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LAGUNA GLORIA ART MUSEUM

Presented to Robert Lima Assistant Professor Division of Architecture Texas Tech University

In Partial Fulfillment of the Requirements of the Bachelor of Architecture Degree

Jaye Stephens December 10, 1982 T^ Table of Contents

r 1 PROJECT STATEMENT 3 GOALS AND OBJECTIVES 4 BACKGROUND History 5 Recreation 8 Performing and Visual Arts 9 Economic Situation 18 Footnotes 23 25 ACTIVITY ANANLYSIS Museums in General 26 Composition of the Art Audience 28 Behavioral Patterns 30 Laguna Gloria Art Museum Jk Art-Viewer Activities 4o Reception Activities 4? Logistic Activities 50 Coordination Activities 53 Footnotes 57 59 SITE ANALYSIS Demographic Analysis 60 Natural Features^ 63 Soil Conditions 66 Climatic Data 68 Urban Micro-Climate 71 Land Use 73 Growth of the City 75 Vehicular Traffic 79 Pedestrian Traffic 90 Existing Elements 95 Footnotes 105 106 SPACE SUMMARY General Public Services 108 Administration 110 Art Handling 112 Service II3 Summary II3 114 DETAILED SPACE LIST General Public Services 116 Adrainistration l47 Art Handling 170 Education 178 Service 181 186 SYSTEMS PERFORIVIANCE CRITERIA 203 COST ANALYSIS 208 APPENDIX List of Figures 209 List of Tables 210 Bibliography 211 Data Survey 2l4 Case Studies 221 Laguna Gloria Art Museum in Austin has occupied since 1960 a Meditterranean style villa on Lake Austin built in 1916 by Clara Driscoll Sevier as a vacation home for her- self and her husband. "^he loc£.tion is one Stephen F. Aus- tin had intended for his home, on the Colorado Piver at the foot of Mount Bonnell. Although the site ^s beauti-ful, to get to it, one must follow west 38th Street to the very r^.ri., winding up in th'S secluciedl, remote spot. The road is ^ot by any means an easily accessible or well-trave]ed artery. Indeed, it is surrounded by residential developments and acroF^s the street is Austin Country Club. The need to move was first identified when ther^ was no more room for the exhibits, much less the very srrall per inan- ent collection to be shown, and they had to move some of t].r exhibits to the First Federal Savings and Loan in the central business district to 14,000 square feet of space the Sav'ngs and Loan donated temporarily. They had to rent the UOC-5CO seat auditorium at the United Bank in downtown Austin to show their film series. This non-building alternative is not sat- isfactory. It breaks up the collections and does not encourage the donations that the muoeum needs. Laguna Gloria Art Museum has approximately 5.000 squa^^ feet of gallery space in it's home on Lake Austin, which is highly unusual for a mur^eum with a larger budget than any non-state funded museum in 3 Austin. The Laguna Gloria Art Museum has the oppo^tunity to become a strong, integral part of the city and population of Austin, given the right location and enough room for it's activities. GOAL: * to provide a pleasing, appropriate environment for display- ing modern and regional art in Austin that will be easily accessible to its audience OBJECTIVES: * design appropriate space with the required environment for art, flexibly designed in order to create a variety of spacial arrangements, with theft and fire-proof systems. * take advantage of the pedestrian traffic going by the site, figure out people's phychological aesthetic understanding of building forms * arrange interior spaôés sô activities can be Conveniently . accomplished and design exterior spaces for public use * take advantage of good views í An TMA J t "1 APT" AUSTIN /-|.i\i TÍ;XAS ' 1 'viuacuivi I I 1 ^ ^ r HISTORY- Travis County Travis County was formed in 1840 from Bastrop County and was formally organized in 1843. It was named for William B. Travis, the commander of the Texans at the Alamo. Settlement had actually begun about ten years earlier and by 1839 Austin had been laid out and the first capitol of Texas built. Indian raids, buffalo hunts, and the establishment of state govern'^ent were of primary interest at that time. Most parts of the county were settled on the prairies around Manor, Pflugerville, Cele, Elroy and Littig between 1850 and I894. They settled in the hill country in the vicin- ity of Bee Caves, Oak Hill, Cedar Valley and Manchaca between I867 and 1882. Some settled in the bottom lands of the Color- ado River in the vicinity of Webberville and Garfield by I837. See Figum 1.

CeAojrVoii^ ui^Hj, A*fsnH • Mounor \. /

YA^c)f\c^oi>^» mSiWo>f T'I^A^/IS COUKTY Fig. 1 HISTORY- The City The city of Austin was a product of a young and somewhat unstable Republic of Texas. Named for St«=phen F. Austin, the "Father of Texas," it had earlier been established by Gen. Ed- ward Burleson in 1835 as the town of Waterloo, viith Jacob Har- rell's trading post on the northern bank of the Colorado form- ing the nucleus of the tiny settlement. While hunting buffalo with Mr. Harrell, Mirabeau Lamar became favorably impressed with the area, citing it's "well-watered" climate and the ava:l- ability of buiiding materials as two of it's more advantageous features. By 1839 Austin had been declared the capitol of the Republic by an act of Congress. President Lamar appointed Judge Edwin Waller, later the first mayor of Austin, to oversee the surveyino- of Austin and the construction of its first building. Setting up camps around Waller Creek, Waller's surveying teams worked under the threat of Indian raids, and two of his men were scalped in such an at- tack. The men were buried on the east side of 7/aller Creek be- tween 9th and lOth Streets, the city's first cemetary. Waller superimposed a grid over the hills of Austin, laying out the city between Shoal and Waller Creeks, withthe Colorado River as its southern and 15th Street as its northern boundaries He stipulated that all the north-south streets be named for Texas rivers and all the east-west streets for Texas trees. Lots were auctioned off in 1839. with the highest blds going for land at 6th and Congress.-'See Figure 2, next page. 3D 1839 MAP OF AUSTIN ET

^ffi T -rl»//// 1

Fig. ^ Plan of Tf e CÍXy oT Austin. IÔ39. source: Heritage Society of Austin, Inc. RSCREA ION Lake Austin and Town Lake are part of a stairway of '50 miles of seven r^esevoirs formed by the darn'ning of the Colorado River. These two lakes are a combined twenty-seven miles long and completely contained within the city of Austin. Much of the land alon,? these lakes is city-owned and is used for recre- ational and leisure activities. On Town Lake canoes and sail- boats oan be rented by the hoúr, motorboats are allowed on Lake Austin. Along these lakes and their tributaries are over twehty miles of iogging paths and hiking trails. Austin was /among -^hQ first municipalities in the r'tion to provide a recreation tra?l when Civilian Conser^vation Corps workers 7 laid out a "walking trail" along Shoal Creek ^n 1933« B.^kmg Is extremely popular in Austin. Trails have been laid out and bike commuting systems studied by the Urban Tmnsportation Dep- o artment. The extensive recreational activities in Austin that are run by the City of Austin Parks and Recreation Department (PARD) include: 137 parks, 21 free neighborhood swimroing pools, 7 municipal pools, 4 golf courses, 4 tennis court?, 12 recrea- tion centers, 14 senior citizen centers, the Austin ^^ature cen- 9 ter and the Jourdan-Bachman Pioneer Farm. From the abundance of facilities for reor^at^on available, it is clear that Austin is a city with definite values for leisure time.

8 PERFORMING AND VISUAL ARTS More than thirty viable, private, non-profit arts agencies and organizations exist in Austin. They vary in size, purpose, budp;et, length of existence, and audiences. Some are very spe- cialized, others multi-disciplinary, but the entire spectrum of artistic disciplines is represented. ( See Table 1.) Major problems include inadequate affordable spaces, esp- ecially for performing arts rehersals and for visual ants exhibits; a market glut of professional artists, virtually non-existant linkage between the arts and business; the absence of "big money support for the arts in Austin," 11 terr— itorialism on the part of the arts groups themselves, the need for public education about the arts, poor media coverage and poor ooordination of effort between the groups. Budget con- straints have been significantly reduced by the city council's decision to commit 1% of the hotel occupancy tax to arts contract funding. Applications for these contracts are reviewed by the Austin Arts Commission which then makes fundlng recommendations to the city council. At present, there is no Council for the Arts in Austin; however, various disciplines are organizing under umbrella groups which probably will increasingly perform many council 12 type functions. Existing iTiuseums in .^ustin include a natural science rauseum and a combination natural science and history museum, two docur,ents museums, seven h'storic site museums, and four art museums. Of the four art museums, three are on the Univ- 9 Mtiot Gfouw Providlna Peffonnlnq and Vl8u«l Aft Funetioni in Amtin

Driif tnd Theitof

Zachify Scott Theeter Canter Stage Thetter Gaillght Theeter Ptranount Theeter Auetin Repertory Thaeter Plna Artf

Dance Comoanlea/Orqanizatlont

Americtn Deaf Oance Company Auatin Ballet Theatar Auitin Civic Ballet Auttin Repertory Dancart Dancert Contemparary Co./BaUat Eatt Dance Thetter Deborah Hay and Co. Invíilble Inc.

Muticiant

Auttin Syinphony Orchettra Auttin Fsderation of Muticiant KKFA - Claitical FM Larjon Inttitute of Hittorical Inttrument Tachnology Mutic Umbrella of Auttln

Drama Afro American Playert Table 1. Choral Mutic

Auttin Chorai Union Auitln Civic Chorut

Vituai ArM

Auitin Contemporary Vliuai Artt Attociation Laguna Gloria

Multi-dlaciplinarv

Con Drama League of Unlted Chicano Artiata Interart Worka

Spectrum, Focua on Oeaf Artiata

Technlcal Aaaiatance

Center for Cuiturai Reaourcaa

Source: Parks and Recreation Department ^''aster "^-^ 10 ersity of Texas campus and primarily for the purpose of exhibit^ ing the work of students and faculty as well as some traveling exhibitions. Laguna Gloria is the only art museum not connected with the University of Texas and is the only one to limit its 1T exhibitions to 20th century American art. -^ See Table 2 below: Table- 2: r:A stin, Travis County Museums Archives Division, Texas State Library: Docûmehts and books dealing with all phases of Texas history; Admission: frep. Austin Natural Science Center: Science, focusinp- on the natunl science of the area using both live animals and natural history exhibits; Admission: fees vary. Daughters of the Republic of Texas Museum: History, documents and relics of Texas before 1846 and on early famous Texans; Admission: free. Elisabet Ney Studio: Historic Site, houses the memorial colleo- - tion of this internationally known German-born sculptress, Admission: free. French Legation Museum: Historic Building: built in 1840 by the French Charge d'Affaires to the Republic of Texas, th-^ restored home features period Creole furnish^ngs and an authentic early French kitchen. Admission: ^A adultr, .50 students, .25 under 12. Humanities Research Center Leeds Gallery: Ar-^, 2 to 3 exhibi- tions per year for art students and faculty. Admission: free Laguna Gloria Art Museum: Art, features changing exhibitions of 20th century American art.- Admission: free. Lorenzo De Zavala State Archives and Library Buildi.ng: Histo^:/, documents from Texas Hlstory, Stephen F. Austin poster Admission: Free lyndon B. Johnson Library and Museum: History: the museum focuses on the events and programs of the Johnson years and on the former president's lifé and career. Michener Galleries: Art at the Harry Ransom Center, features exhibits of the university's collection of Texas "Art of the Americas", Admission: free. Neill-Cochran House: Historic Building, built 1855t example of Texas forrr of Greek Revival architecture. Adir.ission: tA adults, .50 students, .25 under 12. 0. Hen:^y Home Museum: Historic Site: Cottage where William, oidney Porter lived from 1892-1895' Admission: donation Swedish Pioneer Log Cabin: Histo-^ic Building, Admisslon: free. Texas Confederate Museum: History: displays on Corfederate history. Adn^ission: free. 36th Infantry Division War Museum: History: military artifacts from ;//iI and .'J;/II. Admission: free .

11 University Art Museum: Art: a teaching gallery w:th rotating exhibits directed toward instruction. Admission: free. source: exas Museum Directory 1978 Revised Editior, Texas Historical Commission, P.O. Box 12276 Austin, Texas 787II In 1979. the Austin City Planning Department laid out a comprehensive plan for the city. Included was the goal: "Provide leisure facilities in recreation programs to best meet the. needs of Austin citizens." The objective was to "develop facilities so that citizens in all sections of the city have the opportunity to participate in cultural and fine arts activities." An extensive survey was conducted by the Parks and Recre- ation Department in I98O in order to obtain an accurafter repre- sentation of leisure behavior and needs of the Austin community. Eight written questionnaires were developed and a systematic cluster sample of 36OO resident dwellings was drawn from the city. The city was divided into ten zones.See Fig. 3 for de- lineation. Included in the questionnaires were topics of: factors motivating leisure activities, role of leisure activit- ties in the lifestyle, priorities of leisure activities, accept- able price ranges considered appropriate for use of programs and facilities and amount of money the city should budget for services. Upon completion of the household interview (the interview was conducted with the first person over 15 years of age to answer the door) an additional questionnaire was left at the home to be completed by the respondent and picked up the next day by the interviewer or mailed to the department offices. Computer analysis helped to prepare the final reports. -^

12 The Austln Tomorrow Goals Zones served as the geographlcal basls of representatlon for the Fig. 3 Ãustln Tomorrovií Goals Program. To assure broad cltlzen partlcipatlon and representation, ten zones were created according to the following criteria: TEN GOAL ZONES

Zones should be falrly equal in populatlon. • site location

Zone boundarles should recognize establlshed nelghborhoods and major natural features, while remalning as geographlcally compact as posslble.

Zone representatlon should be bal- anced accordlng to ethniclty, age, sex source: Austin Dept, of Planning

TEXAc) I cCH LÍBRARY 13 The tables of data survey results are located in the appendix. The results of the survey are discussed as follows: A substantial proportion of Austinites use the Parks and Recreation Department's arts amenities, even though this use is not as intensive as the use of other Parks and Recreation Depart- ment services. A summary depicting the characteristics of the people who use the art facilities is as follows:

ZONES - Most use of arts facilities or prcrgrams occurred about once a month or less. Highest use occurred among residents of Zone 5. The highest percentage of non-use occurred in Zone 7, with Zone 6 not far behind.

RACE - A substantially larger proportion of Whites than Blacks or Mexican-Americans use arts facilities or programs.

HOMEOWNER VS. RENTER - Renters utilize arts facilities or programs more frequently than do homeovmers.

MARITAL STATUS - Highest frequency of use occurred by single respondents, Respondents in the "other" category had the highest percentage of non- use.

STUDENT VS. NON-STUDENT - Students had higher frequency use than non- students.

14 AGE GROUP - The highest frequency of use was reported by respondents in the 20-34 age group. The lowest frequency of use occurred in the over-65 age group.

INCOME - There was little differences between income groups. This is perhaps worthy of comment in view of the usual supposition that arts facilities or programs are predominantly patronized by the wealthy. In Austin, this does not appear to be the case. However, this may be the result of a large number of students who probably fall into the under $10,000 household income category. 19

One part of the survey addressed the acceptable price ranges considered to be appropriate for each of the Parks and Recreation Departments service areas. It found that the arts programs current average acceptable price was among the lowest of all the activities. This attitude that people do not feel they should pay very much may be why art museums in general are noíi-profit organizations--they can not get enough financial sup- port to be anything else. The lower spending priority given to the arts perhaps reflects the relatively low frequency of their clientele's use and not the priority of importance. However, the less frequent use may mean less frequent identification with and commitment to the Parks and Recreation Departments efforts in this area. A summary of the priority ranking finds are as fol- lows :

15 ( PROVIDE MORE NEIGHBORHOOD PROGRAMS AND CLASSES IN THE ART3 "^

:ITYWIDE A slight majority of respondents indicated this should be a

:airly or very high spending priority.

'ANKING 16 out of 19.

ONE Zones 6 and 7 indicated strongest support for this item with a

ubstantial majority placing it at a fairly or very high priority.

X A majority of women placed this item at a fairly or very high

riority, while a majority of men placed it at a fairly or very low

riority.

LCE Blacks and Mexican-Americans placed a higher priority on the

em than did Whites, as a slight majority of Whites indicated it should

a falrly or very low priority.

PLICATIONS Most PARD services are used primarily by males rather

in females. Earlier in this report, this was shown to be true for W

î of arts facilities and programs. However, the responses to this

istion suggest there may be more potential for attracting female

erest in the arts.

