EPOCH HOTEL

AT THE JOSEPH H. HIRSCHHORN MUSEUM AND SCULPTURE GARDEN

Jessica Cannon Interior Design

In partial fulfillment of the requirements For the Degree of Master of Art Corcoran College of Art and Design Spring 2009

Thesis Statement______

I propose to design through a transformative experience in which hotel and gallery spaces converge, a unique, luxury hotel where visitors can attain new meaning of modern art and design.

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Abstract______

At the Epoch Hotel in the Joseph H. Hirschhorn Museum and Sculpture

Garden, guests encounter a unique hotel experience while gaining a new understanding of Modern art and design. This private hotel grants guests a behind the scenes pass to the world beyond museum galleries and invites the luxurious pleasures of an intimate experience with fine art. The hotel blends modernist art, design, and hospitality while creating a symbiotic relationship between the hotel’s modern interior décor and the Hirschhorn’s modern art collection. The interior design of the hotel is based on the research of modern interior design, decorative arts, architecture, and fine arts.

The Epoch Hotel explores several themes that work together to create a unique hotel design. Considered a luxury or boutique hotel, Epoch aims to entice guests into a world influenced by modern and contemporary art. The main

thematic concept explored in the design of the Epoch Hotel presents guests with

new way to experience art by combining experiential and gallery exhibition

design through a hotel that showcases modern art. Guests at the Epoch

experience new encounters with modern art through a fusion of gallery and living space. They are invited to go behind the scenes of the Hirschhorn Museum and are encouraged to interact with the “back of house” museum programs while engaging in personal growth and enlightenment through art. The Epoch Hotel is iv the ultimate experience in combining the aspects of modern art, design, and culture with the exclusive privilege of museum living.

The Joseph H. Hirschhorn and Sculpture Garden is the proposed site for the Epoch Hotel. The modern style museum is an ideal location for a new hotel concept that incorporates the guest into the museum world of modern art. The hotel occupies the third floor of the existing structure that was designed by

Skidmore, Owings, and Merrill’s Gordon Bunshaft in 1974. The Hirschhorn building itself is a modern art symbol and functions both as a container and object similar to that which it contains. Bunshaft designed the Hirschhorn to be a massive cylindrical sculpture to house Joseph H. Hirschhorn’s modern art collection.

The Epoch Hotel will serve as the beginning and guiding concept to the reorganization of the existing Hirschhorn Museum interior. The project, stemming from the Hirschhorn’s existing ‘art surrounds you’ brand extension will include a modern design interior renovation, new architectural features, the reorganization of existing ‘back of house’ spaces, and the addition of the Epoch

Hotel to the third floor. The hotel possesses many luxurious hotel amenities and

accommodations including five private guest suites, restaurant and private dining

rooms, art library and research center with study collection, conservation and

restoration lab that is on view to the public, a mini-spa, private modern art

galleries, business center, and concierge suite.

The hotel mixes museum space and hotel living space. It is a delicate

combination of a secure and controlled gallery environment with a hotel living v space that is comfortable for guests. Special consideration was given to the preservation of the Hirschhorn’s fine art collection exhibited in the hotel. The

Epoch Hotel’s guest suite designs are inspired by the Hirschhorn’s art collection

and provides a creative, gallery like environment that is both comfortable to inhabit and functionally meets the guest’s individual needs. Combining modern art in public and private spaces provides a challenging design intervention. There are many aspects to consider in displaying art and how it will affect the

atmosphere of the hotel. These include conservation, lighting, humidity levels,

and light levels suitable for fine art, human interaction and security. Many

aspects of museum policy, learning and education, display, preservation and

conservation were implored after research into the specific fields of study.

Both political and economic pressures have been applied to museums to encourage them to undertake more profitable activities and to capitalize on their assets. There exists enormous potential for museums to diversify by using their property and resources in a more entrepreneurial way, The Epoch Hotel will expand on these ideas by introducing the concept of a special setting for undertaking exploration and discovery within a modern art museum.

Modernism: Design for a New World, 1914-1939 at the Corcoran Gallery

of Art in 2007 had a great impact on the design concept for the hotel. An

‘Exploration Gallery’ was created through the Corcoran’s Department of Education

inviting museum visitors into an interactive and experience based environment.

The Exploration Gallery was used as an educational tool much like The Epoch

Hotel’s living environment aids in the educational process. Art enthusiasts to art vi novices share experiences in learning about modern art through an engaging, educational environment.

Continuing the existing Hirschhorn brand, ‘art surrounds you’ will become the leading organizational tool in the renovation of the Hirschhorn’s interior combining new aspects of way-finding and environmental graphic techniques to make the museum an all-inclusive experience.

The creative implementation of three typological categories of design

projects were studied during the development of the Epoch Hotel. These

typologies include hotels, exhibitions, and museums. No similar project to this

scale is comparable to the Epoch Hotel, thus a combination of methods and

creative ideas from a variety of resources was applied to create this new

typology.

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“A great epoch has begun. There exists a new spirit.”

LeCorbusier, 1923

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Contents______

Part One Introduction 1 Part Two Site Selection 2 Joseph H. Hirschhorn Museum and Sculpture Garden 2 Joseph H. Hirschhorn 4 The National Mall – Washington, DC 5 Smithsonian Institution 5 Part Three Modernism 9 Part Four Making the Museum an Experience 12 Museum Exhibits 13 Modes of Exhibition Apprehension 15 Museum Learning 16 Part Five Art Display and Preservation 19 Preserving Art on Exhibit 20 Climate Control 20 Air Movement and Outdoor Air 21 Air Cleanliness 22 Light Levels 22 Material Selection 24 Conservation Concerns in Storage 24 Lighting Art on Display 26 Part Six Art Surrounds You 28 Part Seven The Epoch Hotel 30 Program 30 Hotel Lobby and Reception 31 Hotel Guest Lobby and PERCEPTION Gallery 31 Guest Suites 32 Mondrian Restaurant and Private Dining Rooms 34 ix

Conservation and Restoration Center + Calder Cafe 35 Utopia Mini-Spa 36 Bunshaft Art Library and Research Center 37

Part Eight Typologies 39 21c Museum Hotel 40 Orbit In 42 McMenamin’s Kennedy School 44 Hotel Fox 46 Revolving Hotel Room, Guggenheim Museum 48 Modernism: Designing a New World 50 John Soane Museum 53 Part Nine Concept model + 9x9 concept image 56

Bibliography

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Illustrations______

Figures

Figure 2.1 Hirschhorn Museum and Sculpture Garden 6 Photo: Ezra Stoller www.som.com/content.cgm/joseph_h_hirschhorn_museum_and_sculpture_garden Figure 2.2 Hirschhorn Museum exterior inner circle 6 Photo: Jessica Cannon Figure 2.3 Hirschhorn Museum interior 6 Photo: Jessica Cannon Figure 2.4 Hirschhorn interior 7 Photo: Jessica Cannon Figure 2.5 Schematic plan for museum and sculpture garden 7 www.hirschhorn.si.edu/info/column.asp?key=92 Figure 2.6 Washington, DC National Mall 8 http://heckeranddecker.files.wordpress.com/2009/01/mall-photo-today.jpg

Figure 8.1 21c Museum Hotel 41 http://lh4.ggpht.com/_zaflhHmPfBE/R62_saf2MnI/21cmuseum+hotel+2.jpg Figure 8.2 Orbit In living area 43 www.orbitin.com/oasis-photos-pop-13.html Figure 8.3 Orbit In lounge 43 www.orbitin.com/hidaway-photos-pop-16.html Figure 8.4 Orbit In kitchen 43 www.orbitin.com/oasis-photos-pop-9.html Figure 8.5 Kennedy School, exterior 45 Photo: Jessica Cannon Figure 8.6 Kennedy School, interior hallway 45 Photo: Jessica Cannon Figure 8.7 Kennedy School, guest room/old class room 45 Photo: Jessica Cannon Figure 8.8 Hotel Fox designers and artists staging hotel rooms 46 www.heliumcowboy.com/blog/news_img/050307-fox-rinzen.jpg Figure 8.9 Hotel Fox guest rooms 47 www.weburbanist.com/wp-content/uploads/2008/03/fox-creative-art-hotel- rooms.jpg Figure 8.10 Guggenheim Museum, New York, NY 49 www.alania.org/photos/uncategorized/2008/11/01/2985013986_5828ee7c2d.jpg Figure 8.11 Carsten Holler’s Revolving Hotel Room 49 www.dailyicon.net/magazine/wp-content/uploads/2008/ 10/guggenheim01dailyicon.jpg Figure 8.12 Modernism Exploration Gallery 51 Photo: Jessica Cannon Figure 8.13 Modernism Exploration Gallery 51 Photo: Jessica Cannon xi

