Institutional Case Studies. Plan & Section Pennsylvania Academy of Fine Arts Frank Furness Jyvaskyla Workers Club Alvar Aalto 1925

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1 Pennsylvania Academy of Fine Arts Frank Furness 876 Jyvaskyla Workers Club Alvar Aalto 925 The Carpenter Center for the Visual Arts Le Corbusier 96 :00 Institutional Case Studies Plan & Section.

2 Netherlands Dance Theatre The Hague, The Netherlands Office of Metropolitan Architecture, 987 Building Workshop, IRCAM Extension Renzo Piano 990 6:00 Institutional Case Studies Scale = 00 Plan & Section.2

3 About the Academy: - There are 200 undergraduate and 50 graduate students. - There is no on-campus housing, as the school is in central, downtown Philadelphia. - The main program for undergraduates is the certificate program. When combined with courses at the University of Pennsylvania or the University of the Art the program becomes the basis for a Bachelor of Fine Arts degree. - The certificate program is a four year program that offers intense training in painting, printmaking and sculpture. - A Masters of Fine Arts is offered in drawing, painting, printmaking, sculpture and multimedia. 8:00 "The Pennsylvania Academy of the Fine Arts is the first and oldest art school and museum in the United States. Its origin dates from On April 22, 876 the Pennsylvania Academy of Fine Arts marked an important milestone in its then 7-year history with the opening of a new building. While the museums in New York City and Boston (both founded in 870) were but fledglings, the Pennsylvania Academy was literally reborn to maturity in the nation's centennial year... The Building, designed by the Philadelphia firm of Furness and Hewitt, is generally considered to be primarily the work of Furness who finished the project after the partnership dissolved in The Academy is considered on the finest surviving examples of 'Victorian Gothic' architecture in America." - Pennsylvania Academy of Fine Arts The Pennyslvania Academy of the Fine Arts Philadelphia, PA Frank Furness, PENNSYLVANIA ACADEMY OF THE FINE ARTS INTRODUCTION.3

4 The Pennsylvania Academy of Fine Arts in located in central downtown Philadelphia, PA, two blocks from city hall. The Furness building is called the PAFA Museum. Access to the school is mainly by foot although there is public transport and vehicular access. Downtown Philadelphia, PA PENNSYLVANIA ACADEMY OF THE FINE ARTS PHYSICAL CONTEXT.

5 20:00 Second Floor KEY The academy is 260 ft x 00 ft First Floor. Gallery 2. Cafe 3. Lecture Hall. Studio 5. Office 6. Gift Shop 7. Lounge 8. Lockers PENNSYLVANIA ACADEMY OF THE FINE ARTS PLANS.5

6 Transverse Section Looking at the stairwell from the second floor. Longitudinal Section PENNSYLVANIA ACADEMY OF THE FINE ARTS SECTIONS.6

7 22:00 Second Floor Faculty Public Storage/Misc. First Floor Eduction Public Support Circulation PENNSYLVANIA ACADEMY OF THE FINE ARTS PROGRAM ANALYSIS.7

8 Photograph taken from the second floor, looking across stairwell. A second floor gallery. Each sucessive space was altered in proportion and character to form a dynamic progression that encouraged constant motion - motion forward, upward, toward light, toward ever bigger spaces. - M.J. Lewis PENNSYLVANIA ACADEMY OF THE FINE ARTS CIRCULATION ANALYSIS.8

9 00:00 Section of PAFA 2nd Floor Plan of PAFA Cornish College of the Arts and the Pennsylvania Academy of the Fine Arts are very similar schools. Both focus on intensive art education and reside within a large city. Unlike PAFA, Cornish allows students to achieve a bachelor of music and a bachelor of fine arts, while PAFA only has a fine arts centered program. Cornish also offers more disciplines with in the fine arts practicium: art, music, theater, design, dance and performance production. However, PAFA also offers a masters degree in fine arts so that students can focus intensly on one discipline. The Pennsylvania Academy of the Fine Arts is set up well as a gallery space. The galleries have vaulted ceilings and are well lit with natural light. The studio spaces do not seem to be arranged well functionally for everyday use. The importance of finished art is stressed through the placement of the galleries, however it seems as though the importance of a studio space could have greater emphasis. PENNSYLVANIA ACADEMY OF THE FINE ARTS SUMMARY.9

