• Lighting Designers
• Graphic Designers
• Educators
• Content Specialists
Analysis of Site Visits and Precedents
• Lower East Side Tenement Museum, New York, N.Y.
• Brooklyn Children’s Museum, Brooklyn, N.Y.
• Lefferts Historic House, Brooklyn, N.Y.
Analysis of Case Study
Keeper’s House, Dobbs Ferry, N.Y.
Site of proposed educational and visitor center for the Old Croton Aqueduct.
Limitations
This exploration is limited by the number of interviews and site visits performed within restricted time schedule. The findings will be applied to an example of one case study.
3
De-limitations
It is not the intention of this exploration to arrive at a generalized model that is applicable to all
exhibition projects, nor to address all issues involved in the pursuit of sustainability in exhibition design. Attitudes regarding proper professional practice evolve, so the methods that seem
appropriate today may not be in the future. Materials and technology are also evolving, so that
things that seem impossible today may be possible in the future.
4
2
Analysis
Review of Existing Literature
Exhibitions can be sensual and
enlightening experiences. They
can also be dull and dreary
drudges, thick with words and
things that leave people tired
and dopey. What makes the
difference? How can we distinguish those elements and qualities that contribute to successful and effective exhibitions for
planners and visitors alike?
Exhibition design is a multidisciplinary endeavor, and bringing daylight and view into the planning process adds its own opportunities and complexities. The literature review for this thesis
encompasses a number of interrelated areas of inquiry including:
-Kathleen McLean
Planning for People
in Museum Exhibitions
p. 163
Exhibition Design
Books and articles about the exhibition design process routinely stress the importance of a
clear narrative, the team development process, and a visitor centered approach. This is particularly true for interpretive environments that might be encountered in history museums, science
centers, natural history museums, historic sites, children’s museums, etc. The exhibitions are
often envisioned as social, interactive, and participatory, with visitors involved in broad scopes
of activities that engage the visitors’ interests, aptitudes, and senses. 2
• Exhibition Design
• Architectural Preservation and Historic Sites
• Object Conservation
• Daylighting
• Museum Lighting
The importance of engaging visitors in experiences that support exhibition objectives is underscored, including specific practical matters such as providing seating and ensuring that labels
5
are concise, and readable 3 as well as broader best practices such as developing a clear exhibition focus and facilitating social interaction through the design of the exhibition environment. 4
“In terms of risk management
trade-offs, we must make a
decision that minimizes the
loss of value due to poor visual
access and the loss of value due
to permanent damage. In terms
of ethics and visual access, we
must balance the rights of our
own generation with the rights
of all future generations.”
-Stefan Michalski
“Light, Ultraviolet
& Infrared”
Regarding daylight, it has historically been looked upon as problematic in many exhibition settings because of concerns about its potentially deleterious effects on objects and furnishings on
display. Even when there are few or no objects with strict conservation limitations in an exhibition environment, there may be other reasons why projects are planned without employing or
utilizing daylight. Illustrated books such as Dernie’s Exhibition Design and What is Exhibition
Design by Lee Skolnick, Jan Lorenc, and Craig Berger show numerous examples of interpretive
exhibitions where the controlled theatricality of artificial lighting is combined with electronic
media. Daylight is often perceived to interfere with the impact of these approaches. 5
Architectural Preservation & Historic Sites
House museums and other restored or rehabilitated interpretive environments are typically
different in how they approach conservation and exhibition criteria as compared with purpose-built museums. The narrative scope of a house museum, historic site, or recreational site
encompasses the building itself (or buildings) and may also include the surrounding environs.
The building may have objects on display, but the goal of preserving the architecture may not
allow for the strict climate and light controls that would be required and designed into a purpose-built gallery. 6
Period rooms in historic houses will often include a variety of objects and furnishings, which
were they on view in a purpose-built gallery, might be displayed under controlled, uniform light
levels. However, in the setting of an historic room with windows this may not be an option, so
other strategies must be employed that can include: utilizing window shutters or shades strategically to block or filter sunlight during periods of direct exposure; locating light sensitive items
away from the path of direct sun; and selective use of reproductions. 7
Other light control methods include the use of UV and solar control materials. The context is
crucial for determining the appropriate approach. For example, ultraviolet-filtering film may
not be the right choice for windows with old glass with many air bubbles and irregular surfaces, as difficulties may arise when the film has to be removed. 8 Decision making requires a
sustained team process with conservators, lighting designers, exhibition designers, engineers,
architects, curatorial and historic preservation experts coming together to develop solutions
that are appropriate for the institution and project mission. 9
6
“A bioregional approach to
daylighting concerns the ways
that design can grow from, respond to, engage in, and benefit
from the life forces of a specific
region.”
-Mary Gusowski
Daylighting for
Sustainable Design
p. 3
Historic buildings are often themselves the principal object, as is the case with the Keeper’s
House, the Lower East Side Tenement Museum and the Lefferts Historic House. The interpretation of historic architectural styles, that were made with local materials utilized natural
light. Buildings such as the Keeper’s House with its broad eaves, operable windows, and door
transoms can offer lessons in sustainable energy consumption. 10 Beyond the envelope of the
building, historic houses generally have narrative connections to their sites. There can be strong
cultural, historical, geographical and environmental dimensions to these connections.
