DREXEL UNIVERSITY DEPARTMENT OF ARCHITECTURE Course Number: ARCH 232 Course Title: STUDIO 3-2, Winter 2009 Instructors: Stephen Bonitatibus: 215-568-1919, e-mail: boniarch@verizon.net David Brawer: 215-829-0085, e-mail: dbrawer@brawerhauptman.com Jay Cooperson (302) 655-1105; e-mail: coopersonarc@aol.com Stephen Varenhorst: 610-940-0855, e-mail: stephen@varenhorst.com Credit Hours: 3l Prerequisite Courses: ARCH 123, ARCH 143, ARCH 231 and minimum studio GPA Curriculum Category: Required, Evening Program Catalog Description: Continues ARCH 231. Design projects expand students’ vocabulary and understanding of the process of creating solutions to the problems of architecture. NAAB Criteria: 1. Verbal and Writing Skills; 2. Critical Thinking Skills; 3. Graphic Skills; 4. Research Skills; 5. Formal Ordering Systems; 6. Fundamental Design Skills; 8. Western Traditions; 10. National and Regional Traditions; 11. Use of Precedents; 12. Human Behavior; 14. Accessibility; 17. Site Conditions; 18. Structural Systems; 21. Building Envelope Systems; 24. Building Materials and Assemblies. Course Objectives: The intent of this problem is to develop further the student's composition and graphic communication skills through the design of a freestanding museum of moderate complexity. This one problem will occupy our efforts for the entire 11 weeks of this quarter. The purpose for taking this much time is for us to be able to focus on the process itself of proposing and developing an architectural idea. Course Organization: Each student is being asked to analyze a building of similar program, size or site response; then to make a design proposal in sketch form to establish the basic parti or diagram of the design and then to develop this parti methodically over the remaining weeks through a series of specific assignments focused on the section, elevation and wall section. Slide lectures and handouts will compliment these drawings assignments and address the formal and technical issues affecting these drawings. Course Requirements: Specific presentation requirements are listed in the problem statement below. Each student is required to meet these requirements each week in addition to actively participating in all classes discussions. At the beginning of each project, the student is required to research the building type, visit the site where possible and read the recommended articles to determine for oneself the architectural issues to be addressed during the course of the problem. Grading policy: Grading will be determined by the effort and success exhibited by the student in executing the course requirements. The research problem, the parti and final presentations and each two week drawing presentation will be graded with greater weight being given to the overall reviews. The clarity, thoroughness and appropriateness of the design concept; the completeness and expressiveness of the presentation both verbal and graphic; and class participation will all be factors. Attendance: Attendance is required at all classes. More than two absences from class will result in a reduction Page 1 of one letter grade for each absence. PROBLEM NO. 1: A SMALL MUSEUM OF THE FINE ARTS Problem Statement: "A wealthy art collector and patron has offered to donate his renown art collection and a considerable endowment to build and maintain a small gallery to be named in his honor. His collection, although not large, is world renowned for the quality of its paintings, drawings, sculptures and decorative art objects from the Renaissance through the 18th Century. The donor envisions his new museum as a resource for the community and the many nearby institutions of learning, as well as a fitting memorial to his lifelong enthusiasm and vision. It is important to him that the building's design aspires to the same ideals of beauty and craftsmanship that inspired the art in his collection." You are being asked to design a small building to house this permanent collection. Unlike the church project that we looked at in the first semester, this building will not have one dominating space, but a series of spaces which you must compose according to such criteria as proportion, procession, massing, etc. which you will articulate and explore with your initial concept sketches. The buildings relationship to the art it houses and how the visitor will experience the collection are important issues for you to investigate. The programmatic components have been kept simple and include the following: - An easily recognizable entrance to the museum with orientation and security functions. - A sculpture hall that is part of the entrance hall and circulation function and is the start of the progression of gallery spaces. This space could be an expansive one with natural lighting appropriate for viewing larger pieces of sculpture. - Large galleries to house the paintings and decorative objects. Natural lighting, while desirable, must be controlled and filtered; ceiling