16 Among the survey findings are the realization that Austin parks are used by a substantial majority of citizens; especially popular are swimming, cultural arts and keepfit services of com- munity education and outdoor nature programs, while golf, organ- ized athletics and tennis are currently utilized by relatively small segments of the community. Of the Parks and Recreation Department does commit less money to the popular cultural arts program, it will be up to independent organizations to fill any gaps m this area. 24

17 ECONOMIC SITUAT ON IN AUST N Not only are the abundance of water and good climate for recreational activities conducive to a leisure-oriented life- style in Austin, the economy is also excellent. Austin is the capital of Texas, and the state is the largest employer. 120 state agencies and 62 federal agencies bring thousands of out- of-towners to the capitol on official business. Its central location makes it easily accessible from all parts of the state. -^ (See Fig. 6) Ninety per cent of all Texans live within 300 miles of Austin. The major interstate highway, IH 35» bisects Austin going south to Mexico and north to the rest of the nation. I 10, the major west-coast Florida route, is only twenty miles away via IH 35- Three railroads, three buslines, and twenty-one trucking lines make Austin a major market and tourism area. The historical attractions and Highland lakes along with the business generated by the people in the state capitol brings in $200 million per year. Austin is a major convention city, the third largest in the state, and in I98O brought in over $33 million of business. (See Fig. 8) The University of Texas, the largest university in the south- west, consisiing of twelve schools and colleges, has over 48,000 students and is another stable economic base. St. Edwards University, Huston-Tillotson College, and Austin Presbyterian Theological Sem- inary are also in Austin, and within thirty miles are two other major universities, Southwestern University in Georgetown and Southwest Texas State University in San Marcos. Since students often use museums as a learning tool, they tend to visit museums frequently. This is significant that there is a dense catchment £ near Austin.27 I8 When the I98O economic data became available, it revealed 2c that Austin was the fastes growing metropolitan area m Texas. ' The National Planning Association predicted Travis County to b be the fastest growing region in the United States in population and employment in I982. There are over 60O manufacturing oper- ations in Austin. In I98O, Austin has as many new manufacturers settle as in Dallas, although Dallas is three times larger. These mcluded many electronic mdustries, "clean"^30 industries such as IBM, Texas Instruments, Westinghouse, Motorola, Lenox, Gulf and Western, Bauch and Lomb, Hughes Tool, Johnson and John- son, Data General Âdvanced Microdevices. There were also expan- sions of exising industrial research, electronic and other light assembly and scientific operations.31 Bergstrom Airforce Base, located in southwest Austin employs over 50OO military and civ- 32 ilian personnel. (See Tables 8, 9, and lOj The Texas economic climate was ranked in I98I as it has been for several years as the best in the nation. Theiper capita income in Texas in I98O was $5»303 > the national average was $5,263; however, in 2000 AD, Texas is expected to top the US average of $8,971 with $9,020. The general population of Texas will increase 2.2?^ per year, a total of 58^ by 2000 AD.-^-^ Of thirty-nine urban areas in the United States surveyed, the US Department of Labor found the cost of living in Austin to be the very cheapest. -3^4 In a survey taken in 1975, Austm was found to be the 13th fastest grov.dng community in Texas.-^-^ (See Fig. 4 and 5-)

19 This four footed economy (the government, the airforce base, the university, and the manufacturers), coupled with its tremen- dous growth, makes Austin an economically stable city. The gov- ernment, The University of Texas, ^ergstrom Air Force Base, and the manufacturing plants contribute to the lowest unemployment rate in Texas and the US, only 3.4^. ^ This is significant because it has been shown in studies that the average museum goer is financially well-off. 37

Table 8

TENYEAR ECONOMIC GROWTH — AUSTIN % Increase or Decrease 1970 1979 1980 1979-1980 1970-1980 Assessed Value of Taxable Property $1,169,251,700 $3,664,710,150 $6,737,284,000 + 83.8 -1-476.2

Labor Force 131,850 248,500 256,100 -1-3.1 -1-94 2

Population (City) (as of 4/80) 253,539 341,504 345,109 -1-1.1 -K36.1

Population (County) (as of 4/80) 295,516 409,915 419,355 -1-2.3 -1-41.9

Building Permits 4,914 7,646 7,486 -2.1 -1-52.3

Value of Building Permits $134,229,838 $447,455,594 $485,124,057 -1-8.4 -1-261.4

Motor Vehicles 158,355 311,424 318,315 -1-2.2 -M01.0

Water Connections 72,695 105,924 111,016 -1-4.8 -1-52.7

Electric Connections 97,867 150,211 158,843 -1-5.7 -1-62.3

Gas Connections 72,582 99,406 103,813 -t-4.4 4-43.0

Telephone Connections 206,477 401,956 427,162 -1-6.8 -H06.9

Bank Deposits $785,518,073 $2,367,481,000 $2,586,311,884 -1-9.2 + 229.2

Postal Receipts $12,378,374 $42,494,077 $44,111,236 -1-3.8 -1- 256.4

Mfg. Employment 11,910 27,950 30,550 -t-9.3 -1-181.7

Effective Buying Income (County) $979,151,000 $3,114,187,000 $3,309,286,000 -1-6.3 + 238.0

Retail Sales (County) $470,020,000 $1,615,267,000 $1,975,256,000 -1-22.3 -1-320.2

Air Passengers 529,486 1,821,689 1,784,031 -2.1 + 236.9 January, 1981 source: Economic Review: Austin I98I.

20 800 Table co

THE EXPANDING ECONOMY 600- Box Score for 1980 (Announcements of new companies) 500- Est. Company Emp. Products - 400- Data Products N.A. Computer printers W.L. Gore&Associates 200 Insulated electronic cable and other products Q. 300- Palm Harbor Homes, Inc. 50 Prefabricated modular tiomes Tellabs Inc. 100 Telecommunications equipment manufacturer 200- Unatron 200 Facsimile electronic transmitters

100- New business announced in 1981 Fischer Controls International, Inc. N.A. Research and development of electronic process control equipment ÎO 1985 1990 1995 2000 Motorola MOS(Oal< Hill Plant) 4,000 Semiconductor manufacturer ROLM Corporation 400 Electronics assembly and engineering in POPULATION PROJECTIONS FOR telecommunications AUSTIN ANO TRAVIS COUNTY Schlumberger Well Services 150 Electronics research and development for wireline logging services Fig. 4 Tandem Computers, Inc. 500 Computer research, development and subassembly manufacturing source: Econ^-^ic Review, Aus+-in, 1981. Significant Industry Expansions Announced (January 1-December 31, 1980) Company New Jobs Plant Expansion 700 14 Advanced Micro Devices 212 BJ-Hughes, Inc. 100 Texas -13 155,000 sq DataGeneral 19 600- -12 Houston Instrument 57 25,000 sq Howard Systems Corp. 22 23,565 sq •11 IBM 400 700,000 sq 500 LoneStar MeatCo., Inc. 7,500 sq Motorola, Inc. 800 (estimated) 97,000 sq Radian Corp. 78 64,400 sq, 400 RandolphAustinCo. 7,500 sq Spenco Systems Division 52 Tracor, Inc. 450 144,800 sq 300- Westinghouse Electric 169 33,000 sq

200- Tahle 10 100- EMPLOYMENT AUSTIN SMSA CIVILIAN LABOR FORCE AND EMPLOYMENT 1 Average Percent 1 1 1— 1975 1976 1977 1978 1979 1980 Yearly Work Force Employed Unemployed Unemployed POPULATION GROWTH OF AUSTIN, 1980 254,600 245,950 8,650 3.4 TRAVIS COUNTY, AND TEXAS 1979 248,500 242,200 6,300 2.5 1978 8,050 3.3 I 242,200 234,350 Fig. 5 1977 205,950 198,150 7.800 3.8 1976 193,050 183,750 9,300 4.8 1975 185,300 177,450 7,850 4.2 1974 180,250 174,650 5,600 3.1 1973 170,100 166,150 3,950 2.3 1972 164,950 160,750 4,200 2.5 1971 147,500 143,500 4,000 2.7

••**^-

21 Fig. 6 Highway Dirtances fro^: AiJEBtin.

1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 source: Ecoromic Review YEARLY PERCENT INCREASE IN POPULATION OF Austin 1981 AUSTIN AND TRAVIS COUNTY Fig. 7

40- Ttirough December 31, 1980; 20- Attendance, 232,630 Dollars spent, $33,000,000 0 "I 1 1 1 ' -1 1 1 4 1980 1971 1972 1973 1974 1975 1976 1977 1978 1979 CONVENTIONS IN AUSTIN 22 FOOTNOTES

Historic Austin, Sharon Greenhill, The Heritage Society of Austin, T^^l. 2 , Penny Burnet, Developrr'ent Gfficer, Laguna Gloria Wuseum, interview, October 8, 1982. 3Sharo n Greenhill, Planning Consultant, Laguna Gloria Mus- eum, interview, August 20, 1982. 4 Soil Survey, Travis County, Texas, 1974, p. 14. 5''Histori, c Austin. Highland Lakes 1982 brochure, Marble Falls Chamber of Cor- merce. n Jogging Trails of Åustin, booklet by the Austin Parks and Recreation Department, 1982. o Biking Trails of Austin, brochure by the City of Austin Department of Urban Transportation, 1982. 9 Austin Parks and Recreation Department Fall 1982 brochure. Austin Park and Recreation Department Citizen Survey, Vol. 3. Summary of Results of Surveys: John L. Crompton, Principal Investigator, 1981. Texas Museum Directory, 1978 Revised Edition, Texas Histori- A^ cal Commission. Tbiá. ^^ bid. 14 Citizen Survey, Vol 3« •^Austin Tomorrow Comprehensive Plan, Department of Planning, City of Aûstih, 1980. 15 Austin Parks and Recreation Department, Master Flan, p. 5"^ • ^"^lbid. p. 54. ^^Tbid. p. 55' ^^lbid. p. 56. ^°Ibid. p. 57.

2r Thid. n. <,P>. 23 ^^lbid. p. 59. ^^lbid. p. 60. 24 Austin Parks and Recreation Department, ^laster Plan, p. 63. ^ustin Fact Book, Austin Chamber of Commerce, ^.982, p. 23. Austin Has Everytdng, brochure, Austh Chamber of Commerce, 1981. 27 Austin Fact Book, p. 26. 28 Austin I98I Economic Review, Austin Chamber of Commerce, P- 9a. ~ Austin Economy Booming", Austin American Statesman, July 25, 1982. 30 •^ Ecoromic Review, p. 17a. -^ Austin Fact Book, p. 28. Sconomic Review, p. lOa. 33'lbid . ^ "Austin Ecoromy Booming," Austin American Statesman, July 25, 1982. -^^"Austr'n Thirteenth in Nation", Austin American Statesman, April 27, 1978. ^ Economic Review, p. I6a. ^"^lbid.

24 KÎUNAI ARTS-. MUSEUM

25 h

/ 1 s^ ' 1 ^ ^ /. « • i ir ^ v^% 1 K y J

MUSEUMS In 1793 the Louvre in Faris, France opened--the first art museum opened for and by the public. Thp f'rst private collec- tors to open their galleries to the public were di :^appointed and insulted by the public's reaction. The public had no literate education and lacked the framework of art knowledge into which their new aesthetic experiences could be orí^anized. Since then, a primary function of public museums has been to educate the public so they could appreciate the works exhibited. Many private collections were transformed into publîc rnus- eums during the late 8th and early 19th centur'es. Civic rrinded artists and citizens formed associations to open museM-^s of art for the purpose of bringing knowledge and culture to the local society. Most of these civic museums were filled with donations of private collections. In the United States, the growth of •nuseums since the late 19th century has been phenomenal. Local museums were developed primarily for educational purposes, but civic pride and finan- cial gain for the city were considered other good reasons. During the time of the earlier American art museums, European art was considered the only good art. Architects were persuaded to copy the European Revival museums, which were huge grand^ose buildings with large unsympathetic spaces. Thus, early A.merican museums were transplanted segments of European culture. 26 Today, museums offer a number of ,=:ervices. In a r-^^por"^ bv the National Research Center for the Arts on Museum? USA; A Survey Report. a survey of Museum Directors, listed t'ae areas most important to themselves.and to the public. These were: 1. Conserving the cultural and/or scientific heritage. 2. Providing educational experiences for the public. 3. Interpreting the past or prer=;ent to +he public. 4. Providing entertainment. 5. Providing aesthetic experience. 6. Encouraging positive social change.-^ In a few points, "The Elements of a Museum" are summarized by Cindy Sherrell, the author: 1. Museums act as safeguards for the "cultural resources" of our human heritage. 2. Museum collections, through research, serve as a means of communication for better understanding of our past and present. 3. Museums provide a place and a context for young people to grow, to become more aware of the world around theT, and to learn how this world developed. A museum pro- gra T, or exhibit is often the one thing that will catch the interest of a child--or an^ adult--and ifnite the learning process after traditional methods have failed. 4. From a practical point of view, good museurrs attract out-of-state visitors who will stay long enough to visit the museum and by staying longer, will indirectly help to effect the eco^oT.y of the community. 27 COMPOSITION OF THE ART ÅUDIENCE Dimaggio and Useem collected 44 art museum audience studies for their paper, The Social Corp.position of Arts Audiences in the United States. The lar,p;er art organizations are overrepresented in the data, the smaller community based organizations draw audi- ences which are less affluent and educ^ted than the larp-er org- anizations in the larger cities.-' The composition of the audiences was identified by s^x characteristics: gender, age, education, income, and race. The percentage of men attending art museuirs ranged from JO - 59% with the median being 43^ in thirty studies. The larger proportion of females in the audiences (or ât leas-^ answerinr the questionnaires, may be attributed to our cu3tural fixation of art being effeminaté. One study (Book and Globerman 197^) indicates that men place the responsibility of answerinr the questionnaires upon their female companions. The median age of art museum audiences was found to be 31» with median ages ranging from 26- 5^ z-^^ng the 19 stud'.es. T-e educational levels were broken down into five categories: percentage with post B.A. training (22 median, l^ - J^ range) percentage with minimum colle.p-p degree (48 T*>edian, 4! - 66 range) percentage with some college (83.5 median,/^5 - 90 range) percentage with high school degree (17 median, 10 - 2^ range) percentage with less than high school degree {5-5 median, 4-16 range) nine occupational rroups were developed to analyze th^ aud^ence distribution under that category.

- - 28 59'2% of the respondents were professionals 7J),\f. were teachers 14.3^ clerical or sales "3'1/^ blue collar worl^ers 9.0^ managerial 13'.0-^ the unemployed respondents were homemakers 22.5^ were students B.O^' were retired or simply unemployed The median family incom-e for art museum. audiences was found to be $18,148(1979). The range of median incomes was from $14,016 to $30,618 among the ten audiences studied. (a national basis). The eleven surveys on minority composition showed that the median minority percentage for art museum.s was 7^. All of the figures compiled from the surveys must be intenpreted cautiously. The small number of audiences studied and the mu:^- eu'T':^ ' diverse situations give support for the caution. The authors summarize their findings saying that, "the social composition of the arts audience is far more elite than the general public, and the center of the audience i'^ more elite than its periphery. Education, and to a lesserfdegree, income, are good predictors not only of who consumes the arts but of the intensity of their consumption."

29 BEHAVIORAL PATTERNS Norman Trondson's study of audiences in four San Fransisco Bay Area art museums and interviews with museum guards, visitorc and other parties provides amexamination of the behavioral patterns of visitors in art museums. Trondsen discovered a system of norms within the museum setting. The visitors showed commitn

30 Rapid movement attracts attention while slow movement within a social sexting like an art museum corrimands no attention from other visitors. Trondsen notes that "visitors seem pro- foundly in awe of art museums. Their comportment suggests the behavior of church-goers. Their locomotion implies an active Q self-consciousness. The third social norm acting in art museurrF is the civil inattention over-riding the interpersonal interaction of visitors. Social intrusion is created by repeated encounterf: with strangers. Goffman best describes the norm in motion in Behavior in Pahlic Places. "iflíhat seems to be involved is that one gives to another enough visual notice to demonstrate that one appreciates that the other is present (and that one openly admits to having seen him), while at the next moment withdrawing one's attention from him so as to express that he does not constitute .^ a target of special curiosity or design." The activity of viewing art ^s a complex process of emotion- al and psychological conditions interacting with art within the highly structured social system. and spacial system of the art museum. The viewer interacts with the art in a single relation- ship, this relationship is affected by its physical surroundings and must accomodate other viewer-art relationships within the same space. Viewers must compete with each other over the space required to adequately examine an object. Jurisdiction is commanded by physical presence. Control of the prime viewing space is helr! teraporarily and then relinquished when the viewer's social definition of need ends. ^^ Trondsen defines the viewing spac<^ as "an abrtract ar-ea created by the presence of a viewer at a work of art, bounded by the presence of a viewer at a work of art, bounded by the work of art itself and by the lines of v^sion from the vi^wer's eyes to the outer edges of the work. Viewing space emerges with the arrival of a viewer and is transient in the .^urisdic- tion continually transfers to another viewer."