Daylighting
Daylighting offers an array of benefits, including the potential for energy and cost savings if
daylight controls are integrated into the electric lighting systems. 11 Relatedly, solar heat gain
and heat loss from daylight apertures are also to be considered, so that energy is not wasted
through excessive air conditioning in the summer, or heating in the winter. Strategic use of
external and/or internal light shelves, 12 external shading structures, shuttering systems, and
plantings, or interior window treatments, are among the many ways to plan for these considerations. 13
Also, daylight can be a dynamic design element, used in concert with materials and forms to
shape the aesthetics and sequential experiences of interior space. Because of its transitory
nature, daylight can bring visual and thermal movement and contrast that changes depending
upon time of day, season and climate. 14
Access to daylight is significant for health and well being, providing external cues for circadian
rhythms—biological cycles that govern periods of sleeping and waking up. Daylight apertures
allow people within interior environments to remain engaged with these cycles. Furthermore,
daylight apertures very often provide views that can relieve visual and mental fatigue by providing a place for the eyes and mind to rest in the exterior environment. 15
The connection with exterior environment is also regarded as essential for well being because
of biophilia—the affinity that people have for nature. Biophilic design seeks to plan for the
interrelationship of people and the outdoor setting. Studies have indicated that access to views
benefits healing, productivity, social interaction, and cognitive functioning. 16
The regular cycle of light and dark that makes daylight comforting and refreshing is, along with
climate and seasonal changes, what makes it highly variable as a principle source of interior
7
light. Also, conditions range widely depending upon the site and its locality. Within the United
States there are cities such as Buffalo, New York, which averages 54 days of clear skies annually.
This is a very different diurnal environment from Phoenix, Arizona with 211 days of clear skies
or even New York City with 104. 17
Daylighting requires careful consideration of the site, including geographic location and building orientation along with the climate and seasonal patterns. 18 Changes in the exterior such as
new building construction or modified landscaping or planting can alter conditions for daylighting causing shading or adding reflected light.
There are challenges presented by daylighting with regard to human comfort. Direct sunlight
can cause reflective glare and bright daylight can contrast uncomfortably with elements in an
interior environment. 19 Potentially uncomfortable thermal conditions may also be created in
areas that are in direct sunlight. Also particularly noteworthy for many museums are the potential damage to objects, finishes, materials in interior spaces due to excessive heat, visible light,
and UV radiation. 20 Planning for these risks requires collaboration among exhibition designers
and conservation professionals.
Object Conservation
It is a paradox that the light required to see many of the objects on display in museum exhibitions is damaging to those very objects. Paintings, works on paper, textiles, wood, and animal
specimens are all subject to light damage. Concerns regarding daylight and object conservation
are, in broad terms, two fold: light level and the presence of UV radiation in daylight. Both are
damaging to many collections objects and interior finishes.
Guidelines for very sensitive objects such as watercolors, drawings, and textiles set light levels
at 5 to 10 foot-candles (50 to 100 lux) This is currently considered to be the maximum allowable light level for very sensitive materials, such as prints, drawings, watercolors, dyed fabrics,
manuscripts, and botanical specimens. Up to 15 foot-candles (approx. 50 lux) is thought to be
appropriate for oil paintings, most photographs, ivory, wood and lacquer objects. Metal, stone,
glass, ceramic, and enamel objects are generally thought to be unaffected by strong light. 21
Daylighting for Museums
The preponderance of writing about museum lighting, including daylighting within exhibition
environments focuses on art and collections object based exhibits, as opposed to science centers, children’s museums, and interpretive centers where conservation may be a minor concern
8
or of no concern. With conservation considerations at the forefront, a wealth of examples are
available for diffuse lighting approaches, particularly for top lighting, where daylight diffusing
ceilings, light baffles, reflectors and other structures are used to bounce light into the space. 22
In some cases museums have chosen to embrace the dynamism of direct sunlight, allowing it
to fall into the gallery and move around the space. 23 This is an appropriate choice for exhibitions of objects made of stone, metal, or other materials that are not light sensitive. In other
examples, the daylight apertures provide visual continuity between the gallery environment
and the exterior, providing respite, or to bring about a connection between the art on view and
the natural surroundings. 24
9
Site Visits
Three museums were identified to visit for analysis of the use of existing daylight apertures in
exhibition environments. At the Brooklyn Children’s Museum several spaces are considered.
Historic structures at Lower East Side Tenement Museum and Lefferts Historic House were also
visited.
Brooklyn Children’s Museum
Location: 145 Brooklyn Ave, Brooklyn, NY
Original Construction: 1977 by Hardy Holtzman Pfeiffer Associates
Major renovation in 1996. Most recent expansion, designed by Rafael Viñoly Architects 25 was
completed in 2008, doubling the museum’s space to 102,000sq ft.
Founded in 1899, The Brooklyn Children’s Museum is the first of its kind and has served as
a model for hundreds of children’s museums around the world. The Museum has a mission
encompassing environmental science, the arts, and cultural exploration that reaches several
hundred thousand visitors per year. 26
Fig. 2.1 Aerial view of Brooklyn
Children’s Museum at corner
of Brooklyn Ave. and St. Marks
Ave.
Image: Google Earth
10
Fig. 2.2 Plan view Brooklyn Children’s Museum.
Drawing: Rafael Viñoly Architects
Daylight and view are integral to the design of the exhibition environments
in multiple areas of the museum including the following exhibition areas:
1 - Neighborhood Nature (ground floor)
2 - Greenhouse (ground floor)
3 - Totally Tots (ground floor)
4 - Collections Central (second floor)
11
Brooklyn Children’s Museum
Neighborhood Nature
Located in the southeast corner of the Museum’s ground floor, Neighborhood Nature is
designed to engage children in Brooklyn’s local ecology. An array of exhibition activity modules
include: a play community garden; a running stream and pond with “fish eye view” and animals
to discover; and a tide pool to touch live horseshoe crabs and starfish.