lighting is best. These rooms should have high ceilings to accommodate large paintings and to maximize wall space. The configuration of these rooms must be considered to provide the best viewing for the works being housed. - Small galleries to house smaller paintings, watercolors and various types of decorative objects. The number of rooms is the student's choice, but consider that each room may have specialized requirements for housing and viewing the works of art. For some rooms natural lighting may be undesirable, while for others windows may be fine. These rooms should provide different, more intimate experiences that contrast with the more expansive painting galleries and sculpture hall. Consider varying their shapes. - Office suite, not open to the general public, to provide private offices and meeting space for the curatorial staff. This suite of rooms could be on the same floor as the galleries or on an upper mezzanine or basement. - Support spaces and circulation. Vertical circulation can be kept minimal, as all the galleries should be on one level. The Site: The site is approximately 5 acres of gently sloping land in the prestigious Chestnut Hill section of Philadelphia overlooking the Whitemarsh Valley. It is a distinctive early suburban neighborhood of large stone houses, a prosperous commercial district, and private schools and colleges. The rectangular parcel fronts Germantown Avenue with Bells Mills Road at the southeast. Both vehicular and pedestrian access should be off of Germantown Avenue. For the purposes of this problem, the existing Woodmere Art Museum, now in an old mansion on this site, does not exist. This design problem requires that you take advantage of the opportunities offered by this site for creating a dignified setting for a museum building of great beauty. Site elements orientation, paving, landscaping - should contribute to the mood you are striving to achieve in your overall Page 2 design. Consider the possibility of varying the outside spaces inspired by the various landscape traditions – the picturesque lawn, the formal garden, the entrance court, etc. The Building: The design goal for this museum requires that the building be a symbol of and an appropriate place for the conservation and exhibition of a specific art collection. It should offer a distinctive exterior image and a memorable interior spatial experience. Both must positively augment the experience of viewing the varied artworks. Careful attention must be given to lighting, both natural and artificial. Consider the silhouette and massing of the building in relationship to the existing context and your proposed landscaping. Your choice of building materials and the scale and richness of the wall treatment will say much about the character of this museum. Consider the spatial sequence of entry and viewing. The scale, shape and surface pattern of the rooms could vary based on what they contain. Program Areas: Gallery Level (all on one level) Vestibule Entrance/Sculpture Hall 900 sf for large pieces of sculpture Superintendent's office with desk 100 sf Large Galleries (2 at 1500 sf each) 3000 sf total for large paintings, sculpture, decorative arts Small Galleries (2 to 4 rooms) 1500 sf total for small paintings, drawings, cases for small objects Mezzanine (could also be on gallery level or a lower level) Staff Office Suite for curator, assistant, librarian 500 sf Library/Conference Room 300 sf Storage, loading, work 3000 sf Rest Rooms 200 sf Coat Room 100 sf Mechanical 500 sf Stairs and Elevators Outside space or terrace Parking for 30 cars Loading area for small trucks with staff parking for 8 cars Problem Schedule: January 6 Issue problem Introductory slide lecture January 13 Review research problem January 20 Review of proposal sketch Site plan, plans, section, elevation at 1/16" scale Thumbnail sketches exploring ideas about the exterior and interior January 27 Review of parti Site plan, plans, sections, elevations at 1/16" scale Thumbnail sketches Sketch model February 3 Review of parti All above drawings Massing model at 1/16" scale Sketch of final parti presentation Slide Lecture: Elements of the section drawing February 10 Final review of parti Site plan, plans, sections, elevations at 1/16" scale All the above drawings must be fully rendered Page 3 February 17 February 24 March 3 March 10 March 21 Sections and Elevations must include site features Massing model at 1/16" scale with site information Thumbnail sketches Review of principal sections at 1/4" scale Final review of section drawing Section drawings at 1/4" scale, fully rendered Slide lecture: Elements of the elevation drawing Review of principal elevations at 1/4" scale Final review of elevation drawing Elevation drawings at 1/4" scale, fully rendered Final Review All parti and sketch drawings Massing model Section drawings Elevation drawings Research: In preparation for the next design problem, to design a small museum of the fine