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
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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
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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
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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
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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.
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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.
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