Full height glazing on both the south and east walls offer substantial daylight to the space, yet
significant areas of the windows are covered, and the overall illumination deeper in the space is
muted because of the low reflectance values of the finishes within the exhibition environment.
Eye level views to the east are entirely blocked by graphic murals that have been placed against
the windows. Views south, into greenhouse show plants growing, but are partly blocked by
exhibit structures.
Fig. 2.3 Murals blocking view on east wall.
Photo: L. Langham
Fig. 2.4 Play gardening activity
connects thematically and visually with views into adjacent
greenhouse.
Photo: L. Langham
12
Brooklyn Children’s Museum
Greenhouse Exhibit and Activity Area
The Greenhouse is adjacent to Neighborhood Nature has south, east, and west exposure to daylight. The space is used both as a flexible exhibit and classroom with graphically identified live
plants and insects and insects on display, and moveable tables for classes and activities.
As illustrated in the accompanying images, the wired glazing filters sunlight and partially obscures the views of the surrounding environment.
Fig. 2.7 Greenhouse is used for
both exhibition and informal
classroom and activity space.
Photo: TImeout.com
Fig. 2.5 LIve insect displays in
terrariums.
Photo: L. Langham
Fig. 2.6 Plant specimens with
interpretive labels.
Photo: L. Langham
13
Brooklyn Children’s Museum
Collections Central
Created as part of a major expansion that opened in 2008, the collections area runs parallel to
approximately 100 feet of glass wall that faces east onto a concrete outdoor amphitheater. This
provides daylight to the space where objects are displayed in glass cases adjacent to activities
where visitors reconstruct ceramic pots, create patterns with tiles, string beads, etc.
This new, bright exhibition area is spacious to the point of seeming empty in comparison to the
older parts of the museum. There were noticeably more visitors in the other exhibits that have
greater densities of activities. The view onto the rooftop plaza looks barren with some treetops
visible in the distance.
Fig. 2.8 Collections Central activities area.
Photo: Brooklyn Children’s Museum
Fig. 2.9 View out onto rooftop plaza showing
amphitheater.
Photo: L. Langham
Fig. 2.10 Collections display cases showing
reflections from windows.
Photo: L. Langham
14
In addition to the cultural artifacts in the space, there are environmentally themed interactive
components directly against the windows. One of these uses an LED light to illustrate how the
solar power panels on the exterior of the building are affected by clouds, pollution, or night.
Fig. 2.11 Solar energy interactive
located on east facing window
overlooking rooftop plaza.
Photo: Liberty Science Center
15
Brooklyn Children’s Museum
Totally Tots
In this early childhood activity, a bank of windows run the length of the entire section, providing direct views onto St. Marks Ave. It is noteworthy that the section with the clearest visual
connection to the actual neighborhood is the toddler section, although there is no direct interpretation of what is outside
Fig. 2.12 Daylight is a key element in
The windows—and the connection they provide to the exterior—serve as a relief to the adults
that accompany the children: “Unlike an early childhood classroom, an early childhood exhibition is designed for learning by both the kids and adults. It provides an opportunity for adults
to watch their kids, interact with their kids (& scaffold their learning), see other kids at the next
developmental stage, and watch other adults to learn new parenting skills. That’s a lot to take
in. Windows help the adults sustain their attention and engagement.” 27
Fig. 2.14 Windows in Totally Tots
have northern exposure and views
onto St. Marks Ave.
the exhibition environment.
Photo: L. Langham
Photo: L. Langham
Fig. 2.13 Waterplay activity area.
Photo: L. Langham
16
Lefferts Historic House
452 Flatbush Ave
Originally constructed: around 1783 and moved to this location in 1918 28
2 Floors 5000 Square feet
Lefferts Historic House is sited within Prospect Park in Brooklyn where it reaches a broad,
diverse audience, including many family and school groups. The proximity to the Prospect Park
Carousel and Zoo encourages young audiences.
The current exhibition design was created in 2008 by James Czajka, architect with Christopher
Clark, PhD, exhibition developer and consulting historian. 29 The house has a combination of
furnished period rooms and hands-on activity rooms with low-tech interactive components
for informal learning, centered around activities such as cooking, candle-making, and music.
The evolving cultural history of Brooklyn is explored in these interior environments as well as
numerous outdoor programs. 30
Fig. 2.15 Aerial view of Lefferts
Historic House in Prospect Park.
Photo: L. Langham
Fig. 2.16 Hands-on activities with everyday objects that tell
Fig. 2.17 Sample of sheep’s
Photo: urbanburden.com
Photo: L. Langham
environmental stories. Sunlight is penetrating western facing
windows.
wool is revealed in interactive graphic mural.
17
According to Billy Holiday, Director of the Lefferts Historic House, the institution is looking at
the past primarily through an “environmental history lens” because of its location in Prospect
Park and the expectation that people have when they come to the park that they will be experiencing nature. 31
Graphic components include: large format printed graphics, backlit graphics, and painted
murals. Other exhibition components include: acrylic display cases with display objects, plastic
replicas of objects for visitor activities, mechanical interactive components.
Double hung windows provide substantial general lighting. Additional electric light is directed
at specific exhibit items. Because the exhibits are not limited to telling the history of the house
and since there are programs both inside and outside the building, the windows serve as an immediate, accessible connection between the interior and exterior. Activities include gardening,
ceramics, blacksmithing, and music.
