The following images represent the evolution of the new floor plan which is in keeping with the idea of relationships and the intersection of the spaces.
Sunday, June 29, 2008
Saturday, June 28, 2008
Artists Studios
At the end of the corridor and overlooking the woods are a series of arts cubes which will allow artists with spaces in which to experiment and develop their techniques. The views will be to the south in these rooms with sun deflector louvers in bands on the outside of the building.
The open approach to these flexible spaces will encourage the collaborative process and creativity and for combining spaces to suit the artists.
Corridor to the Artist Wing
This Corridor leads to a vertical intersection with a light penetrating the roof and floor to the gallery below.
Interior views- Quality of space
The main ramp of the Cardo space will hold traveling exhibits on the walls of the ramp. The ceiling of this space will provide deflected ambient light which will save energy. The north light will allow the glimpses and reference to the existing Blandfield plantation which will speak to visitors as to the original uses of the land. Views through the north window is located to the left in this view.
Monday, June 23, 2008
Thesis Abstract
The need to provide new and adequate museum spaces continues to be a national and international demand. A facility that reflects context and creativity with watercolor will enhance the viewing and appreciation of this transparent art form.
When one looks at the site and the relationships of the people involved in bringing a facility to reality it reveals intersections on many different levels. As a boy my father took me every week to the Detroit Institute of Art while he pursued his masters. It was these experiences that captured my love for displaying art. Display, combined with my involvement with creating water color has cemented my dream to create an American Watercolor Museum. Currently no such museum is available.
While the display of artworks and museums have evolved over time, the focus has been consistently the "cabinet of curiosities" as in the display and preservation of the watercolor art. It is both a reflection and my story about creating and preserving the art form of watercolor. While the place where the watercolor museum is to be located is on land owned by my family for almost 400 years, my ancestors would not have imagined the use proposed at this location.
Therefore it is my goal to create a modern museum that will display, allow for the contiguous creating ,and preservation of watercolor art. Can this be accomplished with transparency and light?
When one looks at the site and the relationships of the people involved in bringing a facility to reality it reveals intersections on many different levels. As a boy my father took me every week to the Detroit Institute of Art while he pursued his masters. It was these experiences that captured my love for displaying art. Display, combined with my involvement with creating water color has cemented my dream to create an American Watercolor Museum. Currently no such museum is available.
While the display of artworks and museums have evolved over time, the focus has been consistently the "cabinet of curiosities" as in the display and preservation of the watercolor art. It is both a reflection and my story about creating and preserving the art form of watercolor. While the place where the watercolor museum is to be located is on land owned by my family for almost 400 years, my ancestors would not have imagined the use proposed at this location.
Therefore it is my goal to create a modern museum that will display, allow for the contiguous creating ,and preservation of watercolor art. Can this be accomplished with transparency and light?
Sunday, June 22, 2008
Section
This Section east of the auditorium show the new relationship of spaces and the vertical section of the Art Cardo area, a two story space that will bring light toward the interior of the building.
The intersections of the light in the building allow a connection of the horizontal spaces with function which transcends the mere stacking of spaces.
What I am looking at is the quality of intersection of these vertical intersections. It has a grat bearing on the statement and key which will explain my thesis.
Section
This Cross Section is taken through the auditorium area of the building representing the decision in the program to place the public spaces,administrative and artist areas on the Entry level floor.
It was determined that the lower floor areas would contain the Galleries which would be sheltered from the sun but allow natural light in through intersection of the spaces by vertical intersection or shafts.
Monday, June 16, 2008
Thesis Abstract
Abstract:
Through the references to techniques and tools architecture can be used in creating a place where watercolor can be created, preserved and displayed for posterity.
An American museum is needed for the creation and display of expanding quantities of watercolor art. The idea of expressing the building in terms of the tools is not new, but the best place where all the positive affects of art can be centralized is in the museum setting.
Watercolor is an old and portable form of art which has an unhindered and transparent characteristic. A museum which can be embraced the surrounding plantation farmland, display important artists and can be a cultural landscape, as well as, a home to display this fragile art form. Through the use of transparency, illumination, and context, the experience of moving through space can heighten the enjoyment and a positive visual experience.
Through the references to techniques and tools architecture can be used in creating a place where watercolor can be created, preserved and displayed for posterity.
An American museum is needed for the creation and display of expanding quantities of watercolor art. The idea of expressing the building in terms of the tools is not new, but the best place where all the positive affects of art can be centralized is in the museum setting.