Everyone has free access to viewing the exhibits in the art museum. Each individual must share the viewing space of eæh object with all other viewers present. To tr-ansfer the jurisdictøn of viewing space, a process of communication and/ or negotiation is used. An individual cannot force a viewer to give up the viewing space nor can he defend his space from others. Wedging is the process by which an established viewer is polite y crowded out of the viewing space or is '^^r'^ed to share the space. The wedger will encroach upon the boundary of theviewing space usually to read the lavel or inspect a detail. He does not cut off viewing completely but signals a desire to control the viewing space already occupied. The process of transfering control of the viewing space starts with the " approach of another v^sitor, when picked up by á vievpr, signaling a request or p^obable request for occupied viewing '="pace. This may be as blatant as wedring or as suhtle as civil inattention. In eitbr cas^, a return cue is offered. A slight weight shift ets the approach^ng person know: 'I am just about through.' Read-

32 ing this cue, the approaching person acknowledges the mutual awareness of an exchange opportunity by continuing to,approach or by detouring, i.e., going around. When joined, the original viewer will either move on or stay and accept a compromise or a wedge. Man's interaction with another man's artistic creation is a h^ghly personal experience. Each interpretation of an object's meaning and symbolism is totally individual. Most people enjoy sharing their feelings and interpretations of art so as to make the experience more meaningful through comparison with a diff- erent point of view. Most single viewing units are fewer than two person units, br^more than those of three, such as tours. Visitors must move from one object to anothar within a space to percieve the total exhibit. The effects of movement upon man's perception should be understood, along with man's per- ception of space while moving through it. The movement act- ivity ties together and connects the individual perceptions into a total experience. It's effects on the visit:^r and his total perception of the experience must be understood. 13 The pefception of spáce is accompanied by intellectual activity which analyses the components of the space. The constant elements of space, materials, size, color, orientation etc. are interpreted through comparison with past experiences. These standard components, when read as a whole, give spaces meaning which must be understood by the visitor for his mental well-being. Perception of space is easier when the elem.ents '4 are clearly ordered. 33 LAGUNA GLOPIA APT MUSEUM Laguna Oloria assumed its operation in the 1960's and hao evolved into Austin's only independent 'r.userjT of Ameri can art since 1900. It is one of the few Amer''. can museums that sti l has free general admission to its exhibitions, serv'ng an aur'ie'^ce of approximately 75,000 people annually. Laguna Gloria is a nor- profit educa+ional institution, supported p^imarily by the c'ty of Austin, Fiesta, private and corporate contributions, govern- mental grants, and its membership. Laguna Gloria Ar^-t r.''useum presents continually chanFÍng exhibitions representing modern American art. It shows painting, sculpture, photography and arch- itecture. Regional art is shown in i ts ongoing exhih^'-^ion series, New Works, which presents the works of regional artists. The Pro- gram Department o-^ Laguna Gloria presents lectures, pe--^ormances, f'lms, and video program.s to audiences ypar-round. Some programs are designed to augment and expand the scope of the museum's ex- hibitions. Films range from works by independent filmmakers to films by or about artists. Lectures by scholars, artists, and critics serve to interpret and enhance current exhibitionr:, while the -Ti' seum's performance programs of dance and literature focus on the emerging artist and underscore the inter-relatedness of all of the arts.

The Art School is a major part of Laguna Gloria's focus as a learning center. Daytime and evening courses aimed at developing a broader understading of art are offered year round for children and adults. A wide range of non-cred'"' classes are

34 held in an informal workshop atmosphe^e for bepinning and exp^r- ienced students. In accord with the museur.'s endeavor to be accessible to the entire community, a limited number of schol- arships a^^e av,3Vjrble for students needing financial assistance. The goal of the art school is to "foster awareness and unde-^otand- ing of art and in-depth creative experience."'" 6 Laguna Gloria is a m.ember of several associations. Among

these a^e the Texas Association of Museums, American Museum ASGOC- iation, Art Museum Directors Association, Art Museum Develop- ment Association and the Western Association of Art Museums. "^his helps keep the administrators of Laguna Gloria up-to- date with all facets of museum activities, artists, present,-:-tion, advertising, funding, membership and edu«>'tion. 17 The staff is made up of administrative, reception, devel- opment and educational people. (See Figure 9 below.)

(accourrt;an-t j,eg;t (^embershj

Figure 9 source: Museum Directory of Texas, LGAM.

35 Volunteers and docents (volunteer teachers and lecturers) put in a substantial number of work hours. In September of I982 sixty-one volunteers put in over 555 service hours including clerical, computer, hospitality, museum shop sales and art school registration assistance. Docents put in 193 volunteer hours.' Funding is from a combination of grants, memberships, city of Austin support, and the annual fund raiser, Fiesta. ( See Figure 10) for allocation:

INCOME; City of Austin Donations Memberships Federal Financing Shop Annual Fund Museum Scholarship Grant Art School Tuition Fiesta

EXPENDITURES: Exhibitions aíid Education Director Deyelopment and Membership Public Information Shop ~- _ General Administration Programs and Art School

Fig. 10 Budget Allocations Source: LGAM records 36 Fiesta is put on in May of each year when the Wcmen's Art Guild, an organization whose purpose is to put on thf^ art fair, the largest single income source to the museum. '"he Art Guild uses the museum's grounds to make a festive marketplace where artists and craftsmen from around the country iisplay and sell their work. Fiesta includes music, food, entertainment, an art auction, children's activities and other events. t lasts for three days and is one of Texas' largest, most popular art 19 fairs. lAíhen Laguna Gloria has its new facilities, Fiesta wil"^ still be held on the present facilities f^rounds,2 0 since the mus- eum will still own them, as it has since 1943 when Clara Sevier donated them. Memberships bring in ll^ of the funds. As of September 15, 1982 there were 1756 members, (see T^'igure below) , but the administrators have since developed a mail campaign to increase its membership. By January 19831 they hope to have 2000 memher'-^ and by September 1983, 2500 members. Ther>p are spvpral different kinds, depending on how much support is given. (See Table 11)

Tabls: 11: Membership: Prioes. and Distribution student $ 15 „71 active :a 30 703 patron 50 26b friend 100 103 associate 500 50 women's art guild coÍplimentary ,lt corporate 5000 n life ^ 0 complimentary lOOO ^ sponsor varies ^ •other _^__ .— TOTAL MEMBERS 1756

37 source : LGAM brochure -^' The benefits to members include two invitatJons to recept- ions on exhibition opening nights including gallery tours by the Museum curator; home delivery of a bimonthly newletter to inform members of shows, classes and films; discounts of 10'?^ on purchases from the Laguna Gloria Art Museum shop, books at the Watcon & Co. Bookstore in Austin; and lO^ off art school classes tuition, and 22 preferential registration. The users of Laguna Gloria Art Museum consists of large numbers of schoolchildren from all over the county, out-of-town tourists, University of Texas students and faculty as well as Austin citizens. Many are in the "upper middle class" income bracket and are a "younger set- most below age 40."2 ^3 The hours of operation are: Tuesday through Saturday 10 a.m. - 5 p.m. Sunday 1 p.m. - 5 p.m. ^/^ Thursday 10 a.m. - 9 I-m. Attendance is higher during the school year because of the school tours and the busiest hours are on the weekends, especially Saturday.^^ It's aforementioned annual attendance of 75,000 per year can be compared to other museums in Austins Austin Natural Sciences Center 176,000 Daughters of the Republic of Texas ^"useum 11,000 Elisabeth Ney Studio 12,000 Humanities Research Center Leeds Gallery 25.000 LBJ Library and Museum 656,654 Michener Galleries 55.000 Neil Cochran Home 5^0 0. Henry Home 5.000 Texas Confederote Museum 15.000 Texas Memorial Museum 96,000 University Art Museum 70,000 source: Texas Museum Directory

38 The activities which occur within and around an art museum can be categorized into four a.reas. '^he basic interactíon is be- tween the exhibit (or class or program) and the viewer/partici- pant. (See Fig 11)

Figure 11: The four areas of art museum activities.

The other activities provide a service to the viewer. Logistic activities deal with the preparation, maintenance and security of the collection and exhibits. The mangement and administrative tasks of the museum are categorized under co- ordination activities. Each of these four basic areas have been divided into the major activity groups in each area. The major activity groups are broken into the various component; activities which are analyzed according to the two different concerns: environmental needs and social issues.

39 1 - , íirí!^/ i^^iemy ûJÉtvnkt^/ • ' L t 1 /

These activities include entering the viewing space and cir- culating about. Also , as people interact with the art works, security guards must make sure that deviant behavior is prevented or halted. While viewing the art, many behavioral patterns can be seen. Among these patterns are competition for space control, transfer of space control, and movement between exhibit pieces. Included with the basic art viewer activities are the sales activities that take place in the museum shop. In order for the merchandise to sell, the customer must be drawn inside, circulate and examine the goods and decide to buy. In the process of buying, the clerk determines the amount of total purchase using the cash register or adding machine and the currency exbhange occurs. The purchased item is then packaged and the customer usually exits. Other shop activities include the storing of extra merchandise out of public view. Art classes are also one of the basic interaction activities. The holding of the class, learning processes, clean-up after class, and storage of art projects are included in this activity. Auditorium programs are another art/viewer activity. It includes entering the space, buying tickets, circulation within the auditorium to choose a space to sit, interaction with the program and exiting the space. Peripheral activities that may be taking place simultaneously include the projecting, rewinding and storage of films; dressing and maJcing-up of performers; storage of props; sale of refreshments; and restroora use.

4o VIEWING EXHT I^^:: entering: environmental concerns: sense of beginning, sense of entry, orientation to gallery spaces, security surveillance, handicapperi access social-environmental needs/issues: security, identity, accessibility, orientation circulation: environmental concerns: enjoyable and stimulating, yet peaceful and calm, boundaries vary with changing exh'bits, security surveillajice, must have direct access visually, be able to orient direction -^aíily so as not to distract from pleasure of exhibits, no barr'^ers for handicapped . humidity and temperature regulafon

social-environmental needs/issues: privacy, territoriality, space perception, security, identity, accessibility, orient'ition restrooms; environmental concerns: clean, comfortable, to facilitate a restful envir- onm' nt, a revitalization of personal appearance and feéling of well being socÍ3l-environmental needs/issues: privacy, territoriality, accersibility, convenien^e

41 IMPORTA^ ^E;

primary Viewing Exhibits secondary

complerentary

SALES ACTIVITIES IN THE MUSEUM SHOP: entering; environmental concerns: draw shopper inside by being attract've, neat and stimulating, be open and fle ible, boundaries are flexible social-environmental issues/needs: accessibility, orientation circulation; environmental concerns; viewing displays and selecting goods should he stimulating and en.íoyable since this encourages the browser to buy, circulation patterns disf^n- guishableand flexible, boundaries flexible social-environmental needs/issues: territoriality (public space and employee space)

42 storing: environmental concerns: adequate space out of the public's sight for extra merchandise social-economic issues/needs; privacy, secur^ty purchasing: environmental concernr: visible place for ringing up sales, exchanging money and goods and wrapping or packaging social-economic issues/needs: accessibility, security

Sales Activities

43 ART CLACSES: entering: environmental concerns: environment accessible from lobby, entry and exit directly from outdoors woiild be desirah e, transition space from other activities social-environmental issues/needs: orientation, accessibility holding class: environmental concerns: inspirational learning space, separate from other museum activities, visual and physical access to outdoors, natural light, easily cleaned surfaces social-environmental issues/needs: identity, space perception, safíty, accessibifty storage: environmental concerns: adequate space for storage and art supplies, s-^udent art work social-environmental issues/needs: privacy, security clean-up station; environmental concerns: place with easily cleaned surf:^c"s for clean"ng stud- ents and teachers, equipment and for mixing paints and other art media, and cleaninr classroom social-environmental issues/needs; safety, accessibility

44 Art Classes

AUDITORIUM PR0GRAM3: buying tickets: environmental concerns; accessible to interior and ex+erior, central area, social-environmental issues/needs: accessibility entering: environmental concerns: control a primary considerction, entry buffered from outside elements, enter^ng and exiting clearly segregated social-environmental issues/needs: o-^ientation, convenience, accescibili-^y, safety circulating: environmental concerns: spacious, seating comfortable, traffic flowc easily discerned, directive lighting, concession area cen- tral and controlled, social-environmental issues/needs: territoriality, orientation, safetv

45 Vl^ environmental concerns: lighting, acoustics, adequate sightlines, functional seating arrangement, social-environmenta issues/needs: privacy, (personal space'*, losing sense of 'dentity in crowd may be important pro.jecting; environmental concerns: controlled environment provided, space out of main traffic flow, noise control important soc'al-environraenta issuec/needs: safety, isolation dressing; environmental concerns; noise control, out of traffic, proper lighting for make-up, proper storage for costumes and make-up, space for changing clothes and for putt'ng on make-up. îocial-environmental issues/needs: isolation, security

Auditorium Programs T£Í1£MMI úw: Tfe/M^

The reception activities represent the circulation between the outside and the inside of the building, the transition activities therein, as well as the orientation once inside. A person must first arrive at the site, park, enter the building and decide which way to go. Once inside the building, one may wait, sit, use the telephone, restroom, smoke, or gather information before preceding to partake of the activity or activities that brought them to the museum in the first place. These take place during the public open hours of the museum.

47 arriving/departing site: environmental concerns; easy approach and orientatbn, light:>,~ for sccurity, landscaping for aesthet'cs, boundaries suffic'ent in area for loading at least two cars at once, num- ber of entrances/exits proportional to the amount of required parking social-environmental issues/needs: accessibility, convenience, safety parking: environmental concerns: convenient and adequate, spaces for handicapped, for bicycles, for mopeds and for motorcycles, parking should be segregated from pedestrian oriented areas of s'te, environment should be visually buffere-i by landscaping, boundaries established by the exis'ng conditions of the site. social-environmental issues/needs; safet^', convenience, accessibili-t-y entering: environmental concerns: promote favorable first impression, allow easy orien- tation, create sense of entry and allow pieasant transition, provide access to galleries, auditorium and classrooms social-environmental issues/needs; orientation, convenience, accessihility

48 waiting/sitting; envi ronmental concerns; facilitate relaxing, resting, conversa"^i.on, pr^vide adequate, comfortable seating, space for refresh'^ent table for receptions social-environmental issues/need^: tprritoriality, (one should he ahle to watch other activities from his/her private space)

Reception Activities

49 The logistic activities, those dealing with the preparation, maintenance and security of the exhibits are not participated in by the museum visitor. Only employees are involved—the security guards, curator, preparator,their assistants, and the project people. Normally, volunteers do not participate, as the people who handle the art exhibit preparation must be trained spacifically and precisely. These activities take placd during normal museum operation hours, between 8 am and 5 pm generally.

50 arriving/departing site; environmental concerns; provisions made for^.loading and unloading, lip-hting for security, not obvious to general public social-environmental issues/needs; accessibility, securityî safety receiving" items; environmental concerns: place for inspecting, unpacking and preparing by staff, disposal for packaging wastes, inaccessible to general public, isolation social-environmental issues/needs: privacy, security, exhib^ tio-'^: environmental concerns: construction workshop for preparation of display aids, temporary and easy mounting/display/install-' ation, not to ruin or hsrm their physical setting, boundaries vary with the exhibits social-environmental concerns; security, territoriality (of personal workspace) security; environmental concerns: space for automatic controls of surveillance equipment, space for guard's maintenance and surveillance of flow of objects, as well as ^-.o.-- staff and guests

51 social-environnental issues/needs: ter:»"itoriality- the guards shouldn't intrude on process^'ng flow of exhibits, his mere presence should warn potential deviantz of the penalties for undesired behavior

Logistic Activities

52 - ••- 1

~7 /. ^ . i » ' / H

T.€^'^>^mv^^Ty/ æmi\yt 7^3

Coordination activities inîfolve the management and admin- istrative tasks of the museum. Many of these activities are handled by paid workers, but a good portion can utilize volun- teer help, drawn from the community. Activities in this cat- egory take place during normal operating hours, generally from 8 am to 5 pm on weekdays. These activities include budgeting, management, personnel management, general services, community involvement and direction of programs.

53 MANAGEMENT: enterj np;: environmental concerns; should not be in main circulatén pattern, transition space should buffer management from other museum. activities, especially noisy ones. social-environmental issues/needs; convenience, accéFSÍbility, identity receivÍT; environmental concerns; seating for waiting provided, environment shou.ld not be im.posing or uncomfortable for vi .= it':'^rs social-ehv ronméntal iss es/needs: orientation Managing; (acquisition, documentation and conservation of museum contents, direction of security, cleaning and reception activ* ti es) envirorjnental concerns; separated acoustically but not necessarily visually from active spaces, accesrr to restrooms social-environmental "^ ssues/needs: priv-cy, personal space Important, identity maintenance/cleaning; environmental concerns; although this activity is based in management, it invol^.'ps the other spaces of the museum, adequate space should be provided for eauí oment storage

5^ social-environmental issues/needs:

isolation, accessible to janitorial workers, security for equipment

Management Activities

ADMINIST^ATION: enterin.g;

environmental concerns;

buffer noise, provide transition from lobby space, not in main circulation pattern, but easily found

social-environmental issues/needs:

indirect accessibility wai t i ng.'^r e ce i vi ng;

environmental concerns:

space should be pleasant and provided with comfortahle seating

social-environmental issues/needs:

territoriality, orientation 55 orinr; environmental concerns: specific areas fcr each office !=»ct>7ity p^ov'^ed, not large anonymous spaces, usually stora^p needs are underestimated or located in the w-ong place so don't make that mistake here social-environmental issues/needs: security :dministrating; (budgeting, management, personnel management, general services, community involvement, direction of programs) environment "" concerns: areas fôf" mail"! sypîSiy, files, access to_ restroom.s , library, board room, computer, clerical work and for each administrator to have own space social-environmental Issues/needs; territoriality, personal space very imp

Administrative Activities

56 FOOTNOTES

^Adam, T.R., The Civic Value of Museums, George Grady Press, New York, 937. 2 Wittlen, Alma S., Museums: In Search of a Usable Future, Cambridge, MTT Press, 970, p. 4 - 60. 3 ••^Museums USA; A Survey Report, National ^esource Center for the Ar^ts, ;Jashington, ^O, 1975- 4 Sherrell, Cmdy, "The Elements of a Museum", Thoughts on the Museum and the Community, Texas Historical Commision, 1976 DiMaggio, Paul and Useem, Michael, "Cultural Democracy in a Period of Cultural Expansion; The Social Composi tiot^. of Arts Audiences in the US", Social Forces, Vol. 26 '^'o. 2 (1979) p. 182-192. DiMaggio p. 192. ^Trondsen, Norman, "Social Control in the Art Museum," Unha'- Life, April, 1976, p. 106. Trondsen, p. 108.