Fig. 2.18 Windows provide a
visual connection between the
environmental themes of the
exhibition and the exterior environment of Prospect Park.
Photo: L. Langham
18
Lower East Side Tenement Museum
97 Orchard Street, New York NY
Architectural restoration by Perkins Eastman and Li-Saltzman Architects began in the early
1990’s and the first apartment opened for visitors in 1994. 32
Located at 97 Orchard Street in Manhattan The Lower East Side Tenement Museum tells an
array of stories of the immigrant experience and transformation in New York. A typical living
space in the building is around 325 square feet with 8-foot high ceilings. It is estimated that
7,000 people from over 20 countries lived in the building between 1863 and 1935 when the
landlord stopped renting to residential tenants. 33
The typical Tenement Museum experience is a tour that takes visitors into one or more of the
living spaces to examine the lives of people who lived there in a specific time period and to consider the broader social issues: politics, health, labor, etc. affecting those lives.
Fig. 2.19 Second floor Baldizzi
apartment. Interior windows
allow borrowed light into
kitchen.
Photo: Lower East Side
Tenement Museum
Fig. 2.18 Plan of typical floor 97
Orchard St.
Li-Saltzman Architects
The windows in these buildings were very significant to the narrative because of code, health,
light, ventilation dimensions. Health issues were a very significant narrative component. Double
hung windows in front rooms and interior windows between other spaces for borrowed light.
There was no electric light until the 1920’s and no gas light until the 1880’s and that the gas
light was coin operated. There was minimal use of electric light in the apartment spaces. 34
19
Laura Campagni served as an educator for the tours program at the LESTM from 2005-2008.
Here is her description of one of the ways that she would use the windows to engage the visitors with the site:
“When I was giving tours I would bring visitors to the windows to look and think about present
day immigration. The tour would end on this note; looking through the windows at Chinatown
and considering how the ethnicities have changed, yet the neighborhood remains an immigrant
neighborhood. I would talk about other historical migrations into the neighborhood from places
like Puerto Rico and this would lead to further conversations with the visitors.” 35
Fig. 2.20 Fourth floor restored
apartment. Photo shows sunlight
penetration.
Photo: Lower East Side
Tenement Museum
Although few of the objects from the original occupants are in the building, many of the rooms
have wallpaper, flooring and other materials remaining. The windows have UV filtering film
applied to the inside surface, serving to block damaging ultraviolet light from affecting these
materials. Most objects on view in restored rooms have been acquired at flea markets and similar sources. 36
Fig. 2.21 Detail of wall paper in
unrestored room.
Photo: Lower East Side
Tenement Museum
20
Case Study: Keeper’s House
Old Croton Aqueduct Visitor and Education Center
15 Walnut St. Dobbs Ferry, NY
Overview
Original Construction: 1857
Original Architect: Unknown
Original Use: The home of the principal
superintendent of the Aqueduct,
north of New York City.
Owner: New York State Office of Parks,
Recreation and Historic Preservation
Partnering Organization:
Friends of Old Croton Aqueduct (FOCA)
Landmark Status: Designated National Landmark
in 1992 as part of Old Croton Aqueduct
Preservation Architect: Stephen Tilly
Proposed Use: Visitor and Education Center
Scheduled to Open: 2015
Square Footage: 1114 sq. ft. (first floor public
spaces)
Principal Source of Information: FOCA Interpretive Treatment Proposal
Fig. 2.22 Keeper’s House
Dobbs Ferry, NY.
Front of house.
Photo: Friends of Old Croton
21
Historical Background
Prior to 1842 New York City did not have safe, reliable water for drinking, sanitation, and fire
fighting. The creation of what is now called the Old Croton Aqueduct began a transformation of
New York’s water supply, with local wells replaced by the city’s first major water supply system;
gravity fed and comprised of a masonry dam on the Croton River, a 40.5-mile long aqueduct,
and two reservoirs in Manhattan. 37
Fig. 2.24 Croton Reservoir, Manhattan, NY.
Image: New York Public Library
Fig. 2.26 Old Croton Dam.
Image: New York Public Library
When the Aqueduct was in active service, overseers were hired to patrol and maintain sections
of the system. These “keepers” were provided with housing along the section of tunnel that they
maintained and secured. Six homes were built with this particular house constructed for the
principal superintendent of the Aqueduct, north of New York City. Only this one stands today. 38
Fig. 2.25 Map of Old Croton
Aqueduct
The Keeper’s House at Dobbs Ferry is one of the remaining above-ground structures of the Croton Aqueduct—a system that transformed New York City and bound its future growth and well
being to the watersheds of New York State.
Map: Scribners Monthly
22
Historic and Recreational Site
In 1968 New York City sold 26 miles of the aqueduct to the New York State Office of Parks, Recreation and Historic Preservation. This became a park with a trail that stretches through communities along the Hudson River between Yonkers and Cortlandt. 39
Fig. 2.27 Aqueduct trail in use
next to the Keeper’s House in
Dobbs Ferry.
Photo: Friends of the Old Croton
Aqueduct
Fig. 2.28 Trail map at right of
Old Croton Aqueduct and has
the Keeper’s House labeled as
Overseer’s House.
Map: Friends of the Old Croton
Aqueduct
23
Historic and Recreational Site
The trail that runs outside the overseer’s house is directly on top of the aqueduct.
The image on top shows one of the aqueduct ventilators encountered periodically
along the trail. These are marked on map on previous page.