10 SE Corner as viewed from Vainonkatu NE Corner as viewed from Vainonkatu Jyvaskyla Worker s Club - Alvar Aalto Jyvaskyla, Finland, The Jyvaskyla Worker s Club was designed with two major programmed areas: a private auditorium for the Worker s Club as the principal use, and the public restaurant & cafe below as a secondary use. Following his urban design vision for the city, Aalto wanted to emphasize the connection to the public realm, regardless of the fact that the principal building purpose was a private club. Aalto s attempt to accentuate the public space is further illustrated by the sketch shown below, proposing a public space flanked by loggia on each side (Finne 62). While Aalto was concerned with a healthy public realm, he did not believe his architecture ought to be bound by the Empire style wooden structures of Jyvaskyla, instead, he sought to upgrade the cultural references in the building stock of the city by seeking outside cues (Koho 9,20). In the Nordic Classical trend of the time, Aalto sought inspiration from classical Italian buildings. The simplified and abstracted form was not a literal representation of a classical building, but a commentary of architectural vocabulary. The traditional palazzo organization is abstracted and guides the solution to the organization of the Worker s Club. The public spaces are housed behind a colonnade-like structure that supports the box which contains the private functions of the club. The entrance sequence that leads to the private auditorium space is reminiscent of the typical procession to the palazzo piano nobile, entering through a vestibule and ascending a grand stair. The stereotomic walls on the upper floors act as canvases, each its own composition, further abstracting the classical theme by variation of window proportions & placement (Finne 62). The end product is a symbol of Aalto s urban goal for Jyvaskyla, building on cultural precedent but adjusting the rules to modern needs. 02:00 CORNISH COLLEGE OF THE ARTS DENNY TRIANGLE SEATTLE, WASHINGTON Sketch of proposed loggia Ground floor lobby Second floor lobby JYVASKYLA WORKER S CLUB INTRODUCTION.0

11 Jyvaskyla physical development history View from Kauppakatu looking northeast View from Vainonkatu looking northwest Jyvaskyla, Finland, Aalto s hometown, was founded in 837. The majority of the town founders were tradesmen & artisans. The importance of Jyvaskyla s prosperous logging and sawmilling industry was reflected in the building stock of the streetscape, which was composed of single-story wooden buildings, organized in a grid plan. Although Jyvaskyla is small in size (about 30,000 people at the time the Worker s Club was built, over 00,000 today), the downtown area that serves as the context for Aalto s building was densly developed in a traditional urban form (Keski-Suomen web page, Finnish design attitudes of the period National Romanticism and the Empire style had been the prevalent movements up to this point. Each individual building was subordinate to the overall built environment. With Finland s newly acquired independence, a movement known as Nordic Classicism was born (90-930) (Finne 5). The movement was created out of a desire to create an artistic expression of mythic roots. These mythic roots were illustrated by use of an architectural vocabulary inspired by classic European buildings, though the building elements of inspiration were abstracted & simplified (Finne 57). Jyvaskyla s citizens desired to rid itself of its existing wooden building stock (Koho 9). Aalto attitude toward Jyvaskyla Aerial photo Kauppakatu Vainonkatu Jyvaskyla was Aalto s hometown and the Worker s Club was his first substantial commission. Previous to the commission, Aalto had prepared a series of unsolicited urban design studies for Jyvaskyla. The exercises reflected a desire to create more plazas & public spaces; Aalto desired to transform Jyvaskyla to Northern Florence (Finne 53). He strongly believed that every building ought to have a green area connected to it. Aalto was dissatisfied with the existing wooden building stock and believed that traditional Finnish architecture was that of frugalty (Koho 5). Aalto sought to introduce architecture of culture & leaned toward the tendencies of Nordic Classicism. JYVASKYLA WORKER S CLUB PHYSICAL CONTEXT.