Figure 8.14 Modernism Exploration Gallery 52 Photo: Jessica Cannon Figure 8.15 Modernism Exploration Gallery 52 Photo: Jessica Cannon Figure 8.16 Soane Museum interior 54 www.londonphotos.org/archives/johnsoane/jpg Figure 8.17 Soane interior detail 55 http://lh3/ggpht.com_8980jfemiby/Rgbkefzmuli/img_0423.jpg Figure 8.18 Soane library 55 http://srv-londonimages-4.londontown.com/2008/july/UC613446_429long.jpg Figure 8.19 Soane’s collection 55 www.royal-oak.org/lectseasonprix/s07/soanemonkpaulour.jpg Figure 9.1 Epoch Hotel concept model – interior view 57 Photo and design: Jessica Cannon Figure 9.2 Epoch Hotel concept model – top view 58 Photo and design: Jessica Cannon Figure 9.3 Epoch Hotel concept model 58 Photo and design: Jessica Cannon Figure 9.4 Epoch Hotel 9x9 concept image 59 Photo and design: Jessica Cannon

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• • • • • • • • • • • • • • • • • • • • • •

Tables

Table 2.1 Joseph H. Hirschhorn Museum and Sculpture 4 Garden Technical Information (Existing Conditions) www.hirschhorn.si.edu/info/column.asp/key=92

Table 7.1 Epoch Hotel Program 30

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Part One: Introduction______

A new spirit exists within The Joseph H. Hirschhorn Museum and Sculpture

Garden with the addition of The Epoch Hotel. Epoch creates a unique experience by

introducing luxury hotel living within a modern art museum. Art has become a hotel

amenity, one that provides a sheen of sophistication and presents guests with

glimpses of beauty and opulence. The Epoch Hotel at The Hirschhorn Museum takes

this concept one step further in creating a hotel as a museum amenity.

The Hirschhorn Museum was chosen as the site for this new designer hotel

project in Washington, DC. The Hirschhorn is a division of the Smithsonian Institution

and is thus a free educational tool for the public in the Nation’s capital. The building,

designed as a large piece of modernist sculpture, acts both as the container and the

object that is contained. Exhibiting one of the country’s largest modern and

contemporary art collections, the Hirschhorn Museum is a perfect site selection for

the Epoch Hotel.

This methodology of incorporating a luxury hotel into an art museum will take

an experiential approach to design. Questions of how to make a museum into a

visitor experience will be explored and how to successfully combine hotel and

museum space with the consideration of visitor interaction, and the safety and

protection of the art displayed.

This project is a unique opportunity to explore childhood fantasies of spending

the night in a museum, wandering the corridors at night while experiencing the

excitement of an intimate experience with art. As a visitor to the Epoch Hotel, guests

have the opportunity to explore the art galleries on their own terms and in their own

way. The hotel guests become a part of the art exhibition because they are intended

to be there. The hotel experience becomes an exhibit in the Hirschhorn Museum.

1 Section Two: Site Selection______

Joseph H. Hirschhorn Museum and Sculpture Garden Smithsonian Institution Independence and 7th Streets, SW Washington, DC 20004

The concrete and granite Joseph H. Hirschhorn Museum and Sculpture Garden

is often said to look out of place in the National Mall, but the design is well suited to

the modern artworks inside. Gordon Bunshaft, long time partner of Skidmore,

Owings & Merrill, conceived the Hirschhorn as a “large piece of sculpture” among the

shrine like structures of the National Mall (figure 2.1). It was designed specifically

for the exhibition, study, and storage of Joseph H. Hirschhorn’s art collection, one of

the major modern painting and sculpture collections in the United States.1

“Bunshaft, at this point of his career, was taking this modernist idea of figuring out what you need to do in the building and then you design the building around that function. He was exploring this new area of form follows technology.”2

“The Smithsonian staff reportedly told Gordon Bunshaft, prior to designing the building, that if it did not provide a striking contrast to everything else in the city, then it would be unfit for housing a modern art collection.”3 The MIT-trained and

Pritzker Prize-winning architect stressed function over fashion in creating the museum’s flow of space within the hollow-centered, elevated cylinder. Bunshaft employed the new technology of tension concrete allowing the circular structure to stand on four massive piers and extend outwards without supporting beams. The museum has three floors standing on top of the piers as well as an entrance level and a basement. Currently art is exhibited in the second and third floors, as well as in the basement. Art storage and offices are on the fourth floor and the entrance/street level houses the gift shop, security, and information desk.

2 The galleries have interior window walls that allow visitors a view of the outside fountain below (figure 2.2). The sculpture garden is located across Jefferson Drive and is sunken six to fourteen feet below street level.

The Hirschhorn Museum opened in 1974 and possesses collections from

artists such as Pablo Picasso, Andy Warhol, Henri Matisse, Willem de Kooning, and

Alexander Calder and houses over 11,500 pieces (both permanent and temporary).

The collection includes paintings, sculptures and mixed-media installations from artists around the world. Upon entering the museum from Jefferson Drive, guests are greeted with the museum’s largest piece of artwork, Roy Lichtenstein’s

Brushstrokes, which was added in 1996.4

Hirschhorn Mission: “We seek to share the transformative power of modern and contemporary art with audiences at all levels of awareness and understanding by creating meaningful, personal experiences in which art, artist, audiences, and ideas converge. We enhance public understanding and appreciation of contemporary art through acquisition, exhibition, education and public programs, conservation, and research.”5

The Epoch hotel will be located on the third floor of the Hirschhorn Museum.

This space is approximately 25,000 square feet with fifteen feet high walls with three foot deep coffered ceilings (figure 2.3).6 The third floor is currently used as gallery

space for both traveling exhibits and the permanent collection. The fourth floor at the

Hirschhorn that currently holds the museum “back of house” areas, storage, and

offices will have a new addition of gallery space with the reorganization of the

museum. Exhibit space for traveling exhibits will relocate to the new gallery space

on the fourth floor. The second floor and basement galleries will display the

Hirschhorn’s permanent collection (figure 2.4). This reorganization of the

Hirschhorn, with the incorporation of the Epoch Hotel into the existing plan, connects

the visitor to the museum in a new experiential approach to art museum/gallery

3 design. The hotel incorporates many “back of house” areas within its design while inviting guests to experience an art museum like never before.

Hotel guests and visitors have direct access to the Epoch Hotel from outside of the Hirschhorn Museum the one of the four piers that the circular museum structure sits atop. This pier hosts an elevator that operates from the ground/street level opposite the fountain directly to the Epoch Hotel Lobby on the third floor.

Joseph H. Hirschhorn Museum and Sculpture Garden Technical Information (Existing Conditions):

Building and walls surfaced with precast concrete aggregate of “Swenson” pink granite Building is 231 feet in diameter; interior court, 115 feet; fountain, 60 feet Building is 82 feet high, elevated 14 feet on four massive, sculptural piers 60,000 square feet of exhibition space on three floors 197,000 square feet of total exhibition space, indoors and outdoors 274-seat auditorium (lower level) 2.7 acres around and under he museum building 1.3 acre sculpture garden across Jefferson Drive sunken 6-14 feet below street level Second and third floor galleries have 15-foot-high walls, with exposed 3-foot-deep coffered ceilings Forth floor includes office, storage Completion year: 1974 Table 2.1

JOSEPH H. HIRSCHHORN

The Hirschhorn Museum contains over 10,000 paintings, illustrations and sculptures donated to the United States by Joseph H. Hirschhorn, a Latvian immigrant who made his fortune in America. Hirschhorn immigrated to the US at age

six and grew up in the slums of Brooklyn, NY. He made money through the stock

market as a teenager and moved to Canada prior to the stock market crash in the

1930s. There he made fortunes in mining Uranium. Hirschhorn had a passion for

collecting art and dreamed of donating his collection to the public. The Smithsonian

Institute in Washington, DC constructed a home for his collection so Hirschhorn could

give back to the country that gave him his initial success.7

4 THE NATIONAL MALL

The Hirschhorn is located in the National Park Service’s National Mall and

Memorial Parks. The area is encompassed by Constitution and Pennsylvania Avenues,

NW on the north, First Street on the east, Independence and Maryland Avenues on the south, and 14th Street on the west. The National Mall is significant as the central axis of the District of Columbia’s monumental core as designed by Pierre

L’Enfant in 1791. Each year, 25 million people from all over the world visit the

National Mall in Washington, DC.8 As a part of the Smithsonian Institution, the

Hirschhorn Museum and Sculpture Garden belongs to the nation (figure 2.6).