Fig. 2.29 Old Croton Aqueduct
ventilator along the trail.
Photo: Mark B. John
Fig. 2.30 Inside the Old Croton
Aqueduct.
Photo: Steve Duncan
24
Historic and Recreational Site
The Keeper’s House is at 15 Walnut Street in Dobbs Ferry.
On the opposite side of the street is a maintenance barn for the Park.
Fig. 2.33 Sign at the edge of the
Fig. 2.32 Maintenance barn for the park is to the
right in this photo.
trail on opposite side of Walnut
street from the Keeper’s House.
Photo: L. Langham
Photo: Friends of Old Croton Aqueduct
Fig. 2.31 Aerial view showing
Keepers House to the right of
trail below Walnut Street.
Photo: Google Earth
25
Building Restoration/Interior Rehabilitation
The Friends of the Old Croton Aqueduct are restoring the house and designing a Visitor Center that will feature an exhibition of the history of New York’s world- renowned water supply
system.
FOCA, in partnership with the New York State Office of Parks, Recreation, and Historic
Preservation, has raised $1.2 million for the restoration of the building. 40
Fig. 2.34 Plaster cieling
medalian.
Photo: Laurel Marx
Fig. 2.35 Southeast corner of
Fig. 2.36 North facing window
Photo: Laurel Marx
Photo: Laurel Marx
house.
in room 104.
The interior of the building will be a rehabilitation project with restoration of many features
such as plaster walls and details in exhibit areas and cast iron radiators refurbished or replaced
as needed. Modifications will include an ADA accessible restroom and entrance and interior
magnetic storm windows. 41
26
Architectural Shading Structures
There are several significant historic structural elements of the building that provide
or have provided shading.
Eaves
Fig. 2.36 (at right) Detail showing eaves.
Photo: FOCA
Fig. 2.37 (far right) Exterior
shutters.
Photo: FOCA
Fig. 2.38 (below) Front porch.
Photo: Navema
Italianate style wide overhanging eaves partially shade second story windows, particularly at or
near solar noon.
Shutters
Operable shutters would have shaded the interior spaces of the house with a significant cooling
effect. Shutters and drapery would also have protected furniture, rugs, and other items from
sun damage. Remnants of the old shutters are presently inside the building. Note the shadow of
the shutters where the paint is missing on the outside of the building.
Front Porch
The porch provides shelter and serves as a transitional space at the entrance to the house. Since
the front entrance primarily faces north, direct solar admission penetration through these
windows is less of a concern than in other parts of the house. The porch does limit daylight
penetration into interior spaces..
27
Keeper’s House
First Floor Public Spaces
Room 100: Porch
140 sq. ft.
Room 101: Entrance
126 sq. ft.
Room 102: Restroom
48 sq. ft
Room 103: Exhibition Space
257 sq. ft.
Room 104: Exhibition Space
261 sq. ft.
Room 105: Public Space
202 sq. ft.
Room 106: Office
100 sq. ft.
Fig. 2.39 Plan of first floor.
Stephen Tilly, Architect
28
Daylight Analysis
Room 104
West Facing Window
S1
The two other windows in this
room face north. These serve
as sources of daylight without
allowing direct sun.
Room 104
Plan March 21
5:00 PM
S1 Section March 21
5:00 PM
S1
1'-3"
1'-3"
Direct sunlight penetrates one
window on the west wall in
room 104. Graphic at right
shows positioning at 5:00 on
the approximate dates for
Spring Equinox, Summer Solstice, Fall Equinox, and Winter
Solstice.
Room 104
Plan June 21
5:00 PM
S1 Section June 21
5:00 PM
S1
Room 103
5'-11"
Room 104
Plan Sept 21
5:00 PM
Room 104
S1 Section Sept 21
5:00 PM
15°
S1
Porch
Room 104
Fig. 2.40 Diagram of sun penetration
room 104.
Diagram by L. Langham based on house
drawings by Stephen Tilley Architect
Plan Dec 21
5:00 PM
S1 Section Dec 21
5:00 PM
29
Daylight Analysis
Room 103
South Facing Window
S2
Room 103 has windows on the
south and west walls.
The second window in the
room, on the west wall, has
sunlight penetration comparable to the example illustrated
in the previous page.
Plan March 21
3:00 PM
S2 Section March 21
3:00 PM
S2
1'-3"
1'-3"
The graphic at right shows
positioning at 3:00 on the
approximate dates for Spring
Equinox, Summer Solstice, Fall
Equinox, and Winter Solstice.
Plan June 21
3:00 PM
S2 Section June 21
3:00 PM
S2
Room 103
5'-11"
Room 104
Plan Sept 21
3:00 PM
15°
S2 Section Sept 21
3:00 PM
S2
Porch
Fig. 2.41 Diagram of sun penetration
room 103.
Diagram by L. Langham based on house
drawings by Stephen Tilley Architect
Plan Dec 21
3:00 PM
S2 Section Dec 21
3:00 PM
30
View Analysis
A view analysis was undertaken on March 10, 2013 at the site of case study to see what visitors
would see through the windows of the building. Because most of the windows were boarded up
at the time of the study, the photographs were taken from the outside with the camera facing
away from the windows.
Fig. 2.40 Aerial view of Keeper’s House and
trail with graphic overlay to suggest views
from daylight apertures.