9Trondsen , p. 110. ^^Goffman'man, E. , BehBehavio; r in Public Places, ^'ew York: Free Press, 1963. p. ^'^. Trondsen, p. 110. 1 ? Trondsen, p. 111. ^\ehmbruck, Manfred, "Museum Architecture", Fuseum. Vol. 26, No. 34, 19'?'4, p. 193. ^^lb'd. p. 194. ^^Pecquet, Claude or O'Byrne, Pat, "Programming- a Tool at the Se-rvice of the Curator, the Commiddioning Authority and the Architect," Museum Vol. 31 No. 2, 1979. p. ^4.

57 Laguna Gloria Art Museum, public hrochure. '' 7 ^'Penny Burnet, Development Cff^cer, Laruna Glor^a Art "v'useum 1 p Laguna Gloria Art r.''useum, Septembe-'- I98? Repor-^ tô the city 19 Laguna Gloria Art Museum, public brochure. 20 Penny Burnet. 21 Laguna Gloria Art Museum records. ^^lbid. 23 Laguna Gloria Art Museum confidential telephone survey as 24 summarized by Penny Burnet. Laguna Gloria Art Museum, publrc brochure. PennLagury Burnet. 25.

58 s &',..;-. '-•-..Æ.W'-''-' I I I î Arît XTA 1 ART ^ irH-t-f4-f-í-44-l~^—-^.— MUSaJM

59 ^- - /

yll />A.ii.^v"ty>^*^t ^^tl^^i^ 0]t'^lt^\fU^'VC^ tJurtMy^^'jr i^ i V

While i+ may seem logical to adopt basic guidelines "'^or determining the size, location and needs of an art m.useu-^, it is most insensitive to assume that all cities have the 537"^ social, cultural, and economic c^mposition. Therefore, it '-^^ necessary to examine the specific characteristics of Austin 's p lation.

^ DISTRIBUTION ^ The population is characteri'red a large number of people in the 20 - age group. It used to be caused by the versity of Texas, but in the past decade, pid expansion of employment opportunities 3 caused a disproportionate amount of jng adults eager to make Austin their new home.-^ 3ee Fig. 12.

Fig.í2

60 rOPULAT OT: nBNSITY:

The older, developed portion of the city is m-re densely populated than the outlying sub- urban areas. ^n general, population dencity ^s greater in the census tracts east and adjacent to 1876: POPULATKX OENSfTIES >«S central parts of the city. ( See Fig. 13) • 5-«.M >•«• ^mwm, « r DM INCOME: Flg. ^J

The 1976 census reported 18^ of the persons surveyed as having income below the poverty level. These individuals tend to be concentrated east of IH-35 with a large proportion east of the Central Business District ari near the Universlty of Texas. (See F^g.l4 and Fig. 17)

ETHNIC12I! Roughly half of the Austin population lives

WTS: PEnCENT OF P0P0LATK3N BELOW in soroe type of mixed ethnic neighborhood, while PWtim LEVEL • 0« - 9.9% 30» - 49 9» • 10»-1M» 90» M. nwn approximately 33^ live in predominantly white • J0»-»« and 18^ in predominantly minority neighborhoods. Fií^. m. The most notable trend in Austin's ethnic pattern is the steadily increasing proportion of the Mex- ican-American population--from less than 9^ ^^ 1950 to 20^ in I98O. Both the black and white population are slight y declining in proportion of the total. In 1976, the black population was estimated to be 12?í.^ (See. Fig.15 and 16)

61 1978: auOC POPULATKW 197e:SPANISH 0RK3IN POPULATlON m mr or CEMUI T1WCT nctNT of ctmus mcr [~[ lMVMniO% m 90- (~) 10-«.»» ^ 10-4«.««

«W—: Ma MMMM k* CNr «1 AHMM W—Wiii OMI.

Fig. 15 Fig.l^ '^g. 17 : 19''0 MEDIAN FAMILY TNCOMF BY CEN3U: TRACT nô^'vn^t Íi^M^^f^

Austin is located in what is commonly known as the Hill Country of Texas. There are actually two dramatic geologic zones--the rolling plains and the rocky hill country separated h by an uncommonly narrow transitional belt, the Balcones Fault. The county's elevations are recorded between ^OO' ieastern part) and 1^00' (western part). The city îs officially 597' above sea level but elevations run between 400' and 900' within the city limits."^( See Figures 18 and 20) Urban creeks occur in inner city Austin as well as the periphery. The inner city creeks (Shoal, Waller and Johnson, especially) retain little of their original character, and receive increasing volumes of sedimentation. storm run-off ond urban --ash. They are also subjected to artificially extreme dry and flood conditions. As more ground is covered by impervious pavement and buildings, less rain water is stored in the surrounding soil for later release. Periphera.-^ c-eeks. in contrast, serve as a >^abitat for a variety of native plants and snimals and are generally in a state of high na-iral quality. The Colorado River serves as a place for migratory waterfowl. and the canyon walls as a habitat ^or a variety of plants and wildlife. Ifs green corridor protects the left-overs of the oncp-thick fores+s th^t

63 used to occupy the present farm and pasture lands. The >^est pvesenved areas áre in the hills west of Austin and d-^minated by oaks and cedars that sustain the native birds and other wildlife.^

VEGETAT]'''^N: The native vegetation is mostly tgll and mid grasses with an inventory of cottonwood, pecan, elm and hac^'^^^ry trees. CSee Table 12l ^^^^.e 12: source: USGS: ^,97^. Ma.ior Plant Species Climatically Suited and Commonly Grov/n; Flowers: Aster, begonia, canna, calendula, chrysanthemum. dahlia, gladiolus, geranium, iris, larkspur, daylily, narcissus, rose, panay, petunia, phlix. stock, snap- dragon, verbena, and zinnia.

Shrubs: American holy. azalea, camellia, Chinese holly, crape- m:yrtle, evergreen euonymous, gardenia, jasmine, lir-us"'"rum, oleander, nandina, pampasgrass, pomegranate, and privet.

Trees: Shade--Arizona ash, blackjack oak. catalpa, cherry-laurel. chinaberry, Chinese tallow tree, cottonwood, elm, hack- berry, live oak, mesquite, mimosa, post oak, redbud, Span- ish oak, sycamore, and willow. Fruit--fig, kumquat. peach. pear, and plum. Nut--pecan.

Grasses: Common bermuda, tifgren bermuda, St. Augustine, and zoysia.

Vines: English ivy, Chinese wisteria, honeysucklye, Caro]^na jasmine, morning-glory, old man's heard, Queen|s wreath, and trumpet-creeper. Some native vines are suitahle for landscaping. These include: catclav/, mustang grape, purple leather-flower, Virginia creeper, and wild balsam.

Vegetables: Asparagus, bean, beet, blackberry, broccoli, brussel sprouts, cabbage, cantaloupe, carrot, cauliflower, cucumber, lettuce, mustard, okra, onion, parsley, pea, pepper, potato, pumpkin, radish, spinach, strawberry, sweetcorn, id watermelon. 52f Figure 18

The state of Texas showing the region where the site is located, Travis County

65 SOIL CONDITIONS; The soil has a surface layer of grayish brown silty clay loam or silt loam about 20" thick, Clay presents very signifi- aant problems for structures. Poor bearing capacity and high shrink-swell potential require special foundation construction techniques to avoid later structural damage. Large structures may require deep foundation pilings and control of surrounding ground moisture may be necessary for both large and small struc- tures. Increased construction costs result from the special r requireménts. Roads tend to warm, expand and crack over clay soils. Underground utility lines need protection against stresses that might cause rupture and corrosion potential is very high for unprotected steel pipes. In the urban environment, it is not used for pasture or hayland. The next layer is reddish-brown silt loam ithat extends to a depth of about 60" . This strata does not present any shrink- swell problems. It does have good excavation potential and poses very few problems for construction, however, the clay soil over- 8 lying it negates these good qualities. (See Fig. 19)

66 HARD UMESTON n ANDDOLOMITE Fig. 19 MIXEDLIMESTONE • AND DOLOMITE Environmental Geology LJ CLAY • site location TERRACE • AND ALLUVIUM DEPOSITS SOFTLIMESTONE ALTERED VOLCANIC TUFF source: city of Austin, Dept of Planning AND BASALT 67 CL MATIC DATA: Austin is located in a sub-tropical belt that parallels the Gulf of Mexico causing hot summers with ghigh humidity and very mild winters. Below freezing temperatures occur on an average of less than 25 days per year. Rather strong northerly winds accompanied by sharp drops in temperature occur in winter in connection with cold fronts, but cold spells rarely last more than two days. Summer daytime temperatures may be hot, but the nights are pleasant with the average daily minimum in q the low seventies.' The average annual temperature is 68.1 degrees. The average daily maximum temperature is 95-9 degrees. Precipitation is fairly evenly distributed throughout the year with the heaviest amounts occuring in late spring. A sec- ondary peak occurs in September. Precipitation from April through September usually results from thunderstorms, and heavy rains have occured in all months of the year, most of the winter precipita- tion occurs as light rain. January, March and July are the driest months. Snow is insignificant as a source of moisture, it usually melts as rapidly as it falls. The city may experience several seasons in succession with no measurable snowfall. The average annual rainfall is 32.^9"- Prevailing winds are southerly throughout most of the year. Northerly winds accompanying the colder air masses in winter soon shift to southerly as these masses move out over the Gulf of Mex- ico. Destructive winds and damagåhg hailstorms are infrequent. On rare occasions, dissipating tropical storms affect the city with strong winds and heavy rains. 68 The average length of the warm season (freeze-free period) is 270 days. Based on data from 19^3- I96I the average date of the last occurrence of 32 degrees in spring is March 3; the average date of the first fall occurence of 32 degrees is Nov- ember 28. Previous records show that 32 degrees or below has occured as late as April I3 (19^0) and as early as October 1 (1924).

On the average, 135 days per year are cloudy 115 are partly eloady and 115 are clear. The yearly average of sunshine is 6I % of possible. (See Table I3, source Austin Chamber of Commerce.)

69 Table I3 ^•Qii©*êfl ín THE GOQO LIFE IN TEXAS ertperatiice Means Extremes Precipitation Snow/Sleet

s S •H 1á :i U

Year 78.8 57.4 68.1 109 -2 32.49 14.96 0.00 7.0

Mean Number of Days Relative Humidity Wind Sunrise to :Sunse t

E^ >i . C S CS T CS T Mcaith l CS T (Ú 01 P.M . A.M . louc3 y lea r Do n irecÆio n c± . o r Po s unshin e (U 0 storm s Thunder - Spee d

Mea n di C/l Vlidnigh t <Æ 2; vo Q u fM 0 u tc fa Length Record (Yrs.) 16 T6 16 16 36 5 36 36 36 36 36 36

January 73 79 60 57 9.8 S 49 9 6 16 1 4 February 70 78 56 50 10,2 S 53 9 6 13 2 3 Marcii 71 79 55 48 11.0 S 55 9 8 14 3 3 ^ril 77 84 59 54 10.7 SSE 53 7 8 15 5 1 May 81 88 60 57 9.8 SSE 57 7 11 13 7 1 June 79 88 55 53 9,5 S 69 8 15 7 4 * July 74 87 50 46 8.5 S 76 11 14 6 4 * August 74 87 51 46 8.1 S 75 11 14 6 5 * September 79 87 57 56 8.0 S 67 10 11 9 4 1 Oc±ober 76 85 55 55 8.1 S 65 13 9 9 3 2 Novei iber 76 82 57 58 9.2 S 57 11 7 12 2 3 Deæmber 73 80 59 58 9.2 S 51 10 6 15 1 4

Year 75 84 56 52 9.3 61 115 115 135 41 24

W Climatological standard noraials (1941-1970) T Traæ an amount too small to measure. * Less than one-half.

70

URBAN M CRO-CL MTE; Typical of ^any urban environments, Austin's downtown experiences a "heat island" micro-climate, though not to as great a degree as some major metropolitan areas. This heat build- up is caused partly by the physical characteristics such as den- sity of build'^ngs and a vast ocean of pavement which serves as a magnificent heat conductor, ev^n after dark. In some places, buzldings obstruct the free flow of wind which traps heat in these 'canyons*. Heat is generated from cars, industrial act- ivities and mechanical equipment. "" The Colorado River to the south of the ';'<^ntral ""usiness District relieves some of the heat bulld-up that would occur on an even greater scale if it were not for this unique geo- graphical setting. It allows the southeasterly SM-^nev breezes to blow out some of the heated air. The site specifically chosen for Laguna Gloria Art Museum is on the southern bank of the river, (also known as Town. Lake) so it does not have the problem of heat build-up in the summer as some of its immediate ad.iacent areas. However, it may recieve a good amourt of the northwest winter winds with Congress Avenue Fridge being the only close physical buffer.-^-^ 1'he following table 14 attempts to summarize these climatic elements.

71 Table Ik: Urban Climatic Factors

CLIIVIATIC ELEMENT URBAN VS RURAL Cloudiness 5-10?^ more Winter Fog lOO^ more Summer Fog 30% more Wind Speed Annual Mean 20-30?^ lower Calms 5-20?^ more Humidity Annual Mean Sfo lower Winter 2% lower Summer 8fo lower Total Precipitation 5-10% more Days Totalling Less than 0.2 in ppt 10% more

Source: Berlin. Council of Planning Librarians

72 V*^^~'

The Department of Planning (C"ty of Austin^ compiled a document in I98O with the ultJmate goal of selecting a future development pattern to guide ijeopgraphic grnwth decisions. Austin Tommorrow Comprehensive Plan established existing land •• use relationships through knowledge, intuition and plannir'^ principles. This project's site is currently classified as "L"-- Lake Development which includes a variety of residential or commercial uses so it is not terribly restricted. Along eac^- edge of Town Lake there now exists a green space with a walking/ jogging trail except in front of this particular site and next door. Adjacent to the site is the Hyatt Hotel, on the other side of South Congress Avenue, wh"ch the city strangely enough sold land to the water's edge, thereby breaking the continuU-y of the city owned green space. It seems app-'op-iate that th^ continuity of the trail be reinstated and it is up to these two adjacen^ sites belonging to the Hyatt and Laguna Gloria to do so The Land Use Map following illustrates the district wher-e the si+e 's locáted. It is surrounded by office space and some retail. Across the lake and on the other side of Gbngress Avenue are the two largest downtown hotels, the Sheraton Crest and the Hyatt ^egency. Their adjacencies could be very sigri- ficant.for the amount of tourists that visit museums is great. ., 1 , . •" t>_. or^ r\ • GROWTH: Figure 7 illustrates Austin's geographic expansion s'ince 1960, when the city covered 35.71' acres (5S.8 square miles). In 1970 it contained 52,091 acres (8^.39 square miles). By 19*77 it had grown to include 7^^,523 acres (12!. I3 square m^les). The present growth pattens suggest that Austin is continuing to develop rapidly in suburban fringe areas.^ (See following map of Austin City Limits Expansion. Fig. 20) It is the goal of the city to encourage growth in areas that they found to be most beneficial to reduce urban sprawl and enhance the city. They determined that central Austin should have the highest priority as a growth area because of the under-utilized tracts and vacant land that could be redev- eloped, reducing the urban sprawl and enhancing the urban fabric 16 Note the location of the site in Priority 1 growth area in ^ig.

21. Development may be constrained by certain limitations. These are illustrated in schematic form and begin to define an environmentally preferable direction for growth of the whole city (def'ned as the growth corridor) that runs somewhat north- north-east and south-south-west. It is contained by the steep slopes, Lake Austin watershed, and +he recharge zones of the Edwards Aquifer to the west and to the eastby clay soils with high shrink-swell characteristics, prime agricultural soils, extensive floodplains and Bergstrom Air Force Base noise zones. 17 The location of the site seems approp>-iate for future develop- ment in that it is centrally located ard will be able to serve bo^" "" " ' " won't be left out of the activity zones. Fig. 20

1960 AUSTIN CITY LIMITS 1970 m • site location I 1977 16_ source: Austin Dept of Planning Fig. 21 fí-—J PRIORITY AREA 1 AUSTIN GROWTH AREA3 1 yíj PRIORITY AREA II t——1 PRIORITY AREA III • site location AREA IV

1 source: Austin nrpt of Flanni.ní Fig. 22 / GENERALTZED DEVELCFMENT CCNSTPAI^rS

• site location

78 source: Aus^in Dept of Flanning • -^i^i- • -L - ^h^^Mc• •^l^^tíf^iuÍA/'^ w / * >

Vehicular patterns including access into Austin, into the downtown area, directly to the site and parking cond'+ions can be very important in the development of this project.