12 0:00 North Elevation - (Vainonkatu Facade) West Elevation - (Kauppakatu Facade) South Elevation East Elevation JYVASKYLA WORKER S CLUB ELEVATIONS.2

13 Cafe Restaurant Worker s Club cafe Kitchen Coat Check Lobby Total 680 SF 65 SF 500 SF 500 SF 380 SF 50 SF 5855 SF 5 Ground Floor Plan. 2. Restroom Support space Total 50 SF 705 SF 5855 SF 2 2 Basement Plan JYVASKYLA WORKER S CLUB PLANS.3

14 . Auditorium balcony Total 570 SF 570 SF 06:00 Third Floor Plan Auditorium Lobby Stage Stage support space Total 2760 SF 260 SF 500 SF 335 SF 5855 SF 3 2 Second Floor Plan JYVASKYLA WORKER S CLUB PLANS.

15 Circulation & Public/Private Diagrams Third Floor Building Section Second Floor Elevation - Vainonkatu facade Ground Floor Public - restaurant/cafe Private - club function Basement Support space JYVASKYLA WORKER S CLUB Diagrams.5

16 Jyvaskyla Worker s Club - Summary Jyvaskyla, Finland Alvar Aalto, Architect Building Context Program / Organization Architectural Vocabulary - City of 30,000 at construction time - City w/ prosperous wood production, reflected in building stock (one story wooden structures). - Downtown organized on urban grid - Newly independent Finland desired mythic roots - symbolic buildings. - Aalto had an agenda for replacing frugal buildings with new buildings and spaces to create Northern Florence. He did not believe in relating to physical cues from adjacent buildings. Instead wanted to further his agenda to improve city & create great public spaces. - Function principally for a private worker s club that included an auditorium & a restaurant. A public cafe & restaurant add a secondary component. - Building size: Approx. 8,000 SF, containing a 2 seat auditorium. - In accordance with his goal of creating the ideal public realm, Aalto organized the building in such a way that the minor (public) function was given prominance, locating the public functions to front on the primary corner of the building in an almost entirely transparent storefront. The primary worker s club functions are downplayed at the street level. - Goal was to produce an icon of what the city could be in this newly independent Finland. - Palazzo organization & vocabulary used as inspiration to create this symbol and acheive programmatic goal. - Fenestration pattern was loosely inspired by the classical palazzo precedent. Aalto tweaks the rules of classicism and determines the location of the windows by the internal needs of the space. - Aalto treats the auditorium almost as a building within a building. The theatre lobby is treated almost as an interior landscape. - The space has achieved landmark status and has been restored as a meeting hall with a restaurant below. 08:00 Private function Public function Worker s club in streetscape Organizational diagram NE Corner as viewed from Vainonkatu JYVASKYLA WORKER S CLUB SUMMARY.6

17 An Overview of The Carpenter Center for the Arts Harvard University Campus Cambridge, Massachusetts Le Corbusier The Carpenter Center, completed in 96, was Le Corbusier s first (and only) American building. The building was conceived as an undergraduate arts center with studios for hands-on work in painting, sculpture and film, as well as spaces for a gallery, machine shop, lecture hall, offices and seminar rooms. Located just off of the main quad, the Harvard Yard, the Arts center was intended to attract students faculty from all programs to pass through and see what was happening in the arts program. Surrounded by blocklike, neo-georgian campus buildings, the Carpenter Center is deliberately unlike anything on campus,...announcing the presence of modernism, of Corbu, and of Art. [Campbell37] 0:00 CASE STUDIES Introduction The Carpenter Center for the Arts.7

18 Basement Plan st Level Plan (Ground floor) 2nd Level Plan Plans Workshop Film & TV Photolabs Lecture Hall Main entry Lobby Ehibition Offices Studios Car traffic Aerial view with pedestrian and car traffic overlay Foot traffic Foot traffic flows naturally through and around the building, capturing and celebrating the diagonal paths typical of this and most campuses. The Carpenter Center for the Arts.8 Physical context