SMITHSONIAN INSTITUTION

The Smithsonian Institution is the world's largest museum complex, composed of a group of national museums and research centers housing the United

States' national collections in natural history, American history, air and space, the fine arts and the decorative arts, amongst many others. The Institution includes sixteen museums, four research centers, the National Zoo, the Smithsonian

Institution Libraries, the Smithsonian magazine, the Smithsonian Institution Press, a

Traveling Exhibition Service, an Office of Education, and a number of other offices and activities.9

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Figure 2.1: Hirschhorn Museum and Sculpture Garden

Figure 2.2: Hirschhorn Museum interior Figure 2.3: Hirschhorn Museum gallery windows and outdoor fountain with 3’ coffered ceiling

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Figure 2.4: Interior hallway/gallery, Hirschhorn Museum

Figure 2.5: Schematic plan, Hirschhorn Museum and Sculpture Garden

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Figure 2.6: Washington, DC National Mall

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Part Three: Modernism ______

Modernism was not simply a style, but more of an attitude and determination to break way from the past, to unleash the creative, utopian thought, and to improve and reshape the environment with the aid of scientific knowledge and technology.

Modernist ideals spread throughout the arts, both fine and applied, introducing architecture, design, and the fine arts to a new design for a new world. Embracing change and the present, Modernism encompasses the works of thinkers who rebelled against nineteenth century academic and historical traditions, believing the

"traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated. They directly confronted the new economic, social and political conditions of an emerging fully industrialized world.10

Modernism in the arts was a response to the abrupt modernization of the world. Advances in technology and changes in social economics since the eighteenth century helped bring about radical changes in the way that most people lived.

Political revolutions reshaped the social landscape of Europe and the Americas; and the Industrial Revolution, powered by coal, steam, and the railroads, radically changed the way people worked.

“The Modernist architects and designers practicing during 1914-1939 created a style and a set of technical approaches to the manufactured world that came to dominate the appearance of cities over much of the world. This process continued throughout the entire century, and is still in progress. Modernism has been the most successful visual style in human history.”11

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Inspired by a new machine aesthetic, the Modern Movement stripped away unnecessary ornament. Mass production was now established as the means of manufacturing consumer goods. New materials and building techniques created a lighter, more spacious and functional environment. The early Modernist designers hoped to change society for the better with the creation of a healthier and more democratic type of design for all.12 Architects, designers, and artists passionately committed themselves to the idea of the Modern style. Across the arts, both fine and applied, creative artists reflect and influence the events and the environment of

this particularly innovative period.

The Hirschhorn Museum and Sculpture Garden holds one of the country’s

largest collections of modern and contemporary arts. The building was designed with

Modernist traditions in mind when using tension concrete to create the large piece of

functional sculpture. In the Modernist time, museums may have been considered

‘machines for perceiving’. The Epoch Hotel will take this idea one step further in

creating a full experience for the perception, education, and exploration of the

modern art museum.

In extending Modern design concepts into the interior of the museum, the

Epoch Hotel will be an all encompassing environment of Modern art and design. The

interior architecture, furnishings, and décor will incorporate Modern design,

materials, and building methods.

Modernism is a word widely used, but rarely defined. It was not conceived as

a style, but as a loose collection of ideas. Modernism is a term that covers a range

of movements and styles in many countries. We live today with Modernism’s legacy

of intellect, materials, and the built environment. Especially now, at this time of

change in our modern (contemporary) world, the concept of Modernism inspires the

current winds of change. The world as we know it is in need of change, the same 10 type of change that was inspired towards at the turn of the last century. We are today, as a modern world, ready for the next steps.

In following the traditions of Modern design, the Epoch Hotel will utilize new architectural, design, and artistic intervention. The design lends itself to the development of built environment through design, function, and environmental preservation. The Epoch Hotel will proudly promote sustainable design through natural materials and forms, new engineering and technology, and new jobs in construction and implementation to boost the economy. The Epoch Hotel is a symbol of this new change. In the Nation’s Capital, in a time of new freedom and hope; new ideas, new technologies, and new creation of the built environment is coming….a great epoch has begun.

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Section Four: Making the Museum an Experience______

People have come to expect that their social, economic, and cultural activities, though shaped by a variety of sources, will engage them in ways that are vivid, distinctive, and out of the ordinary. They expect to be treated as individuals who have a significant capacity to influence, as well as be influenced, by any experience in their lives. Museums have a great potential to create new and distinctive experiences by presenting an opportunity to go beyond passive learning to active involvement in the experience itself.

“A museum must recognize that its collections of art are not always self- revealing guides to knowledge, but are ingredients for the creation of special settings for undertaking exploration and discovery that identify with the audiences’ lives and experiences.” 13

Using techniques in experiential museum design in an art museum will connect the art pieces to the museum visitor in a new way. People remember museum experiences that have a connection to their own lives. By incorporating the visitor into the art experience, they will leave with a greater knowledge and understanding of the material being presented.

“We say a work of art ‘moves us’, and regards this expression as accurate.

And exhibition can do this. It can elate and excite, around and satisfy, anger, shock and depress. Indeed, it can play havoc with the emotions, and the skilled exhibition designer can change the exhibition so that it elicits the response desired. Exhibitions are conceived as sculpture. They are 3D compositions which recognize the importance of solids and voids and strive for satisfactory spatial relationships. It is environmental art, which offers a whole range of experience which may stimulate all the senses.”14

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In making the museum an experience, the image and identity of the museum becomes important to the interface between it and public. The museum’s identity can be packaged for marketing within the overall image that the museum wishes to

project. The ever expanding role of the museum visitor as critic, customer,

consumer, and guest has slowly taken center stage in influencing many decisions

and directions adopted by museums in recent years. Both political and economic

pressures are being applied to museums to encourage them to undertake more

profitable activities. There is potential for museums to diversify and use property and

current resources in a more entrepreneurial way. 15

MUSEUM EXHIBITS

“All museum activities from research and conservation to education and

outreach converge in the public form of the exhibition. Over the past half-century,

and especially in the past two decades, museums have had unparalleled public

interests and a building boom that has produced an explosion of new galleries and

exhibition halls and new ideas about how exhibitions should look and

communicate.”16

The value of museum exhibitions has much to do with the presentation of what visitors consider authentic. Visitors often place their confidence in the authenticity of the experience that the museum exhibition offers: a unique transformative experience where the visitor grasps some new level of meaning about the object being exhibited. The means may be aesthetic, historical, or personal in

character, but they arise from the works of art. Visitors will trust these meanings

only if they have confidence in the authenticity of the objects or images from which

they arise in the exhibition. The transformation takes place because the visitor is 13 moved by the perceived authenticity of the exhibit to discover meaning in the objects on display. The design of the exhibition is important in conveying the meanings and messages to the audience, thus validating the authenticity of the experience.

In the average visitor’s view of the world, a transformation like the one described above cannot be achieved by reading a book, taking a course, watching a film, or merely having fun. This transformation, or apprehension of meaning, is

primarily an affective experience rather than a cognitive one. Museum exhibitions

address the visitor’s awareness of the world and affect their attitudes and values.

“We are accustomed to think of the century just ended as one of great

success in public communications. It was the century of radio, television, cinema,

the recording industry, the fax machine, and finally the Internet. Yet there is still

another success story in public communication that remains with us and is constantly

growing and extending its influence – the museum.”17

Museums continue to grow larger and more numerous worldwide. “For many

years in the latter half of the past century a new museum opened in the UK every

two weeks.”18 The growth of existing museums has been equally impressive. Driven

by a need to accommodate continually growing collections and to meet the

increasingly sophisticated expectations of their visitors, museums are expanding or

relocating. The remarkable worldwide growth of museums is not only signaling a

movement towards preservation of our natural and cultural heritage, but as the

successful spread of a means of public communication.19

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FOUR MODES OF VISITOR APPREHENSION

“Focusing the purpose of museum exhibition on the transformative and affective visitor experience of discovering meaning in the objects on display, anchored in visitor confidence in the authenticity of those objects, makes visitor apprehension of museum exhibitions central to their success”20. There are four main modes of visitor apprehension that museum visitors may directly or indirectly utilize when viewing art. Requiring perception of the works of art in a meaningful way, contemplation is the most common mode of apprehension that visitors may use in an art museum. In creating an experience in which the museum visitor is not only perceiving the art, but experiencing it, lends to the utilization of other forms of apprehension. These forms of visitor apprehension, as discussed by Lord and Lord, include:

Contemplation – most favored by art museums aiming at an aesthetic

experience. It is stimulated by the display of individual works of art that are

intended to be appreciated in and for themselves, and perceived apart from

the others around them. The visitor remains relatively passive physically,

although his or her intellect and emotions may be very actively engaged. The

transformative experience consists in the enhanced appreciation of the

meaning and qualities of each individual work in and for itself.

Comprehension – contextual and thematic – objects not studied individually,

but through relation to each other. Purpose is to encourage the visitor to

discover their meaning by relating one object to another, or each object to

the over all context or theme. The visitor is more actively engaged in the

process of making relationships. The transformative experience consists of

the ‘ah-hah’ discovery of the meaning of the objects in their context or

relation to the exhibition theme. 15

Discovery – more visually and intellectually active means of visitor

engagement. Visitor explores.

Interaction – most physically involved mode, hands-on education for

discovery that affects the visitor’s values, interests, or attitudes.21

Each of the above modes of museum visitor apprehension considered in the creating the design and experience of the Epoch Hotel. The hotel is unique opportunity to explore multiple ways of interaction between art and design, and the people within it.