PARKING; The parking situation in and near downtown Austin, or more accurately, the lack of it, is very critical ;-t this point. There is increased concern for safe and efficient public trans- portation systems and ono-motorized travel modes, rather than continued dependency on the automobile as the primary means of travel. There is a need for compatibility between the trc.nsit system and adjacent land uses. Since 1977, Austin has been -^o- moting the Public Transportation Plan (develope-i in conjun-tion with Austin Transit Systems). The idea is to have terminals at periphery points of the city and have the iowntown employees park their car and ride the bus from the perip^e-y to their work at -^he coreî^The proposed terminal locations are shown in Fig. 23.

79 ^ig. ^^23 Terminai'Locaxions sour'-e: City o^ Austin Public T^ancportation Plan

80 TRAFFIC PATTERNS TO HE CENTRAL BUSINESS DTSTRTr^:

The following map illustrates the major arte-ials to the Central Business District, located to the immediate no-^h of the site. IH-35 and MoPac Blvd will conduct traffic from the periph- eral areas. Barton Springs Road •s the connection of the two highways, and the site is just off Earton Springs by way of South Congress Avenue, /.T:;:' > \ ] .0^ f -

•>i.

•'^ '\ 'W

/. /- •• /• I ^'^...i A--"""*

%^ -^ _«-y»»-^ -í^^ '••,/7^-. >-^fc>^-ifO> •*". • " ^ '.. v.-. -v '; •• í

^•; •i>' ^••v

•^. • i''' '• J/ ^ -> ••••'*ÍM

* '''íiitiiiiliVi .f '•'•TÚ

-V.

•«^-t" •fjr>«* . Mimt - source: Aus-^in Dent of 'T'^anspor-^a+ion 81 / Air:TIN URBAN FREE..AY R NG; This allows quicker movement around the city. The map below (Fig. 25) shows the ring in relation to the other major arterials and freeways.

82

sourcf^ : Aus + in Dept of '^ransporta + i or BUS PCU^^^; Several route structures were desirned to meet the different demands of operations. Following ?re peak systems operations (when increased bus frequencies are offered), off-pesl-' opera- tions (basic route coverage) and reduced operations (late even- ings, Sundays, and holidays when demand is l'ght). 'T'he i'^tervals between buses on most routes is 30 minutes. During heavy demand frequency is increased to 15 minutes and on o:^f-peak -r^idership 19 may run on a 60 minute schedu^es. Note location of sit<=. (See Figures 26, 27 and 28, respectively.)

83 Austin Public Transportation Pl-n y of Austin Public Transportation Plan Âustin Pubí^^Transpoftâtion' BICYCLE ROUTES: Biking routes are shown in Fig 29 below. ^'ost routes fol- low tie north-south growth corridor, but s vp.in horizontsl artery is shown to follow Riverside Drive, which just happens to r-:'- clpsely by the^site.

^.g.'2^-^" ..r^rp : citv o-F AIIC + T«^ Dept of ^^rban Transportat' on so TRAPFTC PATTT^^-^S AROUND SITE; Fig. 30 indicates traffic patterns around theimmed'ate site. The most heavily traveled is South Congress .'.venue. Barton 'Springs Road is heavily traveled, and continues to be such as it turns into East Riverside Drive. W'^st Riversidp Drive has only moderate traffic, except during the early morning and l?te afternoon rush hourn ,when they all become burrp'^:^ to bumper traffic. ?.''iller Lane, which provides access to the 20 site, has virtually no traffic.

88 « We

'urce: Dept o 'ansportation 7^"%#f :^5ã^§^^yT(^2?^

A study of existing pedestrian patterns and behavior is vUal to the development of any project alon.^ the city green- space on Town Lake or in the Central Business District. Before the specific site is studied, a general background is needed con- cerning pedestrian travel and its spacial demans. ""^^e f^'rst Table A examines various flow rates and +heir related space require^.c-^t::. Table E outlines behavioral conditions as they relate to s^and'ng. Table C summarized a study regard^ng ped- estrian behavior as it relates to available space. In regard to the specific site there are two types of pedestrianc, those coming fro^. the central tusiness district, and those walking along the path following Town Lake. .".s of how. thé.path is not cohhected. It ends at the sitê on the east side and start3 up again at the Hyatt hotel. I^ ^he poin-s were connected. the resulting traffic would still not he ar hea'-;' as if it were in an urban setting. Th-refore. it is poss^.>^le to '-, \ conclude from the tables that 1) flow would ^e unimpeded and circulat:on between pedestrians would be poss'.hle without disturb- ance. although some maneuvering may be needed to avoid corflicts. Pedestrian patterns, existing and proposed, are diagra-.-.ed on

Fig. 31.

90 TAPLc "^"."^^^p^ Characteristics of Pedestrian Flow m a Homogeneous Stream

Ouality of flo w Space per person ^low rate, oersons Der min per unit Pf WalkwaV 'M-irli-U

OPEN over 530 under 0,s U^'IMPEDED 530-130 0.5-2 IMPEDED 13Q-40 2-6 CONSTRAINHD 40-24 6-10 CRO^VDED 24-16 10-14 CONGESTED 16-11 14-18 JAMMED 2-11 0-25 Sourcet Pushk ^''^'^* ^-Irban SoAre for PPHO.-^.--.^.

r.-\gLE p -evels of Service for Standina Pedest rians Spacing .-^rea oer person Ouality ft sq ft Description

LiNIMPEDED over 4 over 13 Circulation between oedestrians is possible without disturbina them,

IMPEDED 3.5-4.0 10-13 Circulation between standina oedestrians is some'^bat restricted.

3.0-3.5 7-10 Comfortable for standina without being affected bv others, but walking between standees possible onlv by disturbino them ("?:.xcase me"').

COXSTRAINED 2-3 3-7 Standing pedestrians do not touch each other but are uncom- fortably. close together, circu- lation through the group is severely restricted, and forward movement is possible only as a group.

CON'GESTED Under 2 2-3 Contact with others is unavcid- able, circulat ion through the group is impossible.

IMMED 0 Under 2 Standees are pressed together, no movement is possible . 91 - ^Sourc ei -tr^.»r.>?ttrf a,»/» uicitmiíii^ ;^-t^d,ce for Pedestrians P°'lestrian ?Phavior 'ela P'í to .J>vaiUble ^c

^oproximate averaae area oer oerîon

SQ ft

-"- -lowi erratic, on rhe •.-eroe of ccrnolptp s'oooaoe Averaae soeedt shufflino only C>".oice of speed I rcne Croasina or reverse •'iove''ient: i.-noossible Conflictst Dhvsical con'act unavoiiaole Passinat imoossible

^ "lowt attains a -naxi.Tium in rraffic streams under oressure Averaae soeedt mostly shufflina Choice of sDeedt none, movement oníw •«ith the crowd Crossina or reverse moveinent: lost iifficul* Conflicts: physical contacts orobable, c-irflicts unavoidable Passinqi imDossible "^î- '^lowt attains a maximum in •^ore r'îlaxe'1 triffic str? .Averaqe SDeeds about 'C^ that of free flow Choice of soeedt oracticallv none Crossinq or reverse movement t severelv restricto-l '/i collisions Conflictsi phylical cortact orobable, conflicts unavoi'lable Passinqt imDossible

11-15 Flowt 65 to 80 oercent of maximum catsacitv Averaqe soeedt about '5'; that of free flcw Choic of soeed I restricted, constant ad •'us tTnent s .cf cait necessary Crossing or reverse iiovementi severely restricted «ith conflicts Conílictst unavoidable Passinqj rarely oossible •.»ithout touchina

15-18 Plowi 56 to "0 percent of maximum capacity •^veraqe speedi about 3Cy that of free flow Choice of soeedI restricted exceot for slow »alkers Crossinq or reverse movement t restricte-l, •/íith conflic* Conflictst orobability hiqh Passinqi rarely oossible -vithout touchina 13-25 Flowt rouqhly 50 oercent of •laxirT'.un caoacitv Averaqe speedt more than 30^ that of fr'?'? flc* Choice of soeedi oartially restricted Crossina or reverse Tovementi -^ossible, •n-it'r ccnflic-s Conflictsi orobabilitv hiah Passina: -iifficult •^ithout abruot maneuvprs

25-40 Flowi rouqhly 33 oercent of maximum cioacitv Averaqe soeedi aporoachinq íree flow Choice of soeedt occasionally restricted Crossinq or reverse movementt oossible, with occasiona; conflicts Conflictst about 50 oercent orobabilitv Passinai oossible, but with interference

Over 40 Flowt 20 oercent of maximum caoacity or less Averaqe speedi virtually as chosen Choice of soeedi virtually unrestricted Crossinq or reverse movementi free Conflictsi maneuverinq needed to avoid conflicts Passinqi free, with snme maneuverinq

Sourcet Pushkarevi t'rhan oace for Pedestrians

92 • H«* PEDE3TR AN TRAVFL ^ MES;

Since the pedestrian flow to the south is virtually non- existant for purposes of traveling anywhere but :^rcm the auto - to the front door of the immediate destinat.ion in m'rd, ^ir. V^ indicates walking times (in minutes) to the site -^rom va^ying points in the central business district. Walki-^.r is more accept- able in the downtown environment than perip^er^/ cor-^ercial/retail areas. Studies have shown that the average maximum wâking dis- tance is 172G feet (approximately six minutes). t^'h^'m ^P %

UT L T E":/EA3Sr^ENn:^": : T^ne primary utilities run under Confrerjs Avenue although slightly smaller mains also run along Riverside ^rive. The only easements on the site aré a 2* strip along Miller I-^ne and a 22 6' strip along Sôuth Congress Avenue. ( See Fig. 33.)

//

1 i^^^^^^ "^"^ 'y ^

/ ''^•S'^:'ii^^iii^:Jii- I^j4-|qpl€

^41 Vî % V Fig. 33 TOPOG^APHY; The site is sloped gently downward toward the lake, with a steep slope near the edge. (see Fig. 34)

F-^g. 34 SITE ANALY3IS

An analysis of the site reveais: an obvious no^. ^e p^o'b- lem from South Congress Avenue. Dense low Thrubs along the wate-i"-

front somewhat block views of the water end may have to be remc'ed.

Under the bridge is land space where several cars are always par^'ed

One must not jump to the conclusion that the building should ti;^n

it's bc ck to this ugly spot, as the parking use is not off'cial,

and in fact may be illegal. (See Fig. 35)

^e.

;cale: l'*-100' Fig. 35 ^\-k- ísy>< 97 CONTEXT ANALYSIS

"botofn^'oh ?hov"" of site 'i^oki.n.^ •vP3t from tb*^ " • e,?st corner.

^^C^ lcJcc/j.Í^}

98 :•::::• ^ ^ ^

Fig. 3 VIE'A'3 TO NORTiî from. cen-*-^r of site. "he -heraton C-î-^st Tnr, originally a hospT tal white color, was pain'^'^d th' s pi'^i^i'^h color in the summer of 1982 t^. blend with other Austin buildingp The second shot shows dense vegetation at water's edge.

99 VIFWS TO WEST: s^ow glass company building, the Myatt Regency Hotel and the space underneath South Congress Avenue br:de^e.

100 HMl^EAnT: show ...sive newspaper offlces and nlce lake views. The Holiday Inn. on the north bank of Town lake at IH-35 can be seen in the baokground with the skeletal beginninrs of another Austin office building. f-

• T' •*»vwi.

101 ^^gwj^ ^ms

VTEWS T3 SOUTH: are minimal. Dense vegetation in the first photo hides the vacant building revpaled in the next shot taken t the northwest.

102 ZONING: In Austin, all properties have at leas^ tv,-: zoning desig- nations; Use District and Height an^' Area (HfiA). The Use Dist- rict enumerates the range of land usus which are perm."tted. The Height and Area District specifies certain design limi-^ations * ) such as maximum bu'lding height, maximum site coverage, minirrum ) building set backs,ra.^ nimu m lot area and rraximu'n residential

density. The site is zoned "L"--Lake. Tbe V.PCP. District is the 4th, maximum building height is 200'. '^he uses pe-i-m'tted include restaurant, offices, hotel, parking garage, apart-^ents, theatres--all use::^ subject to approval by the city council. To the east of the site are commercial zones, includ'n- those which allow night-club type activities. ""- th^ south ^- an Industrial district, and though this sounds heavy, "D" uses are anv use except those considered P nuisance or which may be 23 obnoxious or offensive by reasons of emmissions. (^ee ^ig- 37-.)

] ;

103 Fig 37. source: City of Austin Department of Flanning A

104 FOOTNCTES: ". -. Austin Tomorrow Comprehensive Plan. City of Austin Plannins Depart^ent, 1980, p. 53. ' '• ^ bid. ^ bid.

Parks and Recreation Department l^'-^.ster Dlan, Citv of Austin ) p. 17. " ' ) ^USGS Soil Survey, Travis,County, Texas, 1974, p. 23. i 6 ' PARD Master Plan, p. 19. "^USGS Soil Survey, p.î3. ^lbid. 9 Robert Barton, State Climatologist, National '."Jeather Service, Us Dept of Labor, USGS, p. 117. Ibid. l Berlin, G. Lennis, "The Urban Environ,Trent: A Climatological Anomaly", Coucil of Planning Libraries; Exchange Bib- liography, Vol. 292, p. 1-k. ^^ bid. 13 Personal visit to the site, October 10, 1982. 14 Austin Tommorow Comprehensive Plan, p. 12"^. ^^lbid. p. 145. ^^lbid. p. 151. ^"^lbid. p. î49. 1 R Public Transportation Pl:'n,City of Austin, p. 5- 19 IMd.p. 11. 20 Personal visit to the site, October 10, 1982. 21 Austin Metropolitan Area Roadway Plan, Départment of Planninr, C"ty of Austin, 1980, p. 36. ^^Personal visit to the s:te, Octobe^ 10, ''9^2.

-^Gity of Austin, Department of Planning. 105 \.

'1 1.1

LAGIJNA 7"; GL®RI A 2^?g ^ 2: -4--' A nnn AI i«>n-iw L TEXAS , _ - ^ IpysEUM I

106 The square footage numbers for the space summary were generated by the requirements of Laguna Gloria Art Museum specifically. The art school director determined the need for the art school s 1000 square feet, the curator determined the 3050 square feet for art handling. both of these based on current and projected needs.

Retail space was determined by the planning consultant based on current and projected needs, so were the administra- tive spaces.

General rules of thumb for exhibition space is I/3 the total square footage of the building. Auditorium.square foot- age, including supportive backstage and dressing areas are fig- ured by the number of people seated. 300 people requiring 20 sf/person makes for 600 sf for the auditorium area. 15 sf/person is required for restaurant seating aíeas and the kitchen (including storage) should be approximately l/4 the size of the seating area. Restrooms should allow 50 sf/person using them, but in this support facility you design for the average number of people, not the maximum. Other rooms were sized according to the specific equipment required in them, among these are the mechanical, projection, and security rooms.

107 ^-3éwrt i6-i^e}íyias

LOBBY public reception area 730 sf gallery security 120 sf cloakroom 50 yf public restrooms 300 sf orientation 2000 sf activity room 600 sf 3200 sf

ÁiIDITORIUlV! backstage area 500 sf 6OC ST dressing rooms bathrooms for dressing rooms 150 sf 200 sf projection room 800 sf auditorium lobby 800 sf ticket area 100 sf wet bar facility 200 sf restrooms 2S75 sf viewing area 5800 sf

108 _ .-LJ mm^^

í. '. 'vl'JSEUM SHOP

shop area 400 sf

shop office 100 sf

shop storage (sliort Terifi) 50 sf shop storage (lorg term) 90 sf

640 sf TEA ROQM

seating area 700 sf kitchen 200 sf tea room manager lOC sf

storage __i.':'^__.,s.f líOO sf EXHIL TICN S irtCE

changir.g exhibition space 7200 sf lont^- teri'^ exhi"! itica' Bi'a.ce IpOp _sf 9C0C s.-r

OUTDOOR SCULTTURZ outdoor í-pace 2C0Q ,sf :ooo sf

TOTAL FOR GENERAL PUBLIC SERVICES 20,940 sf

109 «BV«R!

