PROJECT BOOKLET QUINTION GANGLE PROF. BARRY NEWTON ARCH 355 SPRING 2014

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1 PROJECT BOOKLET QUINTION GANGLE PROF. BARRY NEWTON ARCH 355 SPRING 2014 THE MONTANA STATE UNIVERSITY ART MUSEUM S MISSION IS TO INHAB- IT THE TRANSITIONAL SPACE OF A PERSONS EVERY DAY LIFE AS THEY TRAVEL BETWEEN DWELLING AND LEARNING, AFFIXING ITSELF TO THE CYCLES OF A PERSON THROUGH ITS RESPONSE TO SITE AND LIGHTING. THIS PROVIDES EVERCHANGING INTERACTIONS WITH ART, PEOPLE AND LIGHT AS WELL AS AN OPPURTUNITY TO ACCEPT THE TRANSITIONS.

2 HERNING MUSEUM OF CONTEMPORARY ART STEVEN HOLL The museum includes exhibition, galleries, auditorium, rehearsal rooms, resaurant, media library and offi ces. The form is inspired by the idea of fusing the landscape and architecture by building the site. Also inspired by fabrics and textiles due to the history of the site. Natural lighting is allowed through spaces in the roof where different peices based on the landscape intersect. Soft light is allowed through these spaces creating interesing lighting conditions for the galleries. In every gallery there are two parts that split only by the lighting strategy. A bright side and a darker side. Gallery spaces are organized by this light. The imaginitive intersection of art, light and architecture offers a fi ttingly dramatic setting for the exhibitions. - Suzanna Stephens, AR

ELI & EDYTHE BROAD ART MUSEUM ZAHA HADID This museum is

This is accomplished by using the lines of connections

The everchanging appearance of the skin allows light to

By the folding of the connections and facade natural

3 ELI & EDYTHE BROAD ART MUSEUM ZAHA HADID This museum is all about its relationship to the topography and landscape. Focusing on the circulatory and visual connections. This is accomplished by using the lines of connections that are evident within the context and producing forms and spaces accoding to these. These shortcuts are both physical and visual. The everchanging appearance of the skin allows light to be played with regarding these connections. By the folding of the connections and facade natural light is allowed to travel the same way as the skin around and penetrating the building. When folds are made into the building the light goes with it, lighting public spaces, stairways and galleries. The organizational elements on the outside are allowed inside through natural lighting.

GRAND RAPIDS ART MUSEUM why ARCHITECTS This museum,

explored through natural daylighting, especially the

Natural light is used in public spaces and galleries as

Lanterns are used to connect the city and the art as

building allows it to breathe throughout with louvers,

4 GRAND RAPIDS ART MUSEUM why ARCHITECTS This museum, consisting mostly galleries, is one of the fi rst museums to become LEED Gold certiied. The goal of the building is to be an urban oasis in its context surrounded by tall buildings. Ideas of exterior openness and interior calmness are explored through natural daylighting, especially the uplifting quality of light. Natural light is used in public spaces and galleries as a connection for art and the surrounding environment. Lanterns are used to connect the city and the art as urban symbols that also provide daylight for the galleries. Focusing on the poetics and practicality of light the building allows it to breathe throughout with louvers, glass and shades to calm the mind by softening light. The sense of time is very important when moving through the galleries because the natural light allows them to be everchanging.

MOBIUS HOUSE - UNSTUDIO The Mobius House is a

connection between its residents and the

Modeled after the Mobius Loop, the house enables

residents and allows them to meet up and certain

This is cause by using projected trajectories of

The main materials glass and concrete are

5 MOBIUS HOUSE - UNSTUDIO The Mobius House is a private home that through the shape provides a connection between its residents and the surroundings. Modeled after the Mobius Loop, the house enables the 24 hour cycle of living and working of the residents and allows them to meet up and certain shared spaces between them. This is cause by using projected trajectories of both residents. The main materials glass and concrete are swithced around in certain spaces based on the diagram of the double locked torus. The materials and paths allow for an understanding of duration through these cycles as well as create and interesting way to model a living and working circumstance.