MUSEUM LEARNING

The most important and unique characteristic of a museum exhibition is that it facilitates an encounter between visitor and three-dimensional objects. Media, such as television or the printed book, can portray images, but they are not comparable to the prime source. Only a museum exhibition can provide controlled contact with the real, authentic object, making the museum exhibition vitally important. A museum exhibition is not limited to the size of a television screen or page of a book. It can work at scales appropriate to those of the objects being displayed and can facilitate a bridging function essential to making viewing comfortable on a human scale. “It is the physicality of realia that makes museums special…it is the evidence in its tangible form that the public values.”22 In providing this contact with art objects, the three-dimensional quality of the museum exhibition incorporates the all around viewing of many objects and enables the visitor to experience fully the three-dimensional qualities not only of the objects, but also of the full exhibition experience.23

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In a presentation given in March 2002 titled “Visitors to the Smithsonian: A

summary of research and implications”, Zahava Doering, Director of Institutional

Studies at the Smithsonian, argues that rather than communicating information, the

“most satisfying exhibition for visitor is those that resonate with their experiences

and provide new information in ways that confirm and enrich their [own] view of the

world.”24 She believes this is why people visit, and what they seek: something new

that enforces what they already know.

Museum exhibitions utilize the principals of transformative learning to

incorporate the visitor into the art experience. Transformative learning is the

process of getting beyond gaining factual knowledge to instead being changed by

what one learns in some meaningful way. It involves questioning assumptions,

beliefs and values, and considers multiple points of view seeking to verify reasoning.

Museum exhibitions have the unique advantage of being able to facilitate this type of

learning.25

Museums are no longer simply repositories of objects and artifacts stored for

presentation, posterity, and edification. They are expected to engage with the public

and compete with the entertainment industry for tourist dollars and leisure time,

while maintaining their learning functions. Nineteenth century museums were

premised on the communication and learning theory where the visitor/learner was

passive, understood knowledge to be objective and information-based, and accepted

the museum as an authority on that information. That premise has undergone a

radical shift in the last decade due to the changing desires of museum visitors.26

Visitor engagement demands entertainment because the public increasingly views museums as a kind of tourist destination with the accompanying expectations.

In this sense, the museum becomes a kind of amusement park shaped by the visitor’s desire for enlightenment in an entertaining format.27 17

A survey on the Numen Impulse in museum visitors was conducted by

ethnologists Catherine Cameron and John Gatewood in 2003. The numen impulse is

an idea that humans have a desire to make a personal connection with the past is

called “numen-seeking”. Their study found that there has been a boom in the

interest in collecting, historical novels and re-enactment, and retro-fashion, home

design and furnishings. A museum exhibition can utilize the concept of the Numen

Impulse by creating an environment in which the visitor can transport themselves

into the world of the exhibition. “Time travel may function a little like foreign travel

in that some people wish to make a more personal and emotional connection with an

earlier time is termed ‘numen seeking’. The characteristics of this is primarily a

desire for a sense of, or feeling for, a period in time, but correlates with an interest

in authentic history, a personal connection with people or place, and a way to create

memories (Cameron and Gatewood, 2003).”28

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Section Five: Art Display and Preservation______

The display of a museum’s permanent collection seems to most members of the public to be one of their paramount activities. It is very often acknowledged by museums that a relatively small proportion of the permanent collection is on display.

On average, only 5-15% of the permanent collection for most art museums is on display at any one time. A museum usually has three categories to classify all the pieces of art in their collection.29

Display collection: objects collected and preserved indefinitely, primarily for

purposes of display

Study collection: objects collected and preserved indefinitely, primarily for

purposes of identification, study, research, analysis or comparison with

others; some of these may also be suitable for display and may be included in

permanent collection displays, but the primarily reason for collecting them is

their value for study.

Reserve collection: objects to which the museum may not have made a

commitment for indefinite preservation, either by reason of their condition,

duplication of other items in the collection, intended use for hands-on

educational purpose, or other. Items in the reserve collection may be

transferred to either of the other two categories when their condition is

restored to be appropriate for display or study.

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PRESERVING ART ON EXHIBIT

The process of displaying art in itself can be detrimental to the preservation of the pieces since objects are sometimes exposed to a less controlled or compromised physical environment. While on display, works of art are at risk of higher levels of light, dust, pollutants, and humidity. Exhibition design needs to promote internal museum collaboration in order to produce an exhibition that looks good, fulfills the communication mandate, but also protects the object. An art exhibition is a complex undertaking due to the variety of elements needed to be taken into consideration in affecting the preservation of the collection. These elements include, but are not limited to: climate control, air movement, air cleanliness, light levels, and materials used in the exhibition galleries and display cases.30

Climate Control

The three main effects of a climate control system are regulation of temperature, relative humidity (RH), and air movement. When these factors combine they act on each other to influence the environment of the gallery space. Creating a stable environment for an art collection is extremely important and is usually controlled by a building’s heating, ventilation, and air-conditioning (HVAC) systems.

Gallery environments can be carefully monitored and easily modified with the HVAC system. The dangers that unsuitable temperatures and relative humidity levels, especially a fluctuation of those levels, may have on art works include the development of mold and mildew, chemical deterioration, the detachment of finish layers, and mechanical and structural changes such as cracks, breaks, and loose joints when the object responds naturally to the changes in the environment.31

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Whenever possible, museums provide an optimal environment throughout museum collections storage areas, support areas, and galleries. This is particularly important in relation to temporary and traveling exhibitions involving works of art on loan. In the exhibition galleries, human comfort is also a factor in determining an acceptable environment.

In 1999 the American Society of Heating, Refrigerating, and Air Conditioning

Engineers (ASHRAE) published standards for museum climate control. The relative humidity set point for all art museums is 50% ± 5% for all loan exhibitions, permanent collections on display. Loaned exhibitions must keep an annual average temperature of 70° F ±4° F, while a permanent collection on display in a seasonal change environment has a set point with a bit more leniency between 59°-77° F

±4° F with seasonal +9° /-18°F. Most major museums have an electronic Direct

Digital Control (DDC) system, usually as part of a computer system that can change the environment within the museum by reprogramming the set points and fluctuation range on the computer.32

Air Movement and Outdoor Air

The quantity of outdoor air brought into a museum should be kept to a

minimum, since it is the outdoor air quantity that destabilizes the internal

environmental conditions. Carbon dioxide sensors that respond to the exhalations of

visitors in the galleries should be provided to control outside air dampers in the

HVAC units so that outdoor air quantities are minimized. A minimum of fresh air is

provided during unoccupied hours. Outdoor air supply rate that produces 0.2 AC/H

(air changes per hour) of ventilation air based on the volume of the space is

appropriate. Thermal gradients should be present because of stratification (when warm air rises and cold air falls) and because of the heat that the lights in the gallery 21 produce and the thermal influence of museum visitor’s body heat. The heat of visitors will also influence the moisture gradient directly. To lessen stratification and

provide frequent treatment of the air so that close control is possible, the number of

times the volume of air in the space should pass through the air handling unit should

be between six and eight times per hour, compared with the non-museum standard

of four to six times per hour.33

Air Cleanliness

Besides the need for control of temperature, RH and stratification, and

frequent air changes in the galleries, it is necessary to provide clean air. This may

prove to be especially difficult for museums located in the city or where sources of

air pollution are common. High efficiency air filters are required to test the air

quality. The following parts are recommended in the air filter bank for an art

museum:

A medium filter that is 85% efficient

An activated carbon bed filter providing gaseous pollutant removal of:

3 SO2 to < 1 µg/m

3 NO2 and HNO3 to < 5 µg/m

3 O3 to < 2 µg/m

Final filter that is 95% efficient to capture activated carbon dust

Light Levels

“Although it may be thought that an even higher or unlimited level [of light]

could be set for the relatively insensitive group of objects, in practice it is best to

control these to the 28 footcandle level because that is six times the level required

for the most sensitive objects, such as works on paper, and because the human eye 22 can most comfortably adjust to contrast within that six-fold range. Thus a drawing for a piece of stone sculpture could be successfully exhibited at five footcandles in

the same gallery as the sculpture at 28 footcandles.”34

Recommended Light Levels for Museum Exhibitions

Class of Objects Examples Light Levels Annual Exposure

Specially Sensitive Works of art on paper, textiles, 5 footcandles 11,150 footcandles feathers, dyed leather, felt pen per year ink drawings

Sensitive Oil + varnished tempra paintings 19 footcandles 46,470 footcandles all other organic materials per year

Relatively Insensitive Most stone, glass, ceramics, 28 footcandles N/A unpainted metal; inorganic materials

Table 4.1: Lord and Lord. The Manual of Museum Exhibitions, 2002. Table 5.7

Additional lighting standards to be used in conjunction with the standards listed

above:35

• Security lighting in areas monitored by close circuit television should be set at

0.5 footcandles at 3’ above the finished floor level.

