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Uva Capital Project Process UVA CAPITAL PROJECT PROCESS University of Virginia DESIGN GUIDE & MATERIAL PALETTE August 2005 Amended: 2009, 2011, 2013 Office of the Architect for the University of Virginia 2005-2006 FOREWORD UNIVERSITY OF VIRGINIA DESIGNGMust every single building on Grounds be made of red brick? In a way, this Design Guide is the result of addressing this deceptively simple question. The question – and its many variations – essentially challenges whether Jeffersonian Classicism is still the most appropriate model for present – day architectural projects at the University of Virginia. While a full and reasoned response would undoubtedly fill a bookshelf on the subject, let us begin for the moment with just a few points. First, while red brick is, in fact, a dominant building material of the University, there are many other factors that contribute to the unified richness and singularity of the architecture of the Lawn. These factors include the use of basic geometries underlying the characteristic forms, a disciplined relationship of solid to void in the massing of the buildings and the disposition of their facades, an identification of basic structural principles, and a studied execution of architectural details. These are the foundations of the design. In addition to design, a signature space that is compelling in its form and complete in its function it should never be simply a matter of orchestrating grand flourishes of materials into the de- sign. Jefferson’s architecture, for example, is full of subtle nuances that add, at times imperceptibly, to the greatness of the whole. For the whole to be greater than the sum of its parts, an architect must skillfully connect each piece of the design, create multiple layers of depth, and detail and incorporate the entire ensemble sympathetically into both the overall plan and the landscape. This is the experi- ence of the site. Finally, with a clear knowledge and respect for the past, architects are better prepared to address present conditions and anticipate future concerns. Materials and building methods specific to the region, local environmental conditions and the architectural legacy of a given place all bear upon the final design and its sustainability. Architects should be encouraged to design in a way that suitably compliments the established order, rather than naively challenges it. Environment, materi- als, patterns, colors and history: they are the resources of the place. Three themes – Foundations, Experiences, and Resources – form the framework of this Design Guide. The guide is not intended as a restrictive mandate for design. One will not find a long list of “do”s and an even longer list of “absolutely do not”s. Rather, the Office of the Architect presents this Design Guide to inform and inspire design architects and others interested on how to best contribute to the continuing architectural legacy of this University. The question posed at the top will remain without a direct answer on these pages. However, that is not to say the question will remain unresolved. The text and images which follow provide a clear sense of direction to its resolution. The leap to the final response, is up to each individual reader. The answer each architect arrives at in close collaboration with the Office of the Architect will reflect both an understanding of the architectural legacy of the University of Virginia and a belief in how to best carry on those traditions in our own time. David J. Neuman, FAIA Architect for the University August 2005 TABLE OF CONTENTS DESIGNGUIDELINESUNIVERSITY OF VIRGINIA OFFICE OF THE ARCHITECT FOREWORD FOUNDATIONS 07 Geometry 09 Massing 11 Openings 13 Articulation EXPERIENCES 17 Connectors 19 Layers 21 Building Landscape RESOURCES Building Materials and Other Issues 25 Brick 27 Stone 29 Wood 31 Slate and Metal 33 Glass and Glazing 35 Environmental 37 Historical Addendum: “Architectural Zones of Influence” - 2009 APPENDICES 1) Buildings & Grounds Committee Charge, Capital Project Process Chart 2) Project Steering Committees 3) Virginia Art & Architectural Review Board (AARB) 4 FOUNDATIONS FOUNDATIONSUNIVERSITY OF VIRGINIA OFFICE OF THE ARCHITECT ESSENTIAL GEOMETRY FORM / MASSING OPENINGS / VOIDS ARTICULATION The University of Virginia was begun under the idea that education would maintain democracy to an emerging na- tion. The Academical Village was designed as a place where students and professors, could learn, work, and live together. There are many factors that contribute to the unified richness and singularity of the Lawn architecture and landscape. The use of basic geometries underlying the characteristic forms, a disciplined relationship of solid to void in their massing, the disposition of their roofs and facades, and a studied execu- tion of architectural details are the foundations of the design. 