•— r 1 —''—^" / _ • /0 /J í ' Cí r ^> y •r-íi^ /í^/ / — — - PUBLIC reception area 120 sf 120 sf

DIRECTOR office 200 sf secretary 200 sf project person (shares space with secretary) conference room iM—sf 544 sf

CURATOR office 120 sf assistant curator 225 sf curator of education (shares with assistant curator)

secretary 200 sf project person (shares with secretary). 545 sf

DEVELQPMENT OFF CER office 120 sf development assistant 200 sf volunteer coordinator (shares with development assistant) computer/clerical 200 sf membership coordinator (ishares with computer/clericalj_ 520 sf

110 PUBLIC PROGRAMS public programs director's office 200 sf special projects person (shares space with public programs director)

200 sf ADMINISTRATIVE administrator 120 sf accountant 200 sf bookkeeper/secretary/computer (shares space with accountant) central files/record storage 150 sf mail room/office supply 135 sf 605 sf PUBLIC INFORMATIQN public information officer's office 120 sf public information secretary 100 sf 220 sf

STAFF lounge 200 sf restroora 100 sf board room 900 sf 1200 sf

TOTAL FQR ADMINISTRATION 3954 sf

111 ^m. 4

—f -X^ -L. "~"r ^- igAÛ^ riW\^ 1 1 'M' ^,^^^. \-

EXHIB T STORAGE

exhibition sitorage (temporary) 900 sf exhibition storage (permanent) QOO sf 1800 sf NSTALLÅT ^:"-:

fabrication workshôp 550 sf installation storage 300 sf

spray area/booth 100 sf

prep&.rator office 125 sf registrar office _ 12 5 sf 1250 sf

TOTAL FOR ART HANDLINGi 3050 sf

/ 1

-SQÍ 'lC L't.' VrHT^'^ , /i<^ '

ART SCHOQL classroom 850 sf storage 150 sf

TOTAL FOR EDUCATIQNi 1000 sf

112 - -

i/IA

maintenance storage 180 sf 180 sf

DELIVERY loading and recieving dock 1500 sf recieving area 500 sf 2000 sf

MECHANICAL mechanical room 10 sf 10 sf

TO^PA L FC) R SEIW I CE 21 90 s f

, < 7/ / i *71 /> T , 1? i^ / V^ >6 t-y / / // / Í 'H > /

—j ^

general public services 2i;o4o sf administration 3,954 sf art handling 3.050 sf education 1,000 sf service 2.1Q0 sf TOTAL BUILDING SQUARE FQQTAGE 31,33^ sf

113 rif íí^Tî î A. nr^ AusTiN. 'i IPJAI IbXAS HH .ji..^ui\i

ll4 The detailed space list describes to a detailed degree the spaces listed in the space summary. From this list one can det- ermine the specific floor area and number of occupants. The functional description of the space as well as the environmen- tal requirements (general, materials, mechanical, lighting, and equipment and furnishings) ;-are identified. The spaces have been divided into the categories of general public services, admin- istration, art handling, education and service spaces. These details will hopefully prove significantly helpful in the con- sideration of design details in this project.

115 :Í:SSÍ* ^^^mar-

-l i n L—^- itf'kY'^ t^^"^m ^KVíCfS

LOBBY space name: PUBLIC RECEPTION AREA assignable floor area: 730 sf # of units: one # of occupants: twoto six people functional description: relates directly to all general public services and first floor eallerv spaces To accomodate special parties, events, openings, ftc after museum hours Should provide a definite sense of entry establishes the character of the museum and orientation^ It should be the public's only access to the museum proper Smokmg section designated »/ environmental requirements: general: large open space providing information on museum activities A spacial pivotal point mto audit- orium, restaurant, orientation and activity room, shop 4nd galleries with option to be completely closed off from gallery space after hours.

materials: shoûld be-durable, appropriate to the charactnr of the building HVAC required, (consequence of space proximity mechanicali to the exterior should be corapensated) 5 air changes per hour.

lighting: should contribute to the character of thespace di?ectional lighting also important generally 15 footcandles. equipment and furnishings: public telephones, seating for 6- 12 people

116 " V

SPACE ADJACENCIES TO: activityí LOBBY

117 space name: GALLERY SECURITY assignable floor area: 120 sf # of units; one # of occupants: one employee functional description: i this space will serve as the central fire and security surveill- ) ance center ) environmental requirements; ; ) general: space should be located centrally in respect to i the exhibits and entrances to the building, with easy access to those spaces, the path of access should denote clearly to the public that it is only for staff merabers 24 hour employee access is required. materials: durable, easy toraaintain, ligh t colors make small rooms look larger mechanical: HVAC required, 10 air changes per hour lighting: general lighting adequate, 20 fc equipment and furnishings: all electronic control, surveillance, fire detection and security systems, telephone, counter space as required 2- chairs (l'-8" x 1«-8") 1- table (60" x 30")

118 space name; CLQAKROOM assignable floor area: 50 sf # of units: one # of occupants: one person functional description: visitor coat storage environmental requirements: general: located adjacent to public reception area materials: compatible with public reception area mechanical: none lighting: 30 fc equipment and furnishings; shelves for hats, hangars on bar for coats, cubbyholes for ladies handbags

119 space name: PUBLIC RESTRQOMS assignable floor area: 300 sf total, 150 sf each # of units: two, one for each sex # of occupants; one to five visitors functional description: provide private areas to perform bodily functions, inspection and improveraent of personal appearance and related hygiene activities environraental requirements: general: located adjacent to the reception space, yet off the raain traffic zones and easily found accomodations for handicapped persons necessary

materials; easily maintained, sanitary, durable mechanical: HVAC required, fan (vent) to exterior required 12 air changes per hour lighting: pink tones preferred at mlrror area where special attention is required Never use blue flourescent lights in restrooms, thisraakes a person look like death warmed over and feel like they could never go out in public again. 50 fc recommended

equipment and furnishings: 3 toiléts; (2 toilets and 2 urinals for men) paper towel and tissue dispensers, soap dispen- ser, 2 lavatories, trash can, mirrors

120 space name: QRIENTATION assignable floor area: 2000 sf # of units: one # of occupants: 5O-75 people functional description; a lecture information room with audio-visual capabilities for simultaneous presentations, Multi-purpose area- a holding space for large crowds, seminar room at night environraental requirements: general: separate area within lobby space, adjacent to first floor gallery area. Seating accomodations for fifty to seventy-five people, carpeted risers materials: durable^ acoustically capable of separating this Space.fromall other spaces, car eted floor, quality finishes, soft materials for comfort. mechanical: PTVAC required 12 air changes per hour lighting: three functions: I) emergency exit and raood lighting 2) subdued general lighting for pres- entations, 3) more intense general lighting for clean-up, emergency and clearing purposes three sources: 1) from ceiling surface illum- ination 2) light reflected from screens of visual equipment 3) light projected onto walls equipment and furnishings: 1- table (30" X 6O") 1- podiura (24" x 14") blackboard 5- chairs (folding chairs are sufficient) carpeted risers for mass seating audio-visual equipment

121 space name: ACTIVITY RQQM assignable floor area: 600 sf # of únits: one # of occupants: twenty to fifty people functional description: a children's area for exhibition-related activities, can serve Art School function in the evening, docent meeting space environmental requirements: general: separate area within lobby space adjacent to first floor gallery materials: durable, acoustics should be considered, soft, comfortable floor, easily cleaned mechanical: HVAC required, 12 air changes per hour lighting; general lighting, variable controls (rheo- stat) natural daylighting desirable O-60 fc. equipment and furnishings: 5-10 tables (30" x 30") 50 stackable chairs made of durable plast^c and of quality design in coloré compatible with the rest of the interior of the building bulletin board

122 I - space name: BACKSTAGE AREA assignable floor area: 500 sf # of units: one # of occupants: two to twenty people functional description; for the temporary storage of props, scenery, for rehearsals, actors waiting to perform environraental requirements: general: safety, should have direct adjacency to stage, the back and sides, also direct adjacency to dressing rooms, screened from viewing room materials: durable, consider acoustics, raay remain somewhat unfinished for economic reasons, fireproof mechanical: HVAC required, 10 air changes per hoixr lighting: general lighting adequate 30 fc equipment and furnishings; storage shelves for various equipment, props, scenery, pulleys for hoisting

123 dreésing rVoms t|Lcket/ j andi restroims ^et bar/

backstager restroøms

prpjectidn room audio-visual anid storage ic pr^^grams technician tor J

project persoi SPACE ADJACENCIES TO:

AUDITQRIUM

124 space name; DRESSING RQQr^îS assignable floor area: 600 sf (300 each) # of units: two, one for each sex # of occupants: five to twenty performers functional description: to facilitate the dressing,raake-up, costume changes of dancers, actors, performers environmental requireraents: general: space locâ.ted adjacent to backstage area storage to hold the performers street clothes, lockers materials: easy„|iaintenance, acoustics considered, fire- retardant mechanical; HVAC required 12 air changes per hour lighting: variable.intensity required, special lighting at rairrors (both make-uprairrors and dressing mirrors) 50 fc average equipraent and furnishings; 6- benches 10- lockers, capable of being locked 4- raakeup tables with counterspace and chairs drawers for make-up 6- wardrobes for storing costuraes trash cans

125 space name: BATHRQQMS FOR DRESSING RQOMS assignable floor area: 150 sf total, 75 sf each # of units; two, one for each sex # of occupants: one to two perforraers environmental requirements;

•f general; located adjacent to dressing rooms ) ) materials: easilyraaintained, sanitary , durable mechanical; HVAC required, fan (vent ) to exterior required , 12 air changes per hour , lighting; general lighting, 50 fc equipraent and furnishings: 1- toilet 1- iavatory paper towel dispenser, tissue dispenser, soap dispenser, trash can, mlrror

-.. J

126 space narae: PRQJECTIQN RQOM assignable floor area: 200 sf # of units; one # of occupants: one employee functional description; facilitates the projection, rewinding and storage of films; audio-visual technicians office, audio-visual workshop environmental requirements; general: miniraura depth of 11»-0", control of access into space is important; space requires direct access relationship with rear of viewing area; fire and sound proofing of space is required; fire doors required materials; durable, fire-retardant, acoustically superior mechanical! HVAC required, exhaust vents to exterior (50 cfm per arc) required for machines; film safe - requires an exhaust duct 30 air changes per hour. lighting: task lighting required but should not spill out into public viewing area. equipraent and furnishings: rewind table, filra safe, projector, sound pro- duction equipment, power generator, fire/ smoke detection system device, automatic sprinkler system,raiscellaneous equipment as required, trash can

127 *m—

space name: AUDITQRIUM LQBBY assignable floor area; 800 sf # of units: one # of occupants: 10-300 people functional description: serve as general circulation space for the auditorium, intermis- sion space, after-performance reception space, informal museum receptions and seminars environmental requirements: general: space should define pattern of entering and exit- ing auditoriura, direct adjacency to restroom and aud toriura required, a system of accomodating long lines should be considered materials: durable, easy toraaintain, warra , comfortable mechanical: HVAC required, 4 air changes per hour lighting: directional lighting important, spot lighting to feature any displays, low levels of general lighting everywhere 20 fc suggested equipraent and furnishings: comfortable seating to accomodate 2%o of the total capacity which is six people, drinking water fountain, trash cans.

128 space name; TICKET AREA assignable floor area: 75 sf # of units: one # of occupants: one to two employees functional description: to facilitate the selling of tickets to events of the auditorium environmental requirements: general; centralized space under auditorium rise area, security and control into this space should be considered. materials: durable, easy to mâintain mechanical: HVAC required, 5 air changes per hour lighting: task lighting good, general lighting only adequate 30 fc equipraent and furnishings; two padded stools,counter space as required, cash register, change maker, ticket dispenser, telephone, trash can

129 space name: V/ET BAR FACILITY assignable floor area: 100 sf # of units: one

# of occupants; two to three employees functional description:

area allows for preparation of drinks, the cleaning of glassware, storage of liquor, glassware and related utensils. environmental requirements: general: accessible frora auditorium lobby, under aud- itorium rise area, efficiency a prime consid- eration, control into this space should also be considered. mechanical: HVAC rêquiredf 15 air changes per ,hour materials: durable, quality, easily maintained lighting; lighting shoû.d be enough for task, but not so much as to spill into lobby area or draw too much attention to the area 15 fc equipraent and furnishings: refrigerator/freezer, ice maker, beer keg coolêr, blender,raiscellaneous ba r equipment as required, storage for glassware, llquor and equipmerti as required (display of these itemsraay be desirable, but should definitely be optional, so as to facilitate different kinds of activities held in the lobby space)

130 *'»-«-

space name; RESTROQM FACILITIES FQR AUDITORIUM assignable floor area: 200 sf (100 each) # of units: two, one for each sex # of occupants; one to four visitors or eraployees functional description: these spaces will serve the auditorium patrons, provide private areas to perform bodily functions, inspection and improvemeht of personal appearance and related hygiene activitles environmentâl requireraents: general: should be located out of direct public view but should be easily found, waiting lines need to be anticipated, space musf.be' ad jacent to audit- orium lobby materials; durable, easy to maintain, water resistant, san- itary mechanical; HVAC required, exhaust vent to exterior, 12 air changes per hour lighting: general, except at mirrored areas 50 fc equipment and furnishings: 2- toilets (men-- 1 toilet and 2 urinalsj 3- lavatories paper towel and tissue dispensers, soap dis- penser, rairrors, trash can

131 space name: VIEWING AREA assignable floor area; 2575 sf # of units: one # of occupants: 200-300 people functiona.l description: to facilitate the comfortable and efficient viewing of per- formances, films and lectures environmental requirements; general: a "black box" auditorium. stage to consist of wooden dance floor for small performances, intimate seating arrangement. The maximum view- ing distance should be no greater than 2x the width of the film screen. Angle of seating to provlde good sightlines: viewing angle to top of filra screen ^^-^ora the first íow should be no greater than''33 degrees, minimum spacing be- tween rows should be 34".i An offstage area provided for lecture speaker. materials: quality, durabllity, and acoustics shoûld be the prirae considerations mechanical; HVAC required 6-10 air changes per hour. lighting: three functions: 1) emergency exit and mood lighting, 2) subdued general lighting for in-between performances and 3)raore intens e lighting for clean-up, emergency and clearing purposes. three sources; 1) frora ceiling surface illum- ination, 2) from light reflected frora the screen during films, and 3) light projected onto walls. equipment and furnishings; comfortable chairs to accomodate the 300 maximum occupants load, (1" thick backs preferred) movie screen, fire/sraoke detection device; podium, 1 table (3^" X 60").

132 space name: MUSEUM SHOP AREA assignable floor area; 400 sf # of units: one # of occupants: two to eight visitors, one employee functional description: merchandise to appeal to all age groups and reflective of exhibitions and museum's focus on 20th century art to be sold here environmental requirements: general; near areas of activity (suggested space- in front of auditorium lobby) should be as open and inviting as poesible, security iraportant materials: quality, acoustics, durability priraary consider- ations, also contribution to character of building should be considered Soft floor surface for visitor comfort mechanical: HVAC required, 15 air changes per hour lighting; display lighting important, otherwise general light will be sufficient: 200 fc for showcases, 100 fc for service, 30 fc generally equipment and furnishings: display cases, shelving adequate, wall surface for display, counter space for cash register 3»-6" optiraum, counter space for display 3'-0" optimum, cahs register centrally located, trash can, teiephone

133 §/0 I

SPACE ADJACENCIES TO: SHOP

134 space name; SHOP QFFICE assignable floor area: 100 sf # of units: one # of occupants: one eraployee functional description: office for shop raanager ) environmental requireraents: general: sraall area with desk, file cabinet within larger shop storage area, adjacent to shop and shop storage, but not in major traffic area. materials: warm, corafortable, acoustically isûilated, light colors should be used in such a small space mechanical: HVAC required, 10 air changes per hour lighting: task lighting preferred over general. 30 fc equipment and furnishings;

135 space name: SHOP STORAGE (LONG TERM) assignable floor area; 90 sf # of units; one # of occupants; one person functional description; • long term storage for shop merchandise ) ) environmental requireraents: general: within shôp area, need not be as accessible as short term raaterials: can reraain soraewhat unfinished for economical reasons, durable, fire-resistant mechanical: ventilation required, but heating and air cond- itioning are not, 5 air changes per hour. lighting: 30 fc equipraent and furnishings: shelves, racks, bins, all for storage of shop raerchandise only

136 space name: SHQP STQRAGE (SHQRT TERM) assignable floor area: 50 sf # of units: one # of occupants: one person functional description: short term storage for shop merchandise environraental requirements: general; within shop area, easily accessible materials: should be finished in durable, fire-proof materials mechanical: HVAC required, ventilation particularly important 5 air changes per hour lighting: 30 fc equipment and furnishings: shelves, racks, bins for storage of shop merch- andise

137 space narae: TEARQQM SEATING assignable floor area: 70O sf # of units; one

# of occupants; 40- 50, plan for 18 sf/person with occupancv rate of 14?S functional description; tea room/garden restaurant to accoraodate catering/tea roora service (a liraited restaurant service) environmental requireraents; general; plan and layout should be flexible for different eating occasions and activities, rrom should be pleasant for good digestion materials: attention to acoustics,raaintainability, quallt y mechanicd; HVAC required, if any exterior spaces are utilized, they should be well shaded. I5 air changes per hour. lighting: subdued mood lighting may be appropriate, avoid shingin lights directly on diner, natural light could be a great additional element. 15 fc avg. equipraent and furnishings: 8- tables that will seat four people each 15- tables that will seat two people each 54- corafortable chairs with arras 2- waiter station counters