• Ultraviolet radiation must be removed to at least < 75µ Watts/lumen, but

with contemporary filters, readings of < 10µ Watts/lumen are possible. To

ensure UV radiation totals are acceptable, the footcandle levels proposed in

table 5.7 must be maintained.

• The Correlated Color Temperature (CCT) of fluorescent and other discharge

lamps should be appropriate to other light sources in the exhibition space.

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• The Color Rendering Index (CRI) of fluorescent and other discharge lamps as

a minimum should be a rendering average (Ra) of 85, and rendered worst

(Rw) at 75. A CRI of 100 equals daylight.

Material Selection for Exhibition Galleries and Display Cases

Materials in contact with museum objects on display need to be chemically

stable so that they do not cause deterioration. The paints and wall and floor

coverings selection for an exhibition gallery need to be carefully selected for fire-

rating and zero or low off-gassing of harmful chemicals. It is especially important

that materials used in vitrines (enclosed display cases) be tested for off-gassing of

chemicals such as formaldehyde and other acidic compounds. Woods, such as oak,

are not recommended as display case materials for this reason. Not only do the case

construction materials need to be tested, the cloth used to line the case, the gasket

materials to seal the open portions of the case, stands and padding materials, and

any paint for varnish also must be tested. If the risk for contamination is high,

whether internal or external to the case, activated carbon can be provided within the

display case to absorb gaseous pollutants.36

CONSERVATION CONCERNS IN STORAGE

A storage facility is designed to exclude the ambient environment. Rapid fluctuations in temperature and relative humidity are particularly harmful to objects, especially those composed of organic materials. Organic materials undergo dimensional changes with fluctuation in relative humidity and temperature.

Generally acceptable temperature and relative humidity standards for most museum objects and artifacts is 65°-70° F at 47%-55% RH (relative humidity). Centralized climate control is the best method of controlling the environment in storage 24 environment. Incoming air is washed, cleaned, heated or cooled, adjusted to specific conditions, and then injected into the storage space. This is an expensive system but produces the best results in protecting the art pieces against the natural environment. Every collection should have a psychrometer for readings and calibration, a recording hygrothermograph for continuous measurements of temperature and humidity, and a small portable hygrometer for spot checks and case readings.

Lighting in storage, both visible and invisible, is damaging to most objects.

Both the level of illumination (footcandles) and the quality of light, or type of wavelength (uv to infrared) must be considered, especially UV rays because they are extremely damaging. The recommended footcandles in storage is 5 footcandles for highly sensitive pieces (textiles, watercolors, paper) and 15-20 footcandles for moderately sensitive pieces(oil paintings). Higher levels are acceptable for short times and no fluorescent lighting should be used. Fluorescents are a UV light and need to be filtered if used. Incandescent lights should also be limited because they generate heat and can create localized fluctuations in temperature and RH.

Proper art storage should be accessible, permit easy movement of objects, and be safe for both objects and people. The basic types of art storage include: cabinets, flat drawer files, bins, shelves, and vertical sliding racks. When using vertical sliding racks, the installation requires a space twice length of the hanging storage space. All storage should be built up at least six inches for flood and kick damage protection. Wood should be treated with an inert sealer to reduce the migration of acidic material. Wood is then lined with polyester sheeting (Mylar) or other. Storage should be padded with polyethylene (Etha-foam), cotton, synthetic felt, or similar. 37 25

LIGHTING ART

Three-Dimensional Art

Three-dimensional objects are perceived as a result of the relationship between highlight and shadow. The following lighting techniques are used in lighting art sculptures:38

• Concentrated beams create higher contrast and deeper shadows, emphasizing

form and texture. Frontal lighting, located 30° to 45° from the center of an

object in the horizontal plane and 30° to 45° from nadir in the vertical plane,

models objects in a manner that replicates sunlight.

• Lighting a vertical surface behind an object provides a luminous backdrop to

separate the object visually from its background.

• Lighting an object from the side as well as above gives dimension to the art

piece.

• Uplighting creates an ominous impression

• Backlighting leaves an object in silhouette

Paintings and Flat Works

Uniform illumination and non-uniform illumination are the two principal

methods for lighting paintings and flat works of art. Providing uniform light for all

vertical surfaces that will receive art gives prominence to the architecture; no

hierarchy is established among the individual works of art, allowing viewers to select

their one focus. Art pieces can be changed without adjusting the lighting equipment.

Providing non-uniform lighting focuses light on individual works while leaving the 26 surround in comparative darkness. This gives prominence to the art over the architecture, creating a more dramatic environment. When the art on display changes, the lighting equipment must be adjusted as well.

The placement of the light source depends upon the medium, surface texture, kind of frame, and enclosure (if any) of the object. For flat works on a vertical surface, the optimum location for a light source is usually at an angle greater than thirty degrees.39 When a space with non-uniform vertical surface illumination has frequently changing exhibits, a flexible lighting system, like track lighting, is appropriate. Tracks are used often in lighting exhibits because they are easy to locate and focus as needed.40

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Part Six: Art Surrounds You ______

The museum and exhibit world is changing and evolving with the onset of

new technologies, increasing competition for the audience, and the need to remain

fresh and relevant. People want more for their money and time, and local patrons

need a reason to return to the particular museum or exhibit. Museums are

reinventing themselves in response and are striving for a fully integrated master plan

that includes exhibits as well as revenue generators such as restaurants, retail

environments, and event spaces.

Gordon Bunshaft of Skidmore, Owings, and Merrill designed the Hirschhorn

Museum as a modern piece of sculpture on the National Mall. The Hirschhorn building

itself has become the iconic vision of the new image building and brand extension of

the Epoch Hotel and the reorganization of the museum with its addition. The ‘art

surrounds you’ brand that currently exists at the Hirschhorn will continue and be the

guiding force in incorporating the Epoch into the museum environment.

Branding and image building are becoming integral to the success of the

museum. The ‘art surrounds you’ brand extension will directly correlate with the

signage and environmental graphics of the Hirschhorn Museum. A museum’s brand

is the sum of all the experiences that visitors have with that institution. A successful

branding program integrates all levels of design so that each communication tool

reinforces the brand and creates the intended visitor experience.41

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These branding tools include:

• Advertising (magazines, visitor centers, airports) • Printed materials (direct mail, newsletters, handouts) • Website • Billboards • Enhancements to physical space (interior and exterior) • Film • Operational issues • Wayfinding and interpretive signage

Wayfinding is not only about signs; it’s about navigating though complex museum spaces and integrating all forms of visual communication. Wayfinding

components can include sculptures, landmarks or icons, special lighting effects,

architectural structures, materials and wall colors, technology, and video walls. In a

museum or exhibition environment, wayfinding should:

• Enhance the experience • Extend the brand • Mesh with the architecture, exhibit finishes, and graphic palette • Utilize appropriate communication tool for each message • Give information • Be flexible • Elicit an intended behavior42

It is critical to create connections between the various new and existing venues

within the Hirschhorn Museum experience when incorporating The Epoch Hotel.

Wayfinding and navigation will help create comfortable, engaging spaces. The

wayfinding system will be carefully designed to match the Hirschhorn’s ‘art surrounds

you’ brand and Modern atmosphere.

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Part Seven: The Epoch Hotel______

EPOCH HOTEL Square feet (of total)

Guest Suite # 1 single occupancy 700

Guest Suite #2 double occupancy 1000

Guest Suite # 3 double occupancy 1200

Guest Suite # 4 occupancy 3-5 guests 1700

Guest Suite # 5 occupancy 3-5 guests 1900

Guest Suite # 6 occupancy up to 5 guests - grand suite 2500

Hotel Lobby with reception and offices 2000

Private hotel guest lobby with PERCEPTION gallery 1000

Mondrian Restaurant + Modern dining rooms 3000

Food Services 2750

Bunshaft art library + research center with study collection 2250

Art conservation + restoration center with Calder Cafe 2000

Utopia Mini-Spa 2000

Business center 900

Miscellaneous hotel internal use 500

TOTAL 25400

Table 7.1: The Epoch Hotel Program

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EPOCH HOTEL LOBBY + RECEPTION

The modern and grand lobby at the Epoch Hotel invites the public and hotel guests into the new world of Modernism at the Hirschhorn Museum. With the addition of the Epoch Hotel, a new center of activity and wayfinding has evolved.

The hotel lobby will act as the hub of activities and new explorations awaiting hotel guests and visitors to the museum. Adorned with modern décor and art, the lobby features a mobile by Alexander Calder.

The reception area for the hotel is located in the lobby. The desk and office areas become part of the lobby’s design, mixing architectural and design elements into a seamless work of art. Here hotel guests are greeted and become orientated to the experience that awaits them. After guest-check in they are directed toward the

private hotel lobby that extends beyond the public lobby where their Epoch

experience begins.