6 SITE ANALYSIS Originaly choosing the middle site I soon found that the far east site on 6th Street for reasons pertaining to my initial concept. My ideals of what I wanted in my museum became the deciding factor. The eastern site seemed more oppurtunistic for everchanging surroundings and interesting light conditions. Also, the challenge of the large, organic negative space left by the surrounding trees. The duality between the campus and the residential areas also interested me as I formulated ideas of what a university art museum would mean for different scales of context. MIDDLE SITE SEVENTH N, W GARFIELD ELEVATION: 4916 FT

7 VIEW CORRIDORS From looking at precedents I decided that I wanted to connect the art with its surroundings. I found these two very important view corridors that intersected at the corners of the middle and eastern site. One being along Garfi eld and the Centennial Mall to the Tobacco Roots. The other being allong 7th Street to the Noodle and to the mountains beyond. This allowed me to discover the signifi cance of the site in relation to the rest of Bozeman and the Gallatin Valley.

8 INITIAL CONCEPT My concept began to develope with ideas of connecting art and its surroundings and how change affects both. I found that the art museum resides in the intersections between the art and the environment. My concept became bluring duality to discover variability. The duality being art and its surroundings/environment and the vairability being how change, such as change in time, affects them both. I soon discovered that the museum would be what happens when you bring art and its context together eluding to the development of my concept. CHANGE ART CONTEXT

9 INITIAL MASSING Keeping my initial concept in mind, as well as thinking about how a building would engage people who inhabit campus on a regular schedule I made a series of these massing models. The idea of most was to divert the fl ow of existing traffi c to infl u- ence people to be affected by the building whether they are passing through or there to stay. Also looking to be contained and respond to the trees as well as surrounding buildings.

defi ned planes therefore existing in all

10 EXPANDED CONCEPT The mobius strip is a one-sided continuous surface with one continuous edge. Apears to have two sides and edges and causes the duality to be blurred. However the non-orientable shape has no defi ned planes therefore existing in all of them. The eddy is a deviation from or disturbance in the main trend of thought, life, etc. expecially one that is relatively unimportant. These seemed like good models for allowing light into as well as organizing gallery spaces. The eddy became a circumstance that I wanted to create between the dwelling and the learning.

DEVELOPED MASSING Using the ideas from the

massing model of what my museum would develop

oor plane were blurred into one element that

provide an eddy for people transitioning

This is all held together with two capping

This allowed for an interesting exploration of

11 DEVELOPED MASSING Using the ideas from the mobius strip and the eddy I created the fi rst massing model of what my museum would develop from. The idea is that the roof, wall and fl oor plane were blurred into one element that would respond to the surroundings as well as provide an eddy for people transitioning between the dwelling and learning. This is all held together with two capping peices on each end of this twisting element. This allowed for an interesting exploration of lighting circumstances as well as utilizing above ground and below ground circumstances.

INITIAL FLOOR PLANS In the fi rst set of fl

shape that fi t inside the negative space

orientation of the building to correspond

Also, beginnings of program began to emerge.

12 INITIAL FLOOR PLANS In the fi rst set of fl oor plans the goal was to fi nd the right shape that fi t inside the negative space of the trees in a way that would facilitate my ideas. Simple site analysis determined the orientation of the building to correspond to existing trails made by people crossing the site. I wanted to divert their path and allow my museum become a part of their every day schedule. Also, beginnings of program began to emerge. Thinking about what belonged in the eddy areas as well as gallery orientation with the sun and how the response from the trees would affect the lighting circumstance

SECTIONAL DEVELOPMENT Sectional properties

the trees I wanted the museum be nested in

scale (mostly galleries) as the transition

13 SECTIONAL DEVELOPMENT Sectional properties began to emerge from both initial and developed massing models. Pertainng to the surrounding builiding and the trees I wanted the museum be nested in the trees as well as gradually increase in scale (mostly galleries) as the transition happened between the dwelling and the learning. This provided galleries that were more personal and galleries that were more communal. Classrooms and offi ces were located more towards the learning side and workshops were located more to the dwelling side.

14 GALLERY DEVELOPMENT Developing the art galleries was potentially the most critical part of this project. I wanted that single element to be expressed in all the galleries through lighting. Natural northern and southern light would be used to show the wrapping and twisting of the curve on the interior that would be different and unique for each gallery. Upon going below grade, the natural light would be taken over by artifi cial light in the same manner to continue that element. Similar to Steven Holls work, the ligth is used to wash along the convex curve to provide beautiful lighting unique to each gallery.