5 FOUNDATIONSESSENTIAL GEOMETRY Jefferson’s design of the University of Virginia relied heavily on classical tradition and precedent. Inspired by the work of Palladio, this University expresses a clear, bold geometry. Much of his building inspiration came from ancient Rome; e.g., the diameter of the Rotunda is half of the diameter of the Pantheon. Like Palladio, Jefferson adapted ancient practices, putting them into service in his place and time. This style, known as “Jeffersonian Classicism,” as he embraced both Roman architectural notions and republican ideals, through the lens of the Eighteenth Century Enlightenment. 6 ESSENTIAL GEOMETRY UNIVERSITY OF VIRGINIA OFFICE OF THE ARCHITECT FOUNDATIONS The Academical Village design sets forth a clear plan geometry and a sense of rigid organization yet, upon closer inspection, it is flexible and uniquely idiosyncratic. There is symmetry to the Pavilion facades and at the same time a uniqueness, in scale and detail, to each individual building. The buildings and plans use the organization and geometries of classicism - the shapes of circles and polygons in defined relation to one another - yet still incorporate the eccentricities of the IX parterre and the dramatic west to east camber of the site. In addition, while eight of the ten Pavilions are taken directly in inspiration and proportion from classical examples, Pavilions IX and X are clearly Jefferson’s interpretation of then contemporary French architecture. X IX X 7 In American campus planning, the University of Virginia is the paradigm. The University’s neoclas- sical plan and form is a legacy of Thomas Jefferson’s embrace of Enlightenment principles and Palladian concepts; and his passion for design. David J. Neuman, FAIA Architect for the University FOUNDATIONSFORM AND BUILDING MASSING Simple, basic geometries are the foundations of the Lawn’s characteristic forms. These thoughtfully ordered elements help contribute to the unified whole and yet, paradoxically, also to the rich singularity of the architecture. Regardless of ornamental detail, the buildings of the Academical Village all have clear massing and form, including roofs, ranging from the Rotunda’s dome to a variety of hip, gable and flat roof designs. There is a strong sense of harmony achieved by a refined and balanced system of proportion in the building forms. The most successful show a clear understanding of Palladian and earlier classical traditions, and tend to possess a clear unison of base, middle, and top, when seen in elevation. In some cases, the base is accented by subtle changes in brick coursing; in the South Lawn McKim, Mead & White buildings by a distinct material change. 8 MASSING FOUNDATIONSUNIVERSITY OF VIRGINIA OFFICE OF THE ARCHITECT 9 FOUNDATIONSVOIDS AND SOLIDS - WINDOWS AND DOORS There is a clear and disciplined relationship of solid to void in the buildings of the Academical Village. Without exception, solid-surfaces are present more than windows, creating buildings that have density and mass, rather than transparent facades. Openings have a distinct, strongly vertical geometry and are placed within the wall, following clear geometric relationships, mostly symmetrical. Openings are layered, one upon the other as in colonnade to Pavilion fenestration, and coupled with similar patterns of solid to void as in the relationship of window and door openings to wall surfaces. In many cases, operable shutters add to this layering and vertical accent. EAST RANGE DOOR ROTUNDA COLONNADE PAVILION VIII 10 OPENINGS FOUNDATIONSUNIVERSITY OF VIRGINIA OFFICE OF THE ARCHITECT VERTICAL ORIENTATION OF WINDOWS LAYERS HOTEL D 11 FOUNDATIONSSCALE, DETAILS, AND GEOMETRY The finer grain elements of the Lawn composition again recall Palladian tradition. Details and patterns are also layered and articulated in a clear geometric relationships; they are simple and restrained and provide a human scale to the Lawn. The column capitals found on the temple-fronted pavilions and other details, such as moldings and railings, are each a unique and studied interpretation of ancient or Palladian models. Brickwork patterns, from Flemish bond to the bases and arch details of the Ranges, add to this detail with scaling devices. SCALE OF ORNAMENTAL DETAIL 12 ARTICULATION FOUNDATIONSUNIVERSITY OF VIRGINIA OFFICE OF THE ARCHITECT PAVILION IX RANGE WALKWAYS 13 14 EXPERIENCES EXPERIENTIALUNIVERSITYUNIVERSITY OFOF VIRGINIAVIRGINIA OFFICEOFFICE OFOF THETHE ARCHITECTARCHITECT LAYERS CONNECTORS BUILDING LANDSCAPES Designing a signature space that is compelling in its form and complete in its function should never be simply a matter of orchestrating grand flourishes of materials into the design. Jefferson’s, and later Stanford White’s, architecture is full
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