19 3rd Level Plan th Level Plan 5th Level Plan 2:00 Studios Public Gallery Visitting Studio Open Studio Studio Initially, there was some fear that thebuilding would be too close to its neighbors. Though the site does seem a little too small, the building...explodes outward, taking up as much volume as possible by means of big gaps of empty air interspersed among its solid elements. [Campbell38] In the end, though some of the spaces between buildings are fairly tight,the edges of neighboring buildings are used as visual edges of spaces and as framed views. Figure-Ground and framed ramp views Second level Studio View from top of ramp. CASE STUDIES Carpenter Center for the Arts.9

20 Transverse Section and Program Diagram Sections East Elevation South Elevation Institutional Case Studies The Carpenter Center for the Arts.20 Elevations

21 Program The program of the building, as shown in the diagrams below organizes the open work spaces of the studios around the void through the building. The activity of the studios, seen through layers of reflecting glass, energizes the space of the void. However, the real heart of the building is in the lobby at the ground level. Students from all the different studios spill into this space to meet, talk, share their work with peers. :00 Longitudinal Section and Program Diagram Studio space Lobby/ Exhibition Lecture Hall Photo/Film/ TV Labs West Elevation North Elevation Institutional Case Studies The Carpenter Center for the Arts.2

22 Carpenter Center for the Arts: Building Summary, Interpretations, and Evaluation The ramp: One of the main goals of the building was to encourage interaction and awareness of the visual arts program among students and faculty from all departments. Mission accomplished. However, the ramp does many other things as well, not all of them positive from the users standpoint. Some users resent the fishbowl aspect of working in a studio while people are walking by at eye level and gawking. However, the ramp also prevents much public interference by directing people away from the main entry at ground level, and funneling them instead past the third floor gallery. Thus, the artists keep some privacy while being able to display their work. The lifting of the ramp through the building also creates a sectional tension and prevents the first floor from dominating. User reactions: Most student seem to be inspired by the building, enjoying the large halls and generous spaces. The ground level lobby is very popular as a place for interaction, and rotating display of work. this is in contrast to the third level gallery, accessible from the ramp, which many users feel to be separate, both in space and content. It is seen more as a public gallery than a part of the Arts school.the well-lit upper floor studios are obviously the most popular. Many feel the basement is dark and cramped, while others appreciated it as a close-knit (and private) hive of activity. A common complaint is that the building is treated so preciously that there is nowhere to slop. [Curtis ] Urbanistic Issues: As an architect,corbusier s urban vision consisted of Harmonious urbanism and the integration of the arts with each other and society through the unification of painting, sculpture, architecture, and town planning. [Curtis225] The Carpenter center realizes these ideas, but at the scale of a single building; a public artery brings together people of diverse interests and exposes them to an artistic vision. This could be seen, at a somewhat larger scale, as a possible vision for Cornish. Institutional Case Studies Carpenter Center for the Arts.22 Building Summary

23 Carpenter Center for the Arts : Cornish College of the Arts 6:00 As an architect,corbusier s urban vision consisted of Harmonious urbanism and the integration of the arts with each other and society through the unification of painting, sculpture, architecture, and town planning. [Curtis225] The Carpenter center realizes these ideas, but at the scale of a single building; a public artery, the ramp, the freeway metaphor brings the public through the building and exposes them to an artistic vision. This could be seen, at a somewhat larger scale, as a possible vision for Cornish(note the second part of their mission statement addresses the college s place in the city). At the scale of a neighborhood, and especially this very ill-defined neighborhood, a school for the arts could act as a unifying element,either literally, as in the case of the Carpenter Center, or by making its presence felt and engaging the public in other ways. Figure-Ground and framed ramp views Institutional Case Studies The Carpenter Center for the Arts.23