138 SPACE ADJACENCIES TO: TEA ROOM

139 space name: KITCHEN assignable floor area: 200 sf # of units: one # of occupants: three employees fimctional description; this space Is to service tea roora areas at various times of the day, it should accoraodate the raeans of recieving and storing goods, preparing and cooking meals. environmental requirements: general; safety iraportant, should be separâted frora exhibition areas for security reasons, rainimum kitchen requirements necessary for tea roora cat- ering operation, adjacent to tea roora, deliver- ies easily transferred frora recéiving area materials; durable, easily maintained, grease-resistant, flame-retardant, acousticaily isolated mechanical: HVAC required, all heat related equipment should be vented to the exterior, ducts should be flame proof with spark arrestors 25 air changes per / hour lighting; general lighting adequate, intensify over counter dpace,rainiraize in storage areas 20 fc avg equipment and furnishings: fire detection devices, fire extinguisher, vent hood, storage cabinets as required, trash cans butcher block table 3 -Û" X 3'-0" oven 3- -6" X 5'Cû" electrin range y -0" X 3'-2" vegetable sink- double 2" -6" X 5'-0" freezer 3 '-0" X 3' -6" refrigerator 3 •-0" X 3'-6" work table 3 '-0" width

l40 -"-><>«

space name: TEA ROQM MANAGER assignable floor area; 100 sf # of units; one # of occupants; one eraployee functional description:

• office space for tea roora manager ) ) environraental requireraents; I general; small space within tea roora area ) I materials; warm, corafortable, acoustically isolated, light colors should be used in such a small space. mechanical; HVAC required, 10 air changes per hour lighting; task lighting preferred over general, 3O-6O fc equipment and furnishings; 1- desk (60" X 3O") 1- file cabinet (17" x 15" x 28") 2- chairs (l'-8" x l'-8") 1- typing table (23" x 19" x 26") trash can, telephone

l4l space narae: TEA RQQM STORAGE assignable floor area: 100 sf # of units: one # of occupants: one person functional description; for storage of chairs and tables that raay or raay not be in use \ depending on tea room activities environmental requireraents: general.: adjacent to tea roora and near tea roora manager materials: easy maintenance, durable, need not be finished in quality materials for econoray's sake mechanical: HVAC not required, ventilation sufficient 5 air changes per hour lighting: 30 fc is adequate equipraent and furnishings: racks for chairs and tables, a few shelves would / be nice for incidentals

!

l42 space name; CHANGING EXHIBITION SPACE assignable floor area: 7200 sf # of units: three \ # of occupants: 100 (design 75 sf per person) functional description: for display of teraporary exhibits, two galleries to be reserved for photography, works on paper, and childrens gallery environmental requireraents: general; three large galleries with flexible divisions, one gallery up to 3800 sf, two galleries 2000 sf It envelops basic activities, the circula-liion system must be a part of the exhibition. The paths can be controlled by architectonic features / or be left open and flexible. The arrangement of space should follow the characteristics of the collection or exhibition. materials: quality, aesthetics, character, acoustics of prime consideration. Durability, maintenance and fire retardance should also be considered raechanical: climate and teraperature control of prime impor- tance, HVAC required, 50% humidity, 68 degrees F , 5- 10 air changes per hour lighting; combination of natural and art ificial light, ô should be highly flexible. Li ght serves two purpcses, the illumination of space and the illumination of the objects Natural light should be diffused, never dire ct. Directed art- ificial light shouid not cause glare or shadows on objects or on glass over th e objects. The quality of direct lighting is controlled by the color, texture, and structure of the surface used to reflect the light. equipraent and furnishings; movable walls, partitions, inconspicuous seating for guards, rest areas for patrons, display cases 143 \

outdoor sculpture

SPACE ADJACENCIES TO: GALLERIES

144 space name; LQNG TERM EXHIBITION SPACE assignable floor area: 1800 sf # of units; ôhe # of occupants; twenty-four (75 sf/peron) functional description: • for display of exhibits vn a long term basis environmental requirements; general, materials, mechanical,-lighting and • equipment and furnishings are exactly the ' same as short terra exhibition space

/

4>

145 space narae: OUTDOQR SCULPTURE AREA assigaable floor area: 2000 sf # of units: one # of occupants: ten (I50 sf per person) functional description: to facilitate the viewing of sculpture out of doors environmental requireraents; general; outdoor viewing should have direct adjacency to gallery spaces, should proi iote the rauseum's pleasant experiences to be had inside and out, should have a variety of spaces to accomodate different sizes and space demands of changine sculpture shows, focal pôints extreraely irapor- tant materials: durable, weather-resistant, quality is important and so is aesthetics.

mechanical; none lighting: should be selected for its contribution to the environments character and security. Night lighting could be dramatic, should emphasize sculpture, safety on walkways equipraent and furnishings: benches, corafortable seating and raaybe a few tables for resting, landscaping, lights, drink- ing fountain, signage for the sculpture, use of water fountains, trash can

146 i—

,' 1 f /^ /y'O'í/V^/ ^^^^^^^-7- i^^/T/'t^>7 / t>t/ /U// -r J-

space name; RECEPTIQN AREA assignable floor area; 120 sf # of units; one # of occupants: one employee, one to three visitors

functional description; this is the central reception area to facilitate the recieying of visitors and perforraance of various secretarial activities.

environmental requireraents; seneral- area for office receptionist located at main entrance into office area. An attractive space to receive visitors, It is the public entrance to administration area

materials: warm, corafortable, acoustically isolated mechanical; HVAC required, 10 air changes per hour lighting: task lighting preferred over general 30-100 fc equipraent and furnishings: 1- secretâry's desk (60" x 3"") 1- typing table (23" x l^" x 26'') 2- file cabinets (17" x 15" x 28") trash can, telephone 1- chair (l'-8" X l'-8")

14? pro^ect

confet'ence person

SPACE ADJANCENCIES TQ: DIRECTOR

l48 DlRECTGR: .; space name: DIRECTOR'S OFFICE assignable floor area; 200 sf # of units: one # of occupants: one eraployee, zero to two visitors functional description: ^ to facilitate the various activ ties involved in the coordination activities which insure the smooth functioning of the museum , environmental requirements: ^ general; public access to this space should be controlled throiAgh the reception area; directly adjacent to the conference room, Privacy important, access to secretary and project person materials: quality, comfort, warmth, and acoustics should be considered mechanical: HVAC required, 10 air changes per hour lighting: task lighting preferred over general 3O-IOO fc equipraent and furnishings; 2- lounge chairs (^'-B" x 2'^8") 1- coffee table (4'-0" x l'-^") 1- desk (60" X 3O") 1- executive chair ( 2»-4" x 2'-^^" ) 1- credenza ( 6O" x 21" x 30") telephone, trash can

149 space name: SEGRETARY AND PROJECT PERSQN assignable floor area: 200 sf # of units: one # of occupants: two eraployees functional description; office for director's secretary and special projects person, facilitátes secretarial duties environraental requirements: general: this space is shared by the two employees, should be adjacent to director's office materials: warm, comfortable, acoustically isolated mechanical: HVAC required, 10 air changes per hour lighting; task lighting preferred over general, 3O-IOO fc equipment and furnishings; •2- secretarial-desks' (60" x 3O") 1- typing table (23" x 19" x 26") 2- file cabinets (17" x 15" x 28") 2- chairs (l'-8" x l'-8") trash can , telephone

I

150 space name: CQNFERENCE RQQM assignable floor area; 144 sf # of units: one # of occupants: four to six employees or clients functional description; \ this space will facilitate the meetings and presentations asso- ) ciated with museura activities ) environraental requirements; ; ) general: area should be comfoí'table yét irapressive I materials; comfort, quality, warmth and acoustics should be considered mechanical; HVAC required, 12 air chages per hour lighting: task and mood lighting preferred over general, use of rheostats recommended 30- 100 fc equipment and furnishings: 1- conference table (4»-0" x 3'-0") 6- upholstered chairs (2'-0" x 2'-0")with arms telephone, trash can

151 CURATOR; space name; CURATOR'S OFFICE assignable floor area: 120 sf # of units; one # of occupants; one employee functional description; to facilitate the various activities involved in the curator's job (docuraentation of iteras in the museura, acquisition of new objects, coordination of exhibitions) environraental requireraents; general: located near library, private materials: quality, comfort, warmth and acoustics should be considered Light colors make small spaces look larger mechanical: HVAC required, 10 air changes per hour lighting; task llghtmg preferred over general 30-IOO fc equipment and furnishings; 1- desk (6O" X 3O") 1- executive chåir (2«-4" x 2«-^") 1- chair (l'-8" x l'-8"j telephone, trash can

152 «1

asst

SPACE ADJACENCIES TQ:

CURATQR

153 space name: ASSISTANT CURATQR AND CURATQR OF EDUCATIQN assignable floor area: 225 sf # of units: one # of occupants: two employees functional description; office to bo shared by assistant curator and curator of education environraental requirements; , general: adjacent to curator's office, abundant storage i needed raaterials: warra, corafortable, acoustically isolated mechanical: HVAC required, 10 air chages per hour lighting: task llghting preferred over general 30-100 fc equipment and furnishings: 2- secretarial desks (30" x 60" ) 1- credenza (60" x 21" x 30") / 2- chairs (l'-8" x l'-8") 2- file cabinets (17* x 15"x 28") shelf units on walls for storage telephone, trash can

154 DEVELOPMENT OFFICER space narae: DEVELQPMENT OFFICER'S OFFICE assignable floor area: 120 sf # of unifs: one # of occupants: one eraployee

I functional description: ) office for developraent officer, to facilitate museum growth and directionalraanagement activites i environraental requireraents; , general: private office near director's office materials: warm corafortable, acoustics should be considered mechanical: HVAC required, 10 air changes per hour required lighting; task lighting preferred over general 3O-IOO fc equipment and furnishings; 1- secretarial desk (6O" x 30") 2- chairs (l'-8" x l«-8") 1- file cabinet (1.7" x 15" x 28") telephone, trafeh can

155 computer/

/

vpluntee n)íembershi|^ CQordinator coordinatjor

SPACE ADJACENCIES TO: DEVELOPMENT OFFICER

156 space name: DEVELOPfÆENT ASSISTANT AND VOLUNTEER COORDINATOR assignable floor area; 200 sf # of units; one # of occupants: two eraployees functional description; t office space to be shared by the development assistant and the ) volunteer coordinator ) environmental requirements: general; near development officer's office materials; warm, comfortable, acoustically isolated mechanical: HVAC required, 10 air changes per hour lighting: task lighting preferied over general 30-100 fc equipment and furnishings; 2- secretary's desks (60" x 30") 2- chairs(l'-8" x l'-8") 2- file cabinets (17" x 15" x 28") telephone, traSh can

157 space name: COMPUTER/CLERICAL, I; E:'BERSHIP COORDINATOR assignable floor area: 200 sf # of units: one # of occupants: two employees functional description: ^^ office for computer/clerical worker and the membership coordin- . ator for activities involving raembership drives environmental requirements; i general; near developraent officer materials: warm, corafortable mechanical: HVAC required, 10 air changes per hour lighting: ' task lighting preferred over generai 3O-IOO fc equipraent and furnishings: 2- secretarial desks (6O" x30") 2- chairs (l'-8" x l'-8") / 1- file cabinet (1?" x 15" x 28") 1- table (60" x 21" x 30") adding raachine, trash can, telephone

158 PUBLIC PROGRAMS space name: PUBLlC PROGRAM DIRECTOR AND SPLCIAL PF.OJECTS PERSON assignable floor area: 200 sf # of units: one # of occupants: two employees t functional description: ) ) office space for program director to be shared with special projects person i ) environmental requirements; i general: easy access to auditoriura support facilities, near to director materials: 'warra, comfortable mechanical: HVAC required, 10 air changes per hour lighting: task lighting preferred over general, 3O-I00 fc equipment and furnishings: ^ 2- secretarial desks (60" x 30") 2- chairs (l'-8" x l'-8") 1- file cabinet (17" x 15" x 28") 1- table ( 60" x 21" x 30" ) \ telephone, trash can,

iI

159 ADMINISTRATIVE space name; ADMINISTRATOR^S QFFICE assignable floor area; 120 sf # of units: one # of occupants: one eraployee functional description: affice for administrator's activities (coordination of the ^ administration of the rauseum) environraental requireraents; ' I general: near director materials: warm, comfortable, light colors make small spaces look larger mechanical; HVAC required. 10 air changes per hour lighting: task lighting preferred over general 30-100 fc equipment and furnishings: 1-^'secretary's desk^^(60" x 30") - : 2-'ehairs:.(l'i5" x l'-&") 1- file cabinet (17" x 15" x 28") telephone, trash can i

ISo mail/svipply

/

SPACE ADJACENCIES TO;

ADMINISTRATOR

l6l space name: ACCOUNTANT^S AND BOOKKEEPER/SECRETARY/COrCPUTER SP.\CE assignable floor area: 200 sf # of units: one # of occupants: two employees functional descrlption: office space to be shared, to accomodate accounting, bookkeeping , and computer activities environraental requirements: general: sufficient workspace for large computer print- ' outs, near administrator. ' materials: warm, comfortable, acoustics to be considered mechanical; HVAC required, 10 air changes per hour lighting: task lighting preferred over general. 30-100 fc equipment and furnishings: 2- secretary'S desks (60" x 30") 2- chairs (l'-8" x l'-8") / 4- file cabinets (17" x 15" x 28") 2- large tables (3' x 6') telephone, trash can

162 space name; CENTRAL FILES AND RECORD STORAGE assi^nable floor area: 150 sf # "of units: one # of occupants: one employee functional description:

• storage for files and records ) ) environmental requirements: ; general: near adrainistrator, entrance controlled i ) in sorae fashion, a well designed storage 1 system, large walk in space for easy access to records. Separate space for old records, security important, limited employee access materials; acoustics, maintenance is an important con- sideration, need not be pretty mechanical: HVAC required, 10 air changes per hour lighting: general, 60 fc equipment and furnishings: 10- file cabinets (17" x 15" x 56") shelves, storage system, trash can

163 space name: MAILROQM/QFFICE SUPPLY assignable floor area:. 135 sf # of units: one # of occupants: two employees functional description: a central office supply and mail room handling copy needs * environraental requireraents: ^ general: bare roora with continuous shelving and storage ' units for paper and clerical materials and mail. * electrical outlets f<îr copier and print machines ' materials: need not be finished very nicely, acoustics should be considered. mechanical: HVAC required, 10 air changes per hour lighting: general, 60 fc equipment and furnishings: shelves, copier machine, print machine, tables

164 PUBLIC TNFORMATIQN space name: PUBLIC INFQRMATION OFFICER'S QFFICE assignable floor area: 120 sf # of imits: one # of occupants; one employee functional description; ! office to accoraodate public inforraation activities environraental requirements; general: private office space near developraent officer raaterials: comfortable, quality, warmth and acoustics should be considered. raechanical; HVAC required 10 air changes per hou.í- lighting; task lighting preferred over general 30-100 fc equipraent and furnishings; 1- secretary desk (60" x 30") / 1- chair (2'-4" x 2»-4") 1- chair (2»-8" x 2«-8") trash can, telephone i

165 space narae; PUBLIC INFORMTION SECRETARY assignable floor area; 100 sf # of units: one # of occupants: one eraployee functional description; office for public information secretary environmental requirements: generai; private space adjacent to Public Information Director materials; comfort, quality, warmth and acoustics should be considered mechanical: HVAC required 10 air changes per hour lighting: task lighting preferred over general 30-100 fc equipment and furnishings: 1- secretary's desk (60" x 30") 1- typing table (23" x 1'^" x 26") 1- chair (l'-8" x l'-8")

l66 STAFF m space name: STAFF LOUNGE assignable floor area: 200 sf # of units; one # of occupants: two to four eraployees functional description: j this space will accoraodate employee's lounging activitiés,- staff can gather for lunch or breakfast. i environraental requirements; general; pleasant space with facilities for light cooking, coffee materials; comfort, acoustics, durability shoild be ytilized light colors should be used to make the space look larger mechanical: HVAC required, exhaust vents to exterior required with cooking equipment, it could be desirable to open this space to the outdoors, 12 air changes per hour / lighting: general lighting adequate, 3O-6O fc equipment and furnishings: counterspace, fire detector, fire extinguisher, cooking and clean-up equipment (stove, refriger- ator, oven and sînk) storage cabinets, trash can.