EPOCH HOTEL GUEST LOBBY + PERCEPTION GALLERY

The private hotel guest lobby is located just off of the main hotel lobby and is

reserved for hotel guests only. This smaller lobby greets guests with an exhilarating

modern art welcome and the PERCEPTION art collection. PERCEPTION is an art experience for hotel guests that is located in the private guest lobby at the Epoch

Hotel. After guests check-in at reception, they are directed towards the hotel’s private lobby, which has a small collection of masterpieces from the Hirschhorn’s

31 modern art collection. Guests are invited to enjoy the private gallery setting to contemplate and appreciate the qualities of each individual work.

PERCEPTION was developed to incorporate the guests of the Epoch Hotel and

the Hirschhorn museum experience. While hotel guests are perusing the art in the

private gallery, a live video feed is being sent to an exhibition in the Hirschhorn

Museum where museum visitors watch the hotel guests perceiving the works of art.

The streaming video feed of the hotel guests perceiving the modern art becomes the

exhibited art form in the Hirschhorn Museum exhibit. Watching, in a voyeuristic

fashion, while art is being viewed is a beautiful and thought provoking experience.

The museum visitor will be aware as to which piece of art the hotel guest is viewing

and how long they have been engaged with that particular piece. The video

recording will show the visitors body posture, facial features, and unique forms of

their perception of the modern art. While the hotel guest remains relatively passive physically, their intellect and emotions are actively engaged. The transformative experience that the museum visitors will be seeing may show an enhanced appreciation of the meaning and qualities of each individual work of art by the hotel guest. While the hotel guests are contemplating the aesthetic experience that is simulated by the display of the art, the intent is for the individual to appreciate each piece in and for themselves and apart from the others around them.

GUEST SUITES

The Epoch Hotel’s guest suites will be the epitome of luxury Modern Design.

Each of the six suites will be designed around a particular combination of the

Hirschhorn’s art collection. Guest suites will have a modern art gallery feel and be furnished with high-quality furnishings inspired by the Modernist movement. Each

32 suite will have an open plan allowing interior spaces to be arranged with moveable partitions and glass walls creating ambiguous interior spaces.

The overall design of the hotel suites will incorporate Modern furnishings, art, and the elements of Modern interior design. These elements include:

• Walls painted in neutral tones of white, gray, or beige

• Walls are simple without moldings or embellishment

• Floors are natural elements of wood, stone, brick and cork that compliments

that open floor plan

• Abstract rugs can soften the linearity and add character

• Accents of organic forms and textures, natural object arrangements and glass

pieces, modern art and fabric patterns

• A contemporary, industrial lighting design with track lighting and recessed

lights

• Lighting for ambient human activity and to highlight art collection

• Lamps used to add interest and provide task lighting

• Luxury bathroom in all suites with open/European design

• Kitchenettes in all suites including dining areas in larger suites

Many of the furnishings in the guest suites at the Epoch Hotel are licensed reproductions from Knoll, Herman Miller, Cassina, and Design Within Reach. The floor plans are open with large storage systems that divide the space. All suites have a view of the interior courtyard of the Hirschhorn Museum and fountain from the large floor to ceiling windows along the interior ring of the existing museum structure. 33

RESTAURANT + MODERN DINING ROOMS

The Epoch Hotel’s Mondrain Restaurant and modern dining rooms are open to the general public and hotel guests. This intimate dining experience combines modern art and design with a distinctive cuisine. The Hirschhorn’s permanent collection will adorn the walls while sculptures are located amongst the dining tables.

Guests are encouraged to wander freely around the restaurant to explore the modern art collection. The works of art and restaurant design will seamlessly flow together creating an overall artistic dining experience.

The restaurant will only be open for dinner with reservations preferred. The

Modern dining rooms that are connected to the restaurant can be booked for special occasions. The private modern dining rooms can seat up to 12 guests. Each of the two private dining rooms will have a fully integrated design inspired by a traditionally

Modern style including: De Stjill in the Netherlands, Bauhaus in Germany, the middle-war era in the United States, Futurism in Italy, Purism in France, and

Suprematism and Constructivism in the former Soviet Union. Guests will be presented with a rare dining environment that is an all-encompassing experience in another time. An example of one of the modern dining rooms may be the Bauhaus inspired dining room with dining table and chairs designed by Marcel Breuer, art by

Paul Klee, Wassily Kandinsky, and table service designed by Hermann Gretsch.

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CONSERVATION AND RESTORATION CENTER WITH CALDER CAFE:

In the Epoch Hotel Conservation and Restoration Center, conservators maintain and preserve the Hirschhorn’s art collection. In their modern conservation practices, the conservators adhere to the principle of reversibility, which dictates that treatments should not cause permanent alteration to the object. Research in art history has relied heavily on 20th and 21st century technical and scientific advances in art restoration. The principal goal is the stabilization of the piece of art. All conservation procedures are documented and are as reversible as possible. All alterations are clearly distinguishable from the original object or specimen. The conservators at the Hirschhorn Museum carry out the technical analysis and treatment of the works of art. They routinely use chemical and scientific analysis for the examination and treatment of art pieces. The modern conservation lab uses equipment such as microscopes, spectrometers, and x-ray machines to better understand and assess objects and their components.

Interventive Conservation refers to any act by a conservator that involves a direct interaction between the conservator and the cultural material. These interceptive treatments involve the cleaning, stabilizing, repair, or replacement of parts of the cultural material. In 2006, The International Council of Museum Ethics stated that it is essential that the conservator fully justify any such work, as well as fully documenting the work before, during, and after the treatment.

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In the reorganization of the Hirschhorn Museum, in conjunction with the

addition of the Epoch Hotel, the painting conservation lab will relocate to the third

floor of the Epoch Hotel. The Hirschhorn staff will have access to the lab through the

museum. It will be comprised of two areas, one that is on view to the public. Hotel

guest and museum visitors can watch the daily activities of art conservation and

restoration lab through a sealed glass enclosure that separates the public and lab

areas. The conservators will also have a private area attached to the glass enclosed

lab that is not on view to the public.

The Calder Cafe will occupy the public space of the conservation and

restoration center. It will be open to the public, including hotel guests, for limited

hours of operation. The food service area will have direct access to the restaurant

for staff by means of one food services area on the third floor of the Hirschhorn. The

food services area provides the food for all areas of the museum. The restaurant will

have a coffee and tea café, spirits bar, and a seating area with table service. The

open restaurant layout provides an unobstructed view of the glass enclosed

conservation lab.

On certain days between 5 and 6pm, hotel guests will have a unique

opportunity to interact with the staff at the conservation lab. Though the hotel

guests will remain on the pubic side of the glass enclosure, staff members will show

one art piece that is currently being worked and lead a discussion about it. The

conservator giving the lecture may be on the public side of the glass enclosure, while

a painting is on display in the lab for guests to see.

UTOPIA MINI-SPA

The Utopia Mini-Spa at the Epoch Hotel is a unique spa and wellness center that fuses therapy, nature, and Modernist art. Utopia is an environmentally friendly

36 spa that uses 100% organic products in its services and incorporates the use of fresh flowers, fruits, herbs, and essential oils for their natural healing qualities. Much like nature, the design of the Utopia Spa is based on the principals of harmony and balance. Utopia invites renewal, relaxation, rejuvenation, beauty, and well-being through its unique spa services and design. The spa brings together elements from nature to the indoors creating a relaxing, eco-friendly, and sustainable environment.

The Utopia Spa is open to the public by appointment only. The spa also offers special therapy treatment for hotel guests in the privacy of their suite. A private exercise and fitness area for hotel guests, as well as a Jacuzzi and sauna are attached to the spa. Hotel guests can directly access the exercise room from the hotel’s private hotel guest lobby and may continue through to the Epoch Spa. Non hotel guests can access the spa through the main hotel lobby. The Utopia Spa will feature art pieces from the Hirschhorn collection that reflect the Modernist ideas of incorporating nature into art, design, and everyday life. These art pieces will then lend to the design elements of the spa incorporating nature and environmentally inspired products. Utopia exemplifies the merging of organic ideals and Modernist design. “Modernism is implicated in the development and dissemination of the healthy body culture; in just the same way as the healthy body culture informed the development of Modernism”.43 The Utopia Spa design incorporates natural elements

including molded and bent plywood, natural stone, and recycled and reclaimed

materials.

BUNSHAFT ART LIBRARY AND RESEARCH CENTER WITH STUDY COLLECTION

The Bunshaft Art Library and Research Center is accessible for hotel guests

and Hirschhorn staff only. This area is a magnificent resource for the arts. The walls

are lined with book shelves displaying art books. Hotel guests can relax and unwind 37 after a day at the museum with a book about their favorite artist at the Hirschhorn or get the latest trends from art and design magazines. The Art library also holds the Hirschhorn’s collection of research materials that hotel guests may request access to.