24 The Netherlands Dance Theatre (NDT), located in a transitional district outside ofthe Hague, The Netherlands. Rem Koolhaas of the Office for Metropolitan Architecture has at last accomplished his first serious built work since the publication of his book Delerious New York (978). H has deployed his informal, highly animated approach to providing the NDT with a new home base. Theatre goers are treated to a dynamic experience from the front door to their seats in the velvet-covered auditorium. A narrow slit between the NDT and the adjacent concert hall (designed by Dutch architect Dick van Mourik) allows passage into the spare, colorful, and unpredictable foyer. Koolhaas has scripted a series of boxy volumes with little cues for circulation between them. The building is truly a theatrical composition, both inside and out. Koolhaas, in stead of responding in a formal manner to the NDT s context, has chosen to allow its pragmatic program layout to dictate formal decisions. Netherlands Dance Theatre INTRODUCTION

25 8 6 Section Through Warm-up Area, Dance Studio and Backstage 2 9 Section Through Lounge, Dance Studio and Auditoruim Public Private Entry Auditorium Stage Parking Lounge Backstage Orchestra Warm-up area Dance Studio Dressing room Offices Storage Netherlands Dance Theatre SECTIONS.27 Section Through Entry, Auditorium, Stage, and Backstage

26 Ground Floor First Floor Second Floor Public Passive: Auditorium Stage Public Active: Entry foyer Balconies Sky Bar Private Active: Dance Studios Private Passive: Offices Lounge Kitchen Canteen = 50 Netherlands Dance Theatre PROGRAM DIAGRAM.28

27 Context Office Tower Hotel Major Vehicular Arterial Concert Hall Netherlands Dance Theatre Seventeenth Cedntury Church Highway Entrance Ramp Japanese Restaurant Netherlands Dance Theatre PHYSICAL CONTEXT.25 View south along east edge of building. View north along west edge of building toward the entry and conical restaurant.

28 Ground Floor First Floor Second Floor = 50 Public Private Cloakroom Foyer Auditorium Balcony Orchestra Pit Stage Restaurant Skybar Lounge Dance Studio Sauna/swimming pool Warm-up area Medical Audio-visual Offices Workshop Dresing room Kitchen Backstage Canteen Storage Loading dock Netherlands Dance Theatre PLANS.26

29 Ground Floor First Floor Second Floor = 50 Public Private Cloakroom Foyer Auditorium Balcony Orchestra Pit Stage Restaurant Skybar Lounge Dance Studio Sauna/swimming pool Warm-up area Medical Audio-visual Offices Workshop Dresing room Kitchen Backstage Canteen Storage Loading dock Netherlands Dance Theatre CIRCULATION DIAGRAM.29

30 South elevation program diagram View looking east toward concert hall (on left) with conical restaurant and Netherlands Dance Theatre (NDT) disappearing on right. Many parallels can be drawn between Cornish s space and programmatic needs, and the designed outcome of the Netherlands Dance Theatre (NDT): + Both are situated in urban areas of chaotic and unpredicatable character,where informal design approaches may be very appropriate. + The NDT draws upon expressive depiction of program elements through form, producing a distinctive and provocative figure in the area. + Construction methods and materials used in the NDT as a decorated shed are in keeping with the built fabric surrounding of both the Hague s new business district and the Lenora Square site, and may serve as guidance for our own work. + OMA s pragmatic approach to programming and space planning complement Cornish s limited budget. View looking north. Office/support services bar on left, flyloft at center, and backstage and workshops on right. Government office tower in distance at right. View looking east over Japanese restaurant towards NDT. Note undulating roof over auditorium, and boxy flyloft (painted w/ dancer motif) at right. Netherlands Dance Theatre SUMMARY.30