Photo: Google Earth
31
Views Looking North
• Include Old Croton Aqueduct Historic Trail
• Orientation is highly significant as it directs visitors toward:
- Croton Watershed
- Sites of Old Croton Reservoir, Dam, and Gatehouses
- New Croton Reservoir, Dam, and Gatehouse
• Large spruce tree will be removed from center of lawn
• Mobile structure on opposite side of Walnut Street will
be removed to make room for parking for interpretive center.
• First floor apertures facing north are two windows in the
front exhibition space (room 104) and the front door, as well
as a second door in room 105.
Fig. 2.41 Large spruce tree in front of
Keeper’s House.
Photo: L. Langham
Fig. 2.42 View looking north toward Croton Dam.
Photo: L. Langham
32
Views Looking West
• Include Old Croton Aqueduct Historic Trail
• Closest view of trail and aqueduct from inside house
• Perhaps best opportunity to explain that aqueduct is under trail
• Include Hudson River
• First floor apertures facing west are windows, one each in rooms 103, 104, and 105.
Fig. 2.44 View from west side of the house.
Fig. 2.45 View from west side of the
Photo: L. Langham
Photo: L. Langham
Hudson River is seen in background.
house overlooking trail.
Fig. 2.43 View from west side of house with-
trail visible.
Photo: L. Langham
33
Views Looking South
• Include Old Croton Aqueduct Historic Trail
• Orientation is highly significant as it directs visitors toward
New York City, the destination of Croton water.
Fig. 2.47 (above)View south
Fig. 2.46 (at right)View to the
toward New York City.
east of Keeper’s House.
Photo: L. Langham
Photo: L. Langham
Views Looking East
• Show neighborhood environment and general site.
• First floor apertures facing east are three windows,
one in room 102 and two in room 105.
• Room 102 will be a bathroom with frosted glass window.
34
Summary for Case Study
Implications for Exhibition Design at the Keepers House in Dobbs Ferry
In the two exhibition rooms of the Keeper’s House there are a total of five windows, two of
which have northern exposure and thus no direct sun penetration. Two of the other three windows have western exposure and one has southern exposure. The preliminary daylight analysis
carried out for this thesis showed the reach of sunlight in plan and section across the rooms
at specific moments in the year. This will help to begin the process of thinking about potential
strategies for controlling the light while still allowing for view.
As the exhibition design is developed, daylight modeling should be part of the process, including information regarding the surrounding landscape. The exhibition design will be informed
by the daylight analysis and the controls by the exhibition design. The controls might take the
form of movable exhibit panels, translucent graphics, sheer draperies, solar shades, or other
materials listed in the matrix of design options. Flexibility is essential for changing exhibition
spaces and advisable for long-term installations so that adaptations can be made as patterns of
behavior, unforeseen challenges or opportunities emerge.
Regarding view, visitors will be able to look out the north facing windows and see the Old
Croton Aqueduct Historic Trail stretching toward the Croton Reservoir. They will be able to see
through the west windows directly onto the trail and aqueduct that run parallel to the house.
They will also be able to look through the south windows toward New York City where Croton
water was destined. These views combine to give an orienting and environmental context for
the aqueduct that is underneath the trail. Enabling visitors to fully visualize the buried aqueduct will be one of the challenges of the exhibition design for the visitor and education center.
Because the exhibition will be indoors and the trail is outdoors, the views provided windows
can help people to make these connections.
The Keeper’s House is one of the few remaining above ground structures from the Old Croton
system, and the windows have been facing out onto the aqueduct for over 150 years. As parts of
the historic structure of the house, the windows have a very special role to play in framing the
visitor experience.
35
3
Synthesis
The analysis from precedent site visits, combined with the literature review, and interactions
with design professionals were used to create a table of design challenges and options for daylighting in exhibitions. This is shown on the next pages, and while tailored for the Keeper’s
House project, is intended as an approach that could be useful for other projects.
Written conclusions follow, summarizing the benefits of working with daylight and view to
enrich exhibition environments and how daylight and view can function as elements of an
organizational strategy for sustainability.
36
Design Challenges and Options
Design Challenge
Example Image
Object Display
Reflected glare from daylight aperture on acrylic
exhibition case.
Options
Sources
Notes
• Specify anti-reflective acrylic
or glass.
• Design space using exhibition
panels as light baffles to disperse
light.
• Position cases out of direct
light.
• Optimum acrylic product
factsheet: www.truvue.com/
files/file/Factsheet.pdf
• Cost of anti-reflective acrylic
or glass is considerably greater than standard materials.
Image: Museum of Fine Arts
Houston
Object Display &
Conservation
Ultraviolet (UV) light from
daylight apertures can
damage collections/display
objects.
Image: Royal Albert Museum
• Liftable fabric covers on
displays in lighted areas.
• Rotating items on exhibit.
• Shutter windows when museum is closed.
• Shade windows as appropriate with curtains, blinds, or
shades.
• UV filtering acrylic on cases.
• UV film on glazing.
• Create replicas for display
and/or demonstration.
• Acrylic, polycarbonate, or
polyester plastic panels that
include UV protection
• Canadian Conservation
Institute
• National Park Service
www.nps.gov/hfc/pdf/ex/exfab-specs-2001.pdf
• Anti-reflective clear materials are coated with films that
may be subject to scratching.
• USDA Forest Service Exhibit
Accessibility Checklist
www.recpro.org/assets/.../
usfs_exhibit_accessibility_
checklist.pdf
• Film specification depends
upon items on display.
• Film may not be appropriate
for very old glass. This is critical in historic buildings.
• Film must be replaced after
“An Overview of Light and
approximately five years.