FLOOR PLAN DEVELOPMENT Floor plans continued to develop

through the galleries down and around and up and around the

The endpoints of the single element became determined at

15 FLOOR PLAN DEVELOPMENT Floor plans continued to develop specifi cally to allow for these lighting circumstances to happen in each gallery. 3 levels were determined: the underground level, above ground level and the second level. The galleries were tiered and ramped to allow for travel through the galleries down and around and up and around the other end. The endpoints of the single element became determined at the top of each circulation core. Also, Instead of the organic response of the end peices I decided to allow for rigidity and a grid like system to conrast the organic responses within.

16 CONTINUED DEVELOPMENT The more intracate parts of the project bacame the lecture hall, library and outdoor spaces that proved to be quite challening. Outside the museum I wanted free fl ow of traffi c but also infl uence the individul to interact with the building in the eddy fashion. This was fi nally acheived by the use of simple skylights with passage ways between them. This provide interest and an oppurtunity for a person to be intrigued and visit at a later time in his or her schedule. The lecture hall entrances were designed to allow for openness and separation at the same time

CONTINUED DEVELOPMENT Nearing a fi nal set of fl oor plans for

roof spaces the program was kept quite simple.

17 CONTINUED DEVELOPMENT Nearing a fi nal set of fl oor plans for schematic/ mid-review the program of the building started to become permanent. Ranging from offi ce spaces to galleries and from workshops to open roof spaces the program was kept quite simple. this was to adhere to the needs of and art museum on campus as well as not become too distracting from the art itself as well as the lighting circumstances.

18 CONTINUED DEVELOPMENT Along with the building sections, I developed the series of gallery sections to study the different lighting circumstances that my museum was providing. This causedquestions on how the series of galleries would be built. Also, allowed me to show my intentions for the transitional galleries and how each is affected by light, art and people differently.

19 CONTINUED DEVELOPMENT Building a 3D model in the computer really helped me understand how my museum worked. It allowed me to think about structure, materials and more of the transitional infl uences that it has. My project became less about bluring duality (the museum was a product of that) and more about the transition between the dwelling and the learning and how the museum, which exists in the intersections of art and context, would affect their daily routines or schedules.

20 FINAL DRAWINGS Final fl oor plans consisted of all the program elements, indoor and outdoor, underground and above ground. Toned with a watercolor wash and pouched with a charcoal wash, they show the contrast between the organic galleries and the grid of the rest of the program and how those come together. Window openings were determined based on the previous viewport study. Each one points to something interesting on campus that has potential for changing.

21 FINAL DRAWINGS The gallery renderings, to me, are the heart of the project. The lighting turned out exactly how I wanted it with the watercolor like wash of light along the curve. The way that the galleries are set up they themselves become little eddy spaces that art is displayed in. The idea is that the light guides you through the galleries by this seemingly fl oating element that is the the roof, wall and fl oor plane all in one.

22 FINAL DRAWINGS The sections of the museum really show the above ground/ below ground relationships, as well as the intricacy of the curved elements. They show the changes in scale as one transitions between the dwelling and the living.

23 FINAL DRAWINGS The site plan shows the building woven into and responding to the context. Also, it allows a different view to the gallery lighting circumstances and how they change depending on the location inside the building. The wall section allowed me to fi gure out how the curved element and galleries could be built. This called into question the exact materials used as well as how mechanical and electrical systems could be supported around the the gallery spaces to prove protection of art and people.

24 FINAL DRAWINGS Final renderings were done by rendering the computer model, tracing it, superimposing in photoshop and the adding texture and materials with watercolor washes, charcoal washes, concrete texture, wooden rainscreen texture and blackened steel texture. The elevations show aboeve ground/ below ground relationsips in a way that couldn t be uderstood in section. The renderings show how the materials are layed out for the buiding as well as the scale.

25 FINAL MODEL The fi nal model became the true realization of how the museum worked within the context. Expressing how entrances worked as well as all the lighting solutions, the model became sort of a continued study of these circumstances. Also, the model demonstrates materials and their placement as well as the contrast between the organic to the gridded and itself to surrounding buildings.

ARCHITECTURAL PORTFOLIO. Alexander Reed

ARCHITECTURAL PORTFOLIO. Alexander Reed ARCHITECTURAL PORTFOLIO Alexander Reed This portfolio is a collection of my works over the last couple of years. I plan to continue doing what I love and to improve on the skills that I have started to