The ‘Open Access’ study collection is an outreach program designed to create a relationship between the Hirschhorn’s docents and volunteers, art handlers, and

Epoch Hotel guests. This area of the hotel permits hotel guests to go behind the scenes of the Hirschhorn’s art collection. Only a small portion of the Hirschhorn’s art collection is on display for the public to see. At Open Access, art handlers will guide hotel guest and Hirschhorn docents and volunteers to the open access storage area that contains a vertical sliding study collection and reserve collection (figure 7.9).

The storage area is under secured protection but allows hotel guest to get a close look at some of the collection that is not on display to the public. The Open Access collection was created to allow visitors to comfortably search for answers to their own questions regardless of the importance placed on such questions by others.

Unfettered browsing of objects will be the main organizing motif used to facilitate visual access. The technique of a visible storage installation is used as an educational tool for the Hirschhorn’s docents and volunteer. Hotel guests are invited to interact with the docents and volunteers in the lounge area of the art library and research center.

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Part Eight: Typologies______

TYPOLOGIES: HOTELS, MUSEUMS, AND EXHIBITS

This section explores the creative implementation of three typological categories of design projects that have been helpful in creating the Epoch Hotel. The journey towards understanding the concepts behind combining an art gallery/museum experience with a hotel was enlightening. No similar project to this scale was found within researching, thus a combination of methods and creative ideas from a variety of resources was applied. The following are the typological studies used in creating the Epoch Hotel:

• 21c Hotel and Museum • Orbit In • McMenamin’s Kennedy School • Hotel Fox • Revolving Hotel Room: Guggenheim Museum • Modernism: Designing A New World 1914-1939 Exploration Gallery • John Soane Museum

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21C MUSEUM HOTEL

700 West Main Street Louisville, KY 40202 Phone 502-217-6300 Fax 502-217-6301

The 21c Museum Hotel is a 90-room hotel dedicated to world class luxuries,

Southern-style hospitality, and contemporary art from living artists. Located in the historic West Main Street District of downtown Louisville, Kentucky, the 21c Museum

Hotel features 9,000 square feet of exhibit space that showcases contemporary 21st century art. Artwork can also be viewed in the hotel’s restaurant Proof on Main. In the words of one reviewer, “Shocking photographs in the restaurant, Chuck Close tapestries in the rooms, red plastic penguins in the atrium gallery - in Louisville, KY, the new 21c puts the ‘hot’ in ‘art hotels’.”44

Steve Wilson, the creator behind the 21c Museum Hotel, conceived the hotel

as an actual art institution. Nearly three-quarters of the paintings, sculpture, photos,

and video installations at 21c are part of Wilson’s personal collections, valued at

more than $10 million. All of the works on view at 21c are produced by living artists,

thus the hotel’s name.45

The 21c Museum Hotel is one of the closest typological examples found in

exploring the concept of merging a hotel and art museum. The hotel uses

contemporary art as its strongest amenity creating a feeling of opulence, desire, and

partial ownership of major contemporary art pieces. These ideas are developed 40 further in Epoch Hotel, where art is no longer a hotel amenity, but the driving force in its existence.

Figure 8.1: Photo collage of the 21c Museum Hotel

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ORBIT IN

562 W. Arenas Palm Springs, CA 92262 Local Phone: (760) 323-3585 Fax: (760) 323-3599

Built in 1957 and renovated in 2001, The Orbit In features mid-century designed guest suites, each named and decorated according to a theme, including the Eames Studio, the Rat Pack Suite, and Bertoia’s Den. Guests stay in rooms with furniture by the leading designers of the time, including Eero Saarinen’s Womb

Chair. The Orbit In was designed by Herb Burns, a Modernist architect known as the first designer-builder to introduce Palm Springs to the ultramodern motor court inn.

The Orbit In features large studio-style rooms arranged around a central U-shaped courtyard with a salt-water pool in the middle.

In 2001 the renovated Orbit In reopened the property that began life as a classic 1957 roadside motel. Today the hotel serves as a concept tribute to Modernist design. Each guest room has a private walled-in back patio, crisp white enameled kitchenettes that have been fitted out with Melmac dinnerware, and the original pink-on-pink tile bathrooms that have been fully restored.46 The Orbit In is an excellent example of a complete environmental recreation of a previous time. The hotel was chosen as a typological study for the Epoch Hotel because of its attention to mid-century modern details in the design, preservation, and recreation of the architecture of the time. The Orbit In is like stepping back in time, a feeling that will resonate in the Epoch Hotel.

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Figure 8.2: Orbit In living area

Figure 8.3: Orbit In lounge

Figure 8.4: Orbit In kitchen

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MCMENAMIN’S KENNEDY SCHOOL

5736 N.E. 33rd Avenue Portland, OR 97211

The Kennedy School is a historic 1915 elementary school turned hotel in 1997 when it was renovated by The McMenamin’s Hotel Group. This unique hotel offers 35 classrooms that have been turned into guestrooms (complete with original

chalkboards and cloakrooms), an array of artwork, an outdoor soaking pool, the

Courtyard Restaurant, and a brewery (originally the girls’ bathroom with pink tiles

still intact) where handcrafted microbrews are made. The Kennedy School shows

movies in the old auditorium that is now fitted with comfortable old couches and

chairs. Several small bars and lounges including the Detention and Honor Bar serve

both visitors and hotel guests. Extensive original art work spans the hallways and

offers a glimpse into the past creating a virtual museum within the building.

“Remember when the worst thing you could imagine was being kept after class? My, how things have changed! At Kennedy School, you’ll never want to leave. Here you may chew gum, laugh out loud, and even pull that special someone’s pigtails (as long as they approve, of course!), take a nap in class, enjoy an aged whiskey and a cigar in detention, and enjoy a movie in the old auditorium. The possibilities here are endless”.47

I visited the Kennedy school in the spring of 2008 while in Portland, OR on recommendation for a former interior design student at the Corcoran College of Art +

Design. This non-traditional style hotel and community center has served as an inspiration in the development of the Epoch Hotel. It is a creative, adaptive reuse project that has brought a new life into a deteriorating historical building.

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Figure 8.5: McMenamin’s Kennedy School, exterior

Figure 8.6 Kennedy School, interior hallway

Figure 8.7: Kennedy School, guest room

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HOTEL FOX

Jarmers Plads 3 DK-1551 Copenhagen V Denmark

For the launch of the new Volkswagen Fox 21, international artists from the fields of graphic design, urban art, and illustration turned Hotel Fox in central

Copenhagen into the world’s most exciting and creative lifestyle hotel. Each of the

61 rooms is an individual piece of art from 21 different artists. This hotel has a very unique story, but it is the outcome of its background that is the driving force behind incorporating the ideas of the Hotel Fox into those of the Epoch Hotel.

“In November of 2004, hotel owner Hans Brocher received a mysterious phone call from Germany. The caller asked Brochner “whether he would be prepared to close his hotel immediately and throw out all the furniture. A group of about three dozen artists from all over the world would then fly in to redecorate the whole place, each according to their individual tastes. Lurid, garish stuff, probably, graffiti frescoes on the ceilings, cartoons and comics scrawled all over the walls and doors is what it would probably look like, although no guarantees of course, because there was no telling what the artists would be inspired to do once they got going. But that was the point of the whole venture, anyway. And then, of course: an entire new staff would be trained and sent to Copenhagen to look after selected guests who would be staying in the revamped hotel for a couple of weeks. Then the whole troupe would vanish, the hotel would be handed back to him, but the new name and the room prices would stay fixed. The decision, the caller continued, would have to be taken immediately as it was an extremely urgent matter. Any questions?

Hans Brochner was not the only hotelier whom the caller approached with the unusual proposal to let strangers turn their place upside down. Most of his colleagues refused to meet the caller or discuss the project in any detail but Brochner, an old hand in the hotel industry, was interested as the caller had insisted that this was a project run by Volkswagen, Europe’s biggest automobile manufacturer. The Wolfsburg-based company was in desperate search for accommodation for approximately 800 journalists who would be coming to Copenhagen in spring 2005 for the presentation of the new Volkswagen Fox. Instead of booking them into traditional first-class accommodation, the plan was to find accommodation with an atmosphere that matched the image of the new car. And since such a place didn’t exist, it would have to be built, and fast!”48

Figure 8.8: Hotel Fox, artists working on room installations

46

Figure 8.9: Photo collage of guest rooms at the Hotel Fox

47

REVOLVING HOTEL ROOM, GUGGENHEIM MUSEUM

The Guggenheim’s 2008 exhibit theanyspacewhatever features artists who

like to ‘claim the exhibition as their medium’. In Carsten Höller’s Revolving Hotel

Room, guests can stay over at the museum by sleeping in an art installation

comprised of four stacked glass discs supporting a bed, table and chairs, and

shelving unit, which slowly rotate in concert. While the room has no walls and no

room service, it does have the best hotel art ever seen. The Guggenheim website

states that guest will have access to a bathroom and shower and will be provided

with towels, robes, slipper, and other bath amenities to make their stay comfortable.