Lighting in Historic Structures • Aged UV film can peel, crack,
That House Collections”
and shrink.
Paul Himmelstein and Barbara • UV protection can also be
integrated into interior or
Appelbaum APT Bulletin, Vol.
31, No. 1, Lighting Historic
exterior storm windows
House Museums (2000), pp.
13-15
Springer, S. (2008, May). UV
and Light Filtering Window
Films. Western Association
of Art Conservation (WAAC)
Newsletter, 30 (1), 16-23.
37
Design Challenges and Options
(continued)
Design Challenge
Example Image
Options
Sources
Notes
Image: Mike Wiltshire
National Park Service
• Using fabric covers on
display cases positioned in
lighted areas.
• Rotating items on exhibit.
• Shutter windows when museum is closed.
• Shade windows as appropriate using curtains, blinds, etc.
• UV and visible light blocking
Films.
Controlling Daylight in Historic Structures: A Focus on
Interior Methods” Meg Loew
Craft and M. Nicole Miller APT
Bulletin, Vol. 31, No. 1, Lighting Historic House Museums
(2000), pp. 53-59Published
by: Association for Preservation Technology International
(APT)
• Combine daylight strategies
with electric light strategies.
• Routine use of shutters and/
or shades requires institutional and staff commitment and
follow through.
• Use of window coverings
must be weighed against
impact on visitor access to
daylight and view.
• Specify anti-reflective acrylic
• Design space using exhibition panels as light baffles to
disperse light.
• Position displays at right
angles to direction of light.
• NMC (New Media Consortium)
http://www.nmc.org/
• InfoComm
http://www.infocommshow.
org/
Object Display &
Conservation
Visible light from daylight
apertures can damage
collections/display objects.
Electronic Media
• Design space using exhibition components as light
Projection: Daylight in
baffles to disperse light.
exhibition environment may
• Test projectors in exhibition
wash out projected images.
space prior to final installation.
• Specify projector with
Image: projectiondesign.com adequate lumens for light
conditions, size of screen and
London Transport Museum
throw distance.
Electronic Media
Reflected glare from daylight aperture on display
monitor.
• Museum of the Moving Image
• American Museum of Natural History
• New York Historical Society
• Collaborate with media
professionals early in design
process.
Image: Leuico
38
Design Challenges and Options
(continued)
Design Challenge
Example Image
Environmental
Graphics
Sunlight can fade exhibition
graphics due to UV and light
levels.
Options
Sources
Notes
• Work closely with vendors
to identify options that resist
fading.
• SEGD Society for Environmental Graphic Design
• Graphics that are integrated
into windows are an exciting
opportunity. Fading, cracking,
peeling, and shrinking can
occur.
• Specify light colored materials and finishes that minimize
contrast.
• Position exhibition panels
(or other elements) to baffle
and disperse light.
• “Working with Daylight in
the Museum Environment”
WAAC Newsletter Volume 30
Number 1 January 2008
• International Sign Association
Image: L. Langham, Building
92 Brooklyn Navy Yard
Visitor Comfort
Disabling or uncomfortable contrast (glare) from
daylight apertures.
Image: Delphi Archaeological
Museum
• Avoid direct sunlight onto
graphic surfaces.
• Use shades or blinds to
soften contrast?
• Specify light colored materials and finishes to minimize
contrast.
Visitor Comfort
Reflected glare on exhibition graphics can interfere with readability of
text and cause discomfort
Image: L. Langham, Building
92 Brooklyn Navy Yard
39
Conclusions
The glimpse of the world beyond afforded by the window
view can quickly transport
one elsewhere in mind if not in
body. It need not take long for
the mind to wander to distant
places and thoughts.(Kaplan
p511)
Exhibitions Transport People
Although exhibitions invite visitors into museum environments, the content of many exhibitions is also intended to transport visitors intellectually, emotionally and experientially beyond
the defined physical walls of the buildings. In the case of the Old Croton Aqueduct Visitor and
Education Center, the intention of the proposed exhibits will be to illustrate and provide multisensory experiences that assure lasting understanding of the Croton watershed and water supply system in an historical and environmental context. Daylight, sunlight, and views are available as aspects of the environment that can be utilized to illuminate and give added dimension
to exhibition content. For example, visitors standing in the exhibition space looking at a visual
presentation about the aqueduct that is under the trail outside the Keeper’s House can directed
through graphics on and around the window to look out at the trail and visualize the enormous
aqueduct that was buried there more than 150 years ago.
This is the role and the power that exhibitions have as story telling environments. In order to
succeed a good exhibition requires a strong multi-disciplinary team that coalesces around a
clear defined narrative­—a story—that is identified at the beginning of the project.
Daylight, View, and the Integrated Team
Depending upon the specific needs of the project, integration of daylight and view into the
design and exhibition story line necessitates agreement among team members such as lighting
designers, exhibition designers, conservators, educators, curators, historic preservation professionals, architects, engineers, media consultants, and any other collaborators identified as
appropriate for the particular project’s needs.
These professionals can offer multiple perspectives on the myriad challenges, options, opportunities, and nuances of working with daylight and view. Individually each can offer specific
expertise. Together they can create a project with transportive power.
Daylight Decisions Depend Upon Context, Analysis, and Planning
Design criteria vary widely from one institution and project to another, and the choices made
by exhibition development teams with regard to daylighting and view will logically follow the
40
general criteria for the project. Because of the transitory nature of daylight, particularly careful
analysis and planning is essential. Wherever possible, testing strategies on site is an excellent
practice. Daylight modeling is also an option.