Watercolor is an old and portable form of art which has an unhindered and transparent characteristic. A museum which can be embraced the surrounding plantation farmland, display important artists and can be a cultural landscape, as well as, a home to display this fragile art form. Through the use of transparency, illumination, and context, the experience of moving through space can heighten the enjoyment and a positive visual experience.
Sunday, June 15, 2008
Program Changes and Investigations
After careful evaluation of the thesis and the direction of the design of a watercolor museum. The following program changes have been made: 1)1,120 sf of artist spaces have been added.
2) One small interior gallery has been added with 768 S.F.
3)The galleries have been placed on the lower floor to protect artwork.
4) A Cafe with 285 sf. has been added to the gift shop
Thursday, June 12, 2008
Comments from June Intensive 2008
Comments from the Intensive:
A word about the comments seems to be in order . The synthesis of the major factors of my project centered around several important topics and resulted in those observing my work issuing questions and impressions emanating directly from the images which I presented.
I am grateful to each and all the jury and to the student comments which are summarized here:
1) The thesis statement as presented seems a bit to general for a thesis statement and would be best focusing on a rewording of the idea in a more coherent form. The idea of providing a place where working , display and restoration /creative functions must be clearer. A Stronger narrative is needed for relationship of the building to the site. One very good restatement was the following:
“ Can the art and practice of creating and displaying watercolor art benefit from an architectural form that is derived from its practice (the practice of watercolor)?”
3) Programic conditions of the functions of my thesis needs to consider the activity which is part of the building. For example, it was mentioned that part of the museum would be home to the resident artists who live in the plantation house and work in the museum. Hover no programic functions were allocated for working in the new museum.
The observatory /creative area of the top floor would be allocated for temporary artist uses. Functional work spaces on the lower level would provide work spaces for each artist. A total of 7 rooms in the plantation house would be available , consequently seven studios on the lower level of the museum could be allocated in the 1700 square foot spaces with direct access to the site.
4) The museum is less about a quick trip and more about a center of study and self exploration into the art form. The “doing “of watercolor is predominant as it is expressed in my program. The ability to display the functions of purpose to serve and preserve seems to be more direct .
5) The building needs to address the idea of transparency and display. Protection of the artwork is very important. In my presentation at the prompting of my advisor I “opened up” the building with many walls and transparent areas and walls. My original proposal was to have fewer openings and provide “light scoops” located in strategic locations to give one a sense of outside without broad opening of direct light. This will expressed in further iterations of the envelope.
Reference was made to Herzog and deMueron Museums. And to the Davis Museum at Wellsley College.
A word about the comments seems to be in order . The synthesis of the major factors of my project centered around several important topics and resulted in those observing my work issuing questions and impressions emanating directly from the images which I presented.
I am grateful to each and all the jury and to the student comments which are summarized here:
1) The thesis statement as presented seems a bit to general for a thesis statement and would be best focusing on a rewording of the idea in a more coherent form. The idea of providing a place where working , display and restoration /creative functions must be clearer. A Stronger narrative is needed for relationship of the building to the site. One very good restatement was the following:
“ Can the art and practice of creating and displaying watercolor art benefit from an architectural form that is derived from its practice (the practice of watercolor)?”
3) Programic conditions of the functions of my thesis needs to consider the activity which is part of the building. For example, it was mentioned that part of the museum would be home to the resident artists who live in the plantation house and work in the museum. Hover no programic functions were allocated for working in the new museum.
The observatory /creative area of the top floor would be allocated for temporary artist uses. Functional work spaces on the lower level would provide work spaces for each artist. A total of 7 rooms in the plantation house would be available , consequently seven studios on the lower level of the museum could be allocated in the 1700 square foot spaces with direct access to the site.
4) The museum is less about a quick trip and more about a center of study and self exploration into the art form. The “doing “of watercolor is predominant as it is expressed in my program. The ability to display the functions of purpose to serve and preserve seems to be more direct .
5) The building needs to address the idea of transparency and display. Protection of the artwork is very important. In my presentation at the prompting of my advisor I “opened up” the building with many walls and transparent areas and walls. My original proposal was to have fewer openings and provide “light scoops” located in strategic locations to give one a sense of outside without broad opening of direct light. This will expressed in further iterations of the envelope.
Reference was made to Herzog and deMueron Museums. And to the Davis Museum at Wellsley College.