167 space name: STAFF RESTRQQM assignable floor area: 100 sf # of units: two, one for each sex \-. # of occupants: one to two eraployees functional description: provide private areas to perforra bodily functions, inspection \ and iraprovement of personal appearance and related hygiene activities ^ environmental requirements: ' general; located adjacent to staff lounge, accoraodations for handicapped persons necessary materials: easily maintained, sanitary, durable mechanical; HVAC required, fan (vent) to extBrior required 12 air changes per hour lighting; pink tones preferred at rairror area where special attention is required. Qtherwise, general lighting is adequate, 50 fc / equipraent and furnishings: 2 toilets for women, one toilet and one urinal for men, paper towel and tissue dispensers, soap dispensers, two lavatories, trash can, mirrors

168 space name; BQARD ROOM- MULTIPURPOSE assignable floor area: 900 sf # of units: one # of occupants: twenty to forty people functional description; • space for Board of Trusteesraeetings, volunteer/docent meeting ) space, seminar, smaller conference meetings as required by ) staff, library and slide library function ; environmentc1 requirements; ) I general: large multipurpose room of maximura seating capacity of forty. flexible wall partitions system allowing for three to four smaller spaces Continuous shelving along wall providing dual usage as library reading room and slideilibrary Adequate storage for chairs. materials: comfort, acoustics, durability to be considered. carpeted floor, quality finisheâ mechanical; HVAC required, 12 air chages per hour lighting; general lighting, variable controls (rheo- stats), natural daylighting desirable. 30- 100 fc. equipment and furnishings: 3- conference tables (4'-0" x lO'-0") 12- upholstered chairs (2«-0" x 2»-0") 40- folding chairs shelving for books, trash cans

169 . ~ \ ^ - ^4 " 4^ " OjriL hnti4] f j - A^ /^ n^/MJ/ ///>/-; ^i ' ^ '_.-• 1

space name: TEMPORAEY EXHIBITIQN STQRAGE assignable floor area: 9OO sf # of units; one # of occupants; two employees functional description: temporary- an interim holding space for crates between exhibits for cataloging operations environraental requirements:

general: approximately l/5 -the size of the -total exhibition space • Close to loadmg dock/ freight elevator. Access to installation workshop. Wide doors for delivery. /

materials; durable. fire retardant, easy to maintain mechanical: proper climate control required: 50f« humidity 68 degrees F., 5 air changes per hour

lighting: 30-100 fc equipment and furnishings; shelves, racks, bins for storage of exhibition items

170 íceivin7g area

sít orage p / /

spray booih

SPACE ADJACENCIES TO; \ INSTALLATION ytfQRKSHQP

171 space name: FABRICATIQN WQRKSHOP assignable floor area: 550 sf # of units: one # of occupants: four employees functional description: a workshop for exhibit installation, construction and preparátion environmen'feal requirements: general; separated acoustically and visually from public, adjacent to exhibition storage and galleries, with access to loading dock and freight elevator, open space, wide doors for delivery, accessible to but separate from loading and receiving area. Utility connections and adequate electrical outlets; security, locks. Includes a clean area for more fragile operations associated with installation. materials; durability, fire resistant, easily maintained, acoustics should be selection criteria raechanical: HVAC required, ventilation very important, 20 / air changes per hour lighting; minimum of 100 fc, tasklighting and general lighting. equipraent and furnishings; 3- large worktables (3* x 10' x 3*) power saw, general handtools and accessories, racks, shelves, and bins for storage

172 space narae: PERMANENT EXHIBITON STQRAGE assignable floor area; 900 sf # of units: one # of occupants: two employees functional description: • permanent storage for long term exhibitions ) ) environmentai requirements: general: approximately l/5 the size of total exhibition i space Close to loading dock/freight elevator. 1 Access to installation workshop. Wide doors for delivery, sec rity important. materials: durable, fire retardant, easy to maintain raechanical; proper climate control required 50^ humidity, 68 degrees F. 5 air changes per hour' lighting; 30-100 fc equipment and furnishings: / shelves, racks, bins for storage of exhibition iteras

173 space narae; INSTALLATION STORAGE assignable floor area; 300 sf # of units: one # of occupants: two employees functional description; • a storage space for installation equipment ) ) environmental requirements; general: within installation area, security locks ) materials: durable, fire-resistant, easy to maintain raechanical: ventilation, 12 air changes per hour lightmg; general lighting adequate, 30-100 fc equipment and furnishings; shelves, bins, racks for storage

174 space narae: SPRAY AREA/BOQTH assignable floor area: 100 sf # of units: one # of occupants: one functional description; for spray painting objects for installation environraental requireraents; general; well ventilated, sraall, fire-proof, adequate storage especiaily for flararaable products materials: fire retardant, durable, unfinsihed (the paint will take care of the finisht) mechanical: HVAC, especially iraportant is the ventilation 25 air changes per hour when in use lighting; 100 fc rainiraura equipraent and furnishings: none

175 space name: PREPARATQR QFFICE assignable floor area: 125 sf # of units; one' # of occupants: one eraployee functional description: office for preparator t environmental requirements; general; within installation workshop area, near loading | dock window open to shop area, small ^ materials: comfortable, durable, easilyraaintained, acoustic s considered, warra, light colors make smail spaces seem larger mechanical: HVAC required, 10 air changes per hour lighting; task lighting preferred over general 30-100 fc equipment and furnishings: 1- secreatrys desk (60" x 30") / 1- chair (l'-8" x 1'-8") 1- file cabinet (17" x 15" x 28") telephone, trash can

176 space narae: REGISTRAR»S OFFICF, assignable floor area; 125 sf # of units; one # of occupants; one employee functional description: office for registrar 5 environmental requireraents: general: within workshop area, separated office space , raaterials: corafort, durability, easy .raaintenance, acoustics, warrath should all be considered Light colors raake sraall spaces larger mechanical; HVAC required, 10 air changes per hour lighting: task lighting preferred over general 30-100 fc equipment and furnishings: 1- secretary's desk (60" x 30") 1- chair (l'-8" x I'-8") / 1- file cabinet (17" x 15" x 28") trash can, telephone

177 •• *••-1 -— -^ i

^^ \ 1 ^ >-fi^-A v yfl^\ ^ tJi y t ^j 11'-^/

-

space narae: CLASSROQM assignable floor area: 850 sf # of units; one # of occupants: 10-40 students functional description; adaptive studio space for adult and childrens art classes environmental requirements: general: large space, easily found from lobby, yet off main traffic zones. Utility area with s n>

materials; easily maintained, durable, acoustics shoûd be considered Also' comfoí't ánd attractiveness should be considered / mechánical; HVAC required; 15 air chages per hour lighting: natural daylighting desirable, general lighting adequate for supplemental lightiig, 30-100 fc

equipment and furnishings: sink with counter space for cleainrng up 16- worktables (3'-x 6' x 2'-6*) 40- stools 20- easels trash cans

178 /

SPACE ADJACENCIES TOi

CLASSROOM

179 space name: CLASSROQM STQRAGE r assignable floor area: 150 sf # of units; one # of occupants; one employee functional description; storage space for art supplies, art equipraent and faculty owned \ equipment ^ environraental requirements: general: adjacent to classroom, security very iraportant materials; durable, fire-resistant, need not be finshed for economical reasons, easily cleaned mechanical; ventilation required, 5 air chages per hour lighting; general lighting adequate 30-100 fc equipmeht and furnishings: shelves, racks and bins

180 — —

l^ C/, fl í9 ^ d r fu^-^ t

space name: MAINTENANCE STORAGE assignable floor area; 180 sf # of units: one # of occupants: one employee funtional description; for the storage of cleaning and maintenance equipment environmental requirements; general: this area should be soraewhate centralized, though away forra the main public traffic. It should be located conveniently to the outside city dump and sufficiently isolated so as not to emmit disagree- able odors or noises. There should be a space adjacent for locker space for janitors, audio- / visual technician, and preparator. Office space for director of operations.

materials; space could remain unfinished for economic reasons, should be fireproof

mechanical; HVAC lighting; general lighting preferred over task lighting equipraent and furnishings 1- desk (60" x 30") 1- chair (l'-8" x l'-8") 1- deep raop sink racks for brooms, mops, shelves for cleanmg materials

181 maintenance

/

182

jhÊ^m space name; LOADING AND RECEIVING DOCK assignable floor area: 1500 sf # of units; one

# of occupants: two to four workers functional description: for delivery service to and from museum environraental requireraents: general; accessible f- installation, workshop, gallery storage. Since alraost all objects will enter and leave the museum through this area,.sur- veillance mandatory at all times. Should be - covered or enclosed with wide door and hydraulic lift, should easily accomodate large trucks, materials; can be unfinsihed for economic reasons I/'ust be durable and easily maintained. mechanical: ventilation required, 10 air changes per hour. lighting: natural, supplemented with general 30-100 fc / equipment and furnishings;

hydraulic lift

I83 space name: RECEIVING AREA assignable floor area; 500 sf # of units: one # of occupants: two to four workers functional description; a shipping and receiving area for storage, space for unpacking crates environmental requirements; general: adjacent to loading dock, surveillance raandatory, this space should be seaied off from the outdoors ' to prevent infiltration of inclement weather. materials: may remain unfinished for economic reasons, but durability and easy maintenance are prime considerations mechanical: HVAC required, 10 air chages per hour lighting; ^ " 30-100 fc equipment and furnishings: /| counter space on one wall ;

184 space name: rÆECHANICAL RQOM assignable floor^area: 10 sf # of units: one # of occupants: zero to one employee functional description: houses the variousraechanical equipraen t for the museum * environmental requirements; ^ general: centrally loaated, but away from main traffic areas materials; space should remain unfinished for economic reasons fireproof mechanical: ventilation required, 10 air changes per hour lighting: general lighting adequate equipraent and furnishings; A/C equipraent, hot water heater, cliraate control huraidifier and dehumidifier, electrical circuit panels

185 /

186

•es It i's the intent of the systems performance criteria to identify in a general way the desired physical and performance characteristics of this project's systems. In this way it can help point toward a systematic solution for meeting the needs of individual activities ar spaces. These requirements should • ) alert the designer to identify the specific structural and en- ) vironmental needs and concerns of this particular project, Laguna Gloria Art Museum.

187 iÅ^H

QUALITIES;

durabilitv flexibility efficiency life cycle cost 3nc.lysis

SYSTEM: structure enclosure # exhibit mounting A security mechanical lighting fire protection moveraent plumbing acoustical electrical

I,^^PORTANCE:

maximum

medium minimum 188 STRUCTURE there are several options in the choice of a structural system the degree of flexibility required will be the main criteria used in the selection of a structural system. open system- provides the greatest amount of flexibility in internal spaces, it accoraodates changes in exhibitions, the increase in flexibility raay reduce the quality of object/ space relationships, it raay be raore suitable for exhibiting many objects rather than just one, closed system- best suited to a particular activity, time and participant; space can be designed to enclose one spacial configuration raeeting the needs of the users and their act- / ivities; if the needs'changed- the space couldn't and it wouldn't be as suitable; in the exhibit spaces, if the exhib- its changed the space wouldn't and it wouldn't be as suitable. modular systeras- allow good flexibility of intemal spaces and are easily extended to provide raore space for future expansion. it is a subset of open systeras. qualities sought- expandable to accomodate changing exhibits, flexibility to accomodate changing exhibits, flexibility to accomo(mx^^ffectridlH^^^ mDmgr HVAC systemi^ it must

189

HHPIW^.IH ip^ durable, efficient energy-wise and last for the entire life of 2 the building. the systeraraust be able to withstand the maxiraura load that might be placed on it , the design loads are as follows:'^ space: live load fpsf) lobbies 100 office .80 public stairs 100 office 80 corridors (Ist floor) 100 corridors (2nd floor) 60 retail stores 75 / storage rooms (light storage) 125

ENCLQSURE must keep out objectionable environraental eleraents: rain, dust, wind, heat, cold. it raay provide solar thermal energy by pas- sive or active means. must be designed to raeet security deraands, prevent forced entry through penetrations

raus t adapt to the raaintenance of the internal environraent

it also functions as part of the exhibit mounting/display 190 systeras then the display surface raust reraain at the constant en- vironraental deraand of the exhibited articles^

EXHIBIT MQUNTING SYSTEMS;

•» raust support the objects securely in a position which will be ) ) beneficial to the interaction between object and viewêr raust integrate with the spacial enclosure eleraents and be adapt- able to objects of varying diraensions it may be required to integrate with a security and mechanical system to provide a secure and environmentally adequate micro- 5 space /

SECURITY SYSTEMS; operating hours would probably be all day, every day they raust not interfere with people's visual enjoyment and int- eraction of objects ^ besides the effective locked display cases, iteras padlocked to i _ the wall and security guards standing around, there are various ihventions of raodern technology which aid in the protection of the displayed objects: ^

191

-f/'vi laser beams- for buzzing people who get too close to the object, breaking the beam magnetic contacts- between the object and ifs base a magnetic field is set up when the two are separated, an alárm sounds microwaves- detect moveraent in space, such as an intruder dur- ing the closed hours, detection close to the transmitter, how- ever, is not effective

sound waves- a battery operated reciever is placed inside the / protection system with the object. An alarm sounds if sound waves penetrate the protected environraent of the object. television- closed circut caraeras can beraonitored b y security personnel frora a control location. The only problem is blind spots

in storage areas- a fan blows air in or out of the room at a pre-determined pressure A diaphragm elsewhere monitors the difference between the inside and outside pressures. As soon as entry is raade, the pressure alters, the diaphragm reacts, and an alarm is set off."

192 generally, these devices don't prevent crirae, only signal when soraething is wrong. To prevent crirae, people (guards, police) are responsible for theraonitoring o f systems and the inter- vention of the problera."'"^

MECHANICAL SYSTfiMS:

hours of operation; varies with uses, timers could be utilized in sorae cases:

administration- 7:30 ara- 5:30 pra, possibly til 9:00 pm galleries- all day, every day classrooms- 10 ara- 10 pra, variable auditorium- 10 am- 10 pra, variable art storage- all day, every day

HVAC- econoraical in terms ofraaintenance, energ y efficient, corapatible aesthetically with building environraent These / are the criteris to consider when choosing what kind; (electric, gas, solar, etc.)

flows and intensities should reflect the activities within the spaces; the following table ofrainiraura ai r changes per hour 12- could serve as guidêlines for the various activities: offices 10 corridors 4 restaurants 15 lobbies 4 retail shops 15 projection rooras 25- 30 auditoriuras 6-10 kitchens 25 toilets 12 raeeting rooras 12 source; Egan, Concepts in Thermal Corafort The followingrainiraura outdoor air requireraents should be raet: (cfm per occupan't)

193

-íc::: offices 20 corridors 5 restaurants 15 lobbies 5 retail shops 10 projection rooms 30 toilets 15 kitchens 20 auditoriums 15 raeeting rooras 40 source: Egan, Concepts in Thermal Corafort

Generally, air flow frora ducts should be 20- 25 fpra Air flow + at a greater velocity is acceptable if diffusers are located 3 ) high in the room Usually 5 coraplete changes of air per hour ; is sufficient to reraove odor and assure the proper removal of ) carbon dioxide, however, during peak periods this may be increased The araount of air that has to be raoved for heat andraoisture re - raoval in the suraraer is several times as great as that required for ^rentilation alone Ducts should be of generous size so as 13 not to tax the systera or make noise

/ Of prirae iraportance is environmental control; the human comfort zone is 68-85 degrees, 30-70fo humidity, each dependent on the other^. paintings should be kept in an environment suitable for their preservation; 60.8-64.4 degrees, 55~62%o humidity Ventilation is required for both people and artworks, conden- sation must be prevented, remove dust with vacuum cleaners. 14 Backup systems for environraental control are raandatory.

Humidifying, usually needed in the winter, is accoraplished by passing air through sprays of alkaline water. This spray huraidifies as well as removes dust particles and sulphur di- ide gas I94 Dehuraidifying, usually needed in the suraraer, is accoraplished by the refrigerating of the air and disposing of the resulting con- densation or allowing the huraidity to condense when passed through chilled water sprays After the air has been dehumidified to the proper point it 's warmed slightly by mixing with filtered air ready for recirculation. "^^

LIGHT NG SYSTEMS

can be either natural, artificial or a combination of both: Of all the people who worked in museuras that were interviewed, no one complained of not having enough natural light In fact, any complaints made were directed to the problem of having too raany windows. /

natural light is variable and uncontrollable, however, Louis Kahn said that natural light was the only light that had mood. Natural light can be adraitted through windows, skylights or clerestories and can be used successfully to illurainate spaces, but should not ever be used directly on the art works• 17

Artificiâl light has a high degree of flexibility, location, intensity and orientation. Autoraatic control of it must be away from the public's access, and the effects of the control must be known from the point of control.

For the administrative spaces levels must be sufficient for tasks

195 to be performed and also be perr-ianently installed (as in the rest of the building except for the gallery spaces)-'-^

Recomraended Maxiraura Illuraination and Tvpes of Illuminant Qbjects insensitive Daylight, Rarely necessary to light (e g. flourescent, to exceed 300 lux raetal and stone) 6500-4200 (30 fc/sf) except degrees K. for speciål emph- asis Mostrauseura objects , Daylight, Not raore than including oil and Tungsten light, 150 lux (151 fc/ terapera paintings Flourescent sf) @ 4200 degrees K Specially sensitive Preferably Not raore than objects (watercolors, tungsten filaraent 50 lux (5 fc/ textiles, tapestries, lamps sf) and less if etc ) possible. source; Brawne, The New Museura. Equivalent Colour Teraperature of Various Lislht Sources / Light Source; Teraperature in degrees Kelvin: Blue Sky 10,000-20,000 Overcast Sky 5,00-7,000 Direct Sunlight ca. 5,000 Low Sunlight ca. 4,000 Carbon Arc 3,750 Photographic larap 3,200 Tungsten incandescent larap for general lighting 2,400-3,000 Candle 1.900 source; Brawne, The New Museura.

196 Levels of Lighting in Public and Sorae Ancillary Rooms

fc/sf limiting glare index

Museums; general 15 16 16 displays special Art Galleries: general, with separate picture lighting 10 10 general, without separate picture lighting 20 10 paintings. on vertical surface 20 10 Libraries:. reading rooms.- 20 19 reading tables 30 19 Offices general offices 30 drawing offices- general 30 l6 16 boards and tracing ^5 / Workshops: laboratories, general ^30 19 