Institutional Commitment and Sustainability
Daylighting should be a crucial component of any institutional sustainability strategy, by virtue
of its potential environmental, economic, and aesthetic advantages along with the physical, psychological, and health and benefits that daylight brings to people. As the Keeper’s House demonstrates, existing buildings can offer lessons from the past about how to manage and utilize
daylight.
Daylight apertures also serve to connect the institution’s interior environment with its site and
to the broader natural and cultural environment. The windows of the house also offer views
onto the trail and aqueduct that connect the house to other components of the historic Croton
system.
The Friends of the Old Croton Aqueduct are committed to the preservation of the Keeper’s
House as an educational and visitor center. This is in essence a commitment to sustainability in
several respects, as it seeks to preserve an historic site, to offer informal learning regarding history and water use, and to create a new public institution within its community.
41
Notes
National Trust for Historic Preservation. “What is Historic Preservation?” Preservation
Nation, n.d. Web. 14 Apr. 2013. <http://www.preservationnation.org/resources/faq/careersand-/what-is-historic.html>.
1
McLean, Kathleen. Planning for People in Museum Exhibitions. (Washington D.C.: Association of Science and Technology Centers, 1993) 12-14.
2
Smithsonian Accessibility Program, “Smithsonian Guidelines for Accessible Exhibition
Design” n.d. Web. 6 Mar, 2013 <www.si.edu/opa/accessibility/exdesign>.
3
4
5
McLean, 5.
McLean, 146.
Craft, Meg Loew, and Nicole Miller. “Controlling daylight in historic structures: a focus
on interior methods.” APT bulletin 31.1 (2000): 53-57. Web. 15 December 2012 <http://www.
jstor.org/stable/1504727>. 53
6
Fisher, Charles and Ron Sheetz “Reducing Visible and Ultraviolet Light Damage to Interior Wood. Finishes” Preservation Tech Notes, National Park Service 1990 Web. 6 Mar, 2013.
<www.nps.gov/tps/how-to-preserve/tech.../Tech-Notes-Museum02.pdf>
7
8
Craft and Miller, 55.
Himmelstein, Paul, and Barbara Appelbaum. “An Overview of Light and Lighting in
Historic Structures That House Collections.” APT bulletin 31.1 (2000) 15
9
United States National Park Service. Guiding Principles of Sustainable Design, Denver
CO: National Park Service, 1993.
10
11
2000. 79.
Guzowski, Mary. Daylighting for Sustainable Design. New York, NY: McGraw-Hill,
42
12
13
14
Cuttle, Christopher Light for Art’s Sake Oxford, UK: Butterworth-Heinemann, 2007.
Guzowski, 94.
Guzowski, 3-15.
Kaplan, Rachel. “The Nature of the View from Home Psychological Benefits.” Environment and Behavior 33.4 (2001): 511
15
Heerwagen, Judith, and Betty Hase. “Building biophilia: Connecting people to nature
in building design.” Environmental Design and Construction. March/April issue Web. (2001).
2-4.
16
National Climatic Data Center “Cloudiness - Mean Number of Days” 20 Aug. 2008, 4
Apr 2013 <http://www.ncdc.noaa.gov/oa/climate/online/ccd/cldy.html>.
17
18
19
Guzowski, 62.
Cuttle, 263-280.
Michalski, Stefan. “Light, ultraviolet and infrared.” Canadian Conservation Institute,
http://www. cci-icc. gc. ca/crc/articles/mcpm/chap08-eng. aspx (2010).
20
McCormick, Mickie. “Measuring Light Levels for Works on Display” The Exhibition Alliance Technical Note, 2001.
21
22
23
24
Cuttle, 79-91.
Cuttle, 62.
Cuttle, 117.
“Brooklyn Children’s Museum History” Brooklyn Children’s Museum, n.d. Web. 18
Mar. 2013 <http://www.brooklynkids.org/index.php/whoweare/history>.
25
26
27
28
Ibid.
Snider, Karen “Thesis” Email to Lawrence Langham. April 29, 2013.
“Lefferts Historic House” Prospect Park Alliance, 20 Apr. 2013 <http://www.prospect43
park.org/about/history/historic_places/h_lefferts>.
29
30
31
Ibid.
Ibid.
The History Channel “Lefferts Historic House” Online video clip. Youtube 9 Dec, 2008.
Dolkart, Andrew S. Biography of a Tenement House in New York City: An Architectural
History of 97 Orchard Street. Vol. 7. Center for American Places Incorporated, 2007. Print. 117121
32
33
34
35
Dolkart, 19.
Dolkart, 81-85.
Compagni-Sabella, Laura. Telephone interview. 11 Jan. 2013.
Tutela, Joelle Jennifer. Becoming American: A Case Study of the Lower East Side Tenement Museum. ProQuest, 2008. 119.
36
Compagni-Sabella, Laura and Laurel Marx “Interpretive Treatment Proposal: Old Croton Aqueduct Visitor and Education Center” (Proposal for Friends of Old Croton Aqueduct) 9 Sept 2012., 2.
37
Friends of the Old Croton Aqueduct “The Keepers House” n.d. Web. 7 Mar 2013.
<http://www.aqueduct.org/keepers-house>.
38
39
40
Compagni-Sabella and Marx, 5.
Compagni-Sabella and Marx, 5.
Hubener, Andreas “Some questions regarding Keeper’s House” Email to Lawrence
Langham. 27 November 2012.
41
44
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© 2013 Lawrence Edward Langham
46