Monday, June 9, 2008
Monday, June 2, 2008
Thesis Review 6/2/2008
After a constructive meeting with my thesis advisory today and input from affinity members the following points were brought to my attention:
1) I need to make my story clearer. The presentation of progress Saturday will contain updated items which strengthens my thesis position about the watercolor museum.
2)How are the elements of design related to my thesis. It was not made clear at the opening presentation the reason for my form. My answer should have clearly stated that design is based on the watercolor kits which contained colored cubes on a palettes and have a mixing pan along the bottom. This allows the mixing of colors. The relationship of mixing is synonomous with the Roman Caro which was the" hinge" of the city. The space allows the entry of light art and movement through the building. The radiating galleries are off the Art Cardo and house the permanent collection of water color art.
3) I must convince the audience that my proposal is significant to THEM. It is not enought to provide a personal relationship of this building to myself, but rather to extend the true function of this building to the needs of a greater audience. Statistics provide a demand for a new museum of American watercolor but the timing of the facility is also at steak here.
4) I have to bring out the quality of space in my presentation. I have used many hand drawn images and plans, however, it must clearly reflect my thesis.
5) Critics "don't listen" as much as they look at the images which are presented. My thesis must speak through the visual images and be clear. When the final presentation occurs it will be less about what I say as about what I show them.
6) I must be prepared with what I show and say to back-up my ideas.
To date their have been many people who I have solicited their comments. Some have been supportive and some have offered their criticism. However, I find that that unless someone is actively engaged in following the evolution of my design.
The following comments were part of my critique on 5/31/2008
1) The Scale of my building is good
2) Be explicit about my theory "give it to me"!
3) Watercolor is space and volume which bleeds into one another. The building should reflect this quality.
4) The building should feel comfortable. People should want to experience the watercolors in a meaningful space.
5) Zoning of the building needs to be expressed.
6) How does the paintings related to the punctured openings in the building envelope.
7) The word is Axonometric - a true scale three dimensioned fixture that reveals space.
8) How is building specific to watercolor art rather than other art forms i.e. sculpture?
9) Show more site analysis.
10) Why the "E" configuration of the building? The portable watercolor kit see note 2 in the first section.
11) Show solar data and information in the final presentation to back up the attention to details for design.
12)Play up the hinge idea as an important part of the organization of the building.
1) I need to make my story clearer. The presentation of progress Saturday will contain updated items which strengthens my thesis position about the watercolor museum.
2)How are the elements of design related to my thesis. It was not made clear at the opening presentation the reason for my form. My answer should have clearly stated that design is based on the watercolor kits which contained colored cubes on a palettes and have a mixing pan along the bottom. This allows the mixing of colors. The relationship of mixing is synonomous with the Roman Caro which was the" hinge" of the city. The space allows the entry of light art and movement through the building. The radiating galleries are off the Art Cardo and house the permanent collection of water color art.
3) I must convince the audience that my proposal is significant to THEM. It is not enought to provide a personal relationship of this building to myself, but rather to extend the true function of this building to the needs of a greater audience. Statistics provide a demand for a new museum of American watercolor but the timing of the facility is also at steak here.
4) I have to bring out the quality of space in my presentation. I have used many hand drawn images and plans, however, it must clearly reflect my thesis.
5) Critics "don't listen" as much as they look at the images which are presented. My thesis must speak through the visual images and be clear. When the final presentation occurs it will be less about what I say as about what I show them.
6) I must be prepared with what I show and say to back-up my ideas.
To date their have been many people who I have solicited their comments. Some have been supportive and some have offered their criticism. However, I find that that unless someone is actively engaged in following the evolution of my design.
The following comments were part of my critique on 5/31/2008
1) The Scale of my building is good
2) Be explicit about my theory "give it to me"!
3) Watercolor is space and volume which bleeds into one another. The building should reflect this quality.
4) The building should feel comfortable. People should want to experience the watercolors in a meaningful space.
5) Zoning of the building needs to be expressed.
6) How does the paintings related to the punctured openings in the building envelope.
7) The word is Axonometric - a true scale three dimensioned fixture that reveals space.
8) How is building specific to watercolor art rather than other art forms i.e. sculpture?
9) Show more site analysis.
10) Why the "E" configuration of the building? The portable watercolor kit see note 2 in the first section.
11) Show solar data and information in the final presentation to back up the attention to details for design.
12)Play up the hinge idea as an important part of the organization of the building.
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