There is a continental breakfast, and guest will be able to wander the rotunda all

night long should they so choose.49

During the day, Belgian-born Höller’s installation, Revolving Hotel Room spins for spectators of the museum in theanyspacewhatever exhibit, but after normal

museum hours, the accommodations are available for a single or double occupancy

sleepover. The Waldorf-Astoria is working with the Guggenheim to provide luxury

amenities. From October 25, 2008 through January 6, 2009, guests can take part in

a once-in-a-lifetime opportunity to spend the night in one of the worlds’ most

distinguished museums.50

Almost a month into the creative development of The Epoch Hotel, a

colleague told me of a hotel at the Guggenheim Museum in New York. I immediately

investigated, curious to find an example of what I was striving to execute. Though

this exhibit had little to do with the design of an actual hotel, the idea of staying in

an art museum came to reality. Holler’s art exhibit brought his hotel guests into the

world of the museum. Guests could share an experience in which they belonged in

the exhibit at the Guggenheim, much like a painting or sculpture. This is the feeling I

48 wish to emulate at the Epoch Hotel. Guests should feel part of the art, because they are meant to be there experiencing it while becoming part of the exhibit itself.

Figure 8.10: Guggenheim Museum, New York City, NY

Figure 8.11: Carsten Holler’s Revolving Hotel Room installation

49

MODERNISM: DESIGNING A NEW WORLD

The Corcoran Gallery of Art was the host for a large traveling exhibition,

Modernism: Designing a New World, 1914-1939, during the winter and spring of

2008. The Modernism exhibition was curated and originally exhibited at the Victoria and Albert Museum in London, England. A selection of interior design Master’s of Art students at the Corcoran College of Art + Design worked as interns with the exhibition department at the Corcoran Gallery. I was one of the interns working on the planning, designing, and implementation of the exhibit. I was also very fortunate

to help in the development of the Exploration Gallery with the Dean of Education.

The Exploration Gallery was created to invite museum visitors to interact in, and thus

better understand, the Modern world.

Gallery 14 was the site of Modernism’s Exploration Gallery. Though a small

space, it was like stepping into the time of Modernist design. Museum guests could

sit in the furniture that they had seen in the galleries (only they were reproductions

mostly from Design Within Reach), and read magazines of the time while listening to

radio broadcasts of early baseball games. The education department at the Corcoran

received so much good feed back about the Exploration Gallery, one person referring it to the “petting zoo of the museum”. Visitors enjoyed being able to explore the designed environment that surrounded them; not only as an educational tool, but as a new way to experience art.

Working as an intern on the Modernism exhibit was the greatest influence, and preeminent guiding force in the Epoch Hotel. Below are original photos of the interior of the Corcoran Gallery 14 Exploration Gallery.

50

Figure 8.12: Modernism Exploration Gallery

Figure 8.13: Modernism Exploration Gallery

51

Figure 8.14: Modernism Exploration Gallery

Figure 8.15: Modernism Exploration Gallery

52

JOHN SOANE MUSEUM, LONDON ENGLAND

The architect Sir John Soane’s house, museum, and library at No. 13 Lincoln’s

Inn Fields has been a public museum since the early 19th century. Soane demolished and rebuilt three houses in succession on the north side of Lincoln’s Inn Fields in

London between 1792 and 1824. On his appointment as Professor of Architecture at the Royal Academy in 1806, Soane began to arrange the books, casts and models in order that the students might have the benefit of easy access to them. Soane proposed opening his house for the use of the Royal Academy students the day before and the day after each of his lectures. By 1827, when John Britton published the first description of the Museum, Soane’s collection was being referred to as an

‘Academy of Architecture’.

In 1833 Soane negotiated an Act of Parliament to settle and preserve the house and collection for the benefit of ‘amateurs and students’ in architecture, painting and sculpture. On his death in 1837 the Act came into force, vesting the

Museum in a board of Trustees who were to continue to uphold Soane’s own aims and objectives. A crucial part of their brief was to maintain the fabric of the Museum, keeping it ‘as nearly as circumstances will admit in the state’ in which it was left at the time of Soane’s death in 1837 and to allow free access for students and the

public to ‘consult, inspect and benefit’ from the collections. Since 1837, each

successive Curator has sought to preserve and maintain Soane’s arrangements as he

wished. However, over the years changes have been made and the recent Five-Year restoration program sought to restore Soane’s arrangements and effects where they had been lost.51

53

Figure 8.16 John Soane Museum interior

54

Figure 8.17 Interior detail of Soane house and museum

Figure 8.19 Soane’s collection displayed

Figure 8.18 Soane library

55

Part Nine: Concept Model + 9x9______

At the beginning of the 2008 fall semester, the first assignments were to create a 9”x9” concept image and a three-dimensional concept model of the proposed thesis project. The concept image and model served as an inspiration and guiding direction throughout the thesis process.

During the creation of the concept model, a site had not been chosen for the location of the Epoch Hotel. The idea of finding a site that would symbolize modern design and be a space readily available to accept such a project was ideal. Not long after creating the Epoch Hotel’s concept model was the Hirschhorn Museum chosen for the proposed site. The current Hirschhorn brand of ‘art surrounds you’ ties together the concepts of creating an all encompassing modern art environment through the combination of hotel and art museum.

The 9x9 image was developed through the study of the existing architectural structure of the Hirschhorn Museum, modern art and design, and the creative implementation of modern concepts in a contemporary world.

56

Figure 9.1: Epoch Hotel concept model – interior view, Jessica Cannon

57

Figure 9.2: Epoch Hotel concept model- top view, Jessica Cannon

Figure 9.3: Epoch Hotel concept model, Jessica Cannon

58

Figure 9.4: Epoch Hotel 9x9 concept image, Jessica Cannon

59

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HHIRSCHHORNIRSCHHORN MMUSEUMUSEUM + SSCULPTURECULPTURE GGARDENARDEN SSMITHSONIANMITHSONIAN IINSTITUTIONNSTITUTION - WWASHINGTON,ASHINGTON, DDCC

JOSEPH H. HIRSCHHORN MUSEUM + SCULPTURE GARDEN COMPLETED: 1974 ARCHITECT: GORDON BUNSHAFT OF SOM

DESIGNED AS A LARGE PIECE OF SCULPTURE ON THE NATIONAL MALL ARCHITECT FOLLOWED MODERNIST IDEALS- A BUILDING’S DESIGN IS BUILT AROUND ITS FUNCTION BUILDING + WALLS SURFACED WITH PRECAST CONCRETE OF AGGREGATE GRANITE BUILDING DIAMETER: 231’ INTERIOR COURT DIAMETER: 115’ FOUNTAIN DIAMETER: 60’ BUILDING IS 82’ HIGH, ELEVATED 14’ ON FOUR MASSIVE, SCULPTURAL PIERS 60,000 SQUARE FEET OF EXHIBITION SPACE ON THREE FLOORS 197,000 SQUARE FEET TOTAL OF EXHIBITION SPACE, INDOORS + OUT- DOORS 2.7 ACRES AROUND + UNDER THE MUSEUM BUILDING 1.3 ACRE SCULPTURE GARDEN SUNKEN 6-14’ BELOW STREET LEVEL SECOND AND THIRD FLOOR GALLERIES HAVE 15’ HIGH WALLS WITH 3’ DEEP COFFERED CEILINGS FORTH FLOOR INCLUDES OFFICES + STORAGE

EPOCHHOTEL JOSEPH H. HIRSCHHORN MUSEUM + SCULPTURE GARDEN SSITEITE + CCONTEXTONTEXT EPOCHHOTEL HIRSCHHORN MUSEUM + SCULPTURE GARDEN

INDEPENDENCE + 7TH STREETS, SW WASHINGTON, DC 20004

POINTS OF INTEREST:

5 LUXURY HOTEL SUITES CONSERVATION + RESTORATION CENTER WITH CALDER CAFE BUNSHAFT RESEARCH LOUNGE + STUDY COLLECTION MONDRIAN RESTAURANT + MODERN DINING ROOMS UTOPIA MINI-SPA PERCEPTION: HOTEL GUEST LOUNGE + ART GALLERY GUEST SUITES DISPLAY HIRSCHHORN COLLECTION OCCUPIES 3RD FLOOR OF EXISTING HIRSCHHORN MUSEUM INTERIOR DESIGNED FOLLOWING THE FORM OF THE BUILDING AND THE FUNCTION OF ITS COMPONENTS A NEW/SEPARATE ENTRANCE CREATED FOR DIRECT ACCESS TO HOTEL FROM EXTERIOR STREET LEVEL

A GREAT EPOCH HAS BEGUN. THERE EXISTS A NEW SPIRIT. LE CORBUSIER, 1923

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ESCALATOR N EPOCHHOTEL JOSEPH H. HIRSCHHORN MUSEUM + SCULPTURE GARDEN 33RDRD FFLOORLOORSCALE PPLAN L1/8”=1’AN A

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