31 The Institute for Research and Co-ordination of Acoustics and Music is a unique building located in Paris and designed originally by the Piano and Rogers partnership for the Pompidou Centre, a cultural and art center in the heart of the city. I.R.C.A.M. became an extension to the programmatic requirements of the Pompidou Centre by adding a music element. I.R.C.A.M. was to bring music and science together as a recording studio and research facility which would test and shape the limits of sound and music. Began in 97 with the Pompidou Centre project, I.R.C.A.M. has seen two phases. Phase # occurred during the Pompidou construction. Phase # included the studio spaces and some small offices. Requiring complete acoustic isolation the building was designed to be located underground and insulated from the foot and auto traffic of the city. Phase #2, from , was the addition of above-ground offices and a library. This phase gave the institute a public face and further linked it to the adjacent Pompidou Centre, but was designed solely by the Renzo Piano Building Workshop without the input of Richard Rogers. I.R.C.A.M. INTRODUCTION.32

32 Basement Floor This plan shows the 3 divisions of non-circulation related space. Within Phase #, all studio and music space is placed in the underground section of the institute. Phase #2 contains all nonmusic operations (library and office space). Main Concert Hall Typical Studio Space To further isolate the studios inside, Piano and Rogers designed them to be boxes within a larger box. Also, each studio is equipped with movable and removable paneling. Different variations and types of paneling change how the studio space will react to the sound. The Main Concert Hall even has movable walls, ceilings and floors. I.R.C.A.M. PROGRAM.37

33 Basement Floor Main Concert Hall showing circulation through Phase # and Phase #2 Circulation hall of Phase # looking back toward the Pompidou Centre (upper right corner of the image). This public access has since been closed to the ground level. Access is now through the circulation tower of Phase #2. I.R.C.A.M. CIRCULATION.38

34 Ground Floor Basement Floor Phase # Circulation 2.Studio (Fixed) 3.Studio (Flexible).Main Concert Hall 5.Library 6.Office 7.Courtyard 8.Place Igor Stravinsky Seventh Floor 5 First Floor Concert Hall Floor 5 Ground Floor Phase #2 Ground Floor Basement Floor I.R.C.A.M. PLANS.35

35 Phase # Circulation Main Concert Hall Studio Spaces various Studio Space & Circulation I.R.C.A.M. SECTIONS.36

36 In deciding to push the building underground, Piano & Rogers not only created a soundproof set of studios, but opened up a large plaza (Igor Stravinsky Place) and returned to view the choir and transept of the adjacent Gothic church. Phase # had little other presence within the surrounding above it. Visible clues to the underground institute were air intake and return tubes (identical to those of the Pompidou Centre) and a strip of glass panels flanking a stair leading down below. I.R.C.A.M. PHYSICAL CONTEXT.33

37 Phase #2 brought the institute above ground with its vertical tower and two pre-existing adjacent buildings. Piano tied the tower to the other buildings and surrounding neighborhood with the use of terracotta panels which mimic in color and texture the materials used in older masonry buildings. Fixing the terracotta panels to the building are aluminum frames manufactured with precise reveals and tolerances. Sections of the tower, like the elevator core, are clad purely in glass and metal window systems. These elements of Phase #2 help to show relation to the modern materials and technology used at the Pompidou. The building has little or no signage to allow passers-by to see exactly what is happening inside. By closing the stair leading below, the public is left to guess or investigate how the building functions. I.R.C.A.M. PHYSICAL CONTEXT.3

38 Detail of wall panels SITE ORIENTATION: Heavy foot and auto traffic, as well as the sensitivity of the recording process, pushes the building proper (the studio and research spaces) underground and isolate it acoustically from the surrounding buildings. SITE CONNECTION: Physically the building has little street presence with virtually no signage, especially with the main programmatic emphasis below ground and cut off from the public. Within the addition, Piano renovated and incorporated two existing buildings with a new circulation tower which stands at the focal point of the site. Terracotta panels relate to the two existing buildings. Aluminum frames call to the high technology look of the Pompidou Centre; they are, however, more refined. PROGRAM/FLEXIBILITY: Located underground, the building functions as the ultimate and ideal recording studio. Acoustic isolation allows for the production and recording of music without other extraneous variables. Isolation coupled with flexible interiors (i.e. movable and interchangeable walls, floors and ceiling panels) allows for the performance rooms to act in whatever format is required and/or desired. Main Concert Hall I.R.C.A.M. SUMMARY.39