arts in a suburban setting, we are asking you to research this particular building type. While there are many good examples for museums, we are focusing on buildings of similar size and/or which address similar site issues. For your research, prepare a thorough analysis of one of the following buildings as assigned to you: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. Villa Rotunda - Vicenza Andrea Palladio Palazzo Nuovo in Campidoglio - Rome Michelangelo/Rainaldi Villa Madama - Rome Raphael Petit Trianon - Versailles Ange-Jacques Gabriel Dulwich Gallery - London Sir John Soane Thorvaldsen Museum - Copenhagen M. G. Bindesboll Pennsylvania Academy of the Fine Arts - Philadelphia Frank Furness Morgan Library - New York McKim, Mead and White Frick Museum - New York John Russel Pope Vizcaya Museum - Miami, Florida Paul Chalfin, F. B. Hoffman Rodin Museum - Philadelphia Barnes Foundation - Philadelphia Paul P. Cret Secession Building - Vienna Joseph Maria Olbrich Villa Savoye - Paris Le Corbusier Kimball Museum - Fort Worth, Texas Louis Kahn Menil Pavilion - Houston, Texas Renzo Piano Page 4 The analysis must include a complete graphic presentation that sufficiently describes the most important elements of the building. Students will be called upon during the class discussion to add information. Consider the following: Site plan issues - the relationship of the building to other buildings, to streets, to open spaces and gardens; orientation, vehicular and pedestrian access, landscaping and paving. Plan issues - arrangement of program areas; circulation patterns both public and private, horizontal and vertical. Composition of spaces - shapes, sizes and proportions of rooms both in plan and volumes. Composition of floor, wall and ceiling surfaces - architectural vocabulary used to modulate and give scale to these elements including patterns, materials and colors. Composition of the exterior - massing, silhouette, light and shadow, solids and voids. Lighting - natural and artificial lighting as design elements. Character - use of symbolic and stylistic references. Present your analysis graphically on (2) 22 x 30 boards held vertically: site plan, plan(s), section, elevation with scale figure, analysis diagrams, perspective view and/or large scale drawing of details (no reproduced or computer-scanned materials permitted). Include dates, architect, location and name of building in the title. Don't forget your name. References, Readings and Bibliography: The Study of Architectural Design, John Harbeson, Pencil Points Press, New York, 1927. Elements of Form and Design in Classic Architecture, Arthur Stratton, Scribner's, New York, 1925. The American Vignola, William Ware, W.W.Norton & Co., New York, 1977. Museum Buildings: A Design Manual, Paul van Naredi-Rainer, Birkhauser, Boston 2004. Architecture for Art: American Art Museums, 1938-2008, Tilden and Rocheleau, Abrams, New York 2004. Progressive Architecture, "Natural Light in Museums," May 1990. More discussion on lighting. Antiques, "Museums Designed by John Russell Pope," April 1991. Architectural Record, "To a Mannerism Reborn," October 1991. Review of the new Sainsbury Wing of the National Gallery by Venturi, Scott-Brown and Associates. Architectural Review, "The Evolution of the Gallery," January 1992. A brief historical discussion. Progressive Architecture, "Frankfurt Museums," October 1991. Thirteen recent museum projects. Architecture, "Northwest Passage," August 1992. The new Seattle Art Museum. Architecture, "Come Rain or Shine," November 1993. Renovation of the Freer Gallery. Architecture, "Europe's New Monographic Museums," September 1996. Some recent small museums. Architecture, November, 1996. Entire issue focuses on buildings for the arts. Architecture, June 1998. Several museum expansion projects including Grave's Whitney addition. Architectural Record, “Beyeler Museum by New Pritzker Winner Renzo Piano,” June 1998. Architectural Record, “Breaking the Mold, Kiasma Museum," August 1998. Other museums. Architectural Record, “Frank Gehrey Gets the Gold,” June 1999. Architectural Record, “Small Museums-The Anti-Bilbo,” January 2000. Architectural Record, “Bellevue Art Museum, Washington,” August 2001. Architectural Record, "Small Museums - Identity with Integrity," January 2003. Architectural Record, "Museum Mania - A Critical Look Behind the Scenes," January 2004. Architectural Record, "American Museums-Reflecting the New Cultural Landscape," November 2005. Architecture, "Renzo Piano's New High," December 2005. Plus de Young and other recent museums. Page 5 Architectural Record, February 2007. Modern Literature Museum and other new museums. Architect, "Gram Green," October 2007. The New Grand Rapids Art Museum. Architectural Record, Phoenix Art Museum, Prado Museum, and others, March 2008. Architectural Record, Renzo Piano's museums, May 2008. Architectural Record, "Ibere Camargo Museum," and Yale Sculpture Gallery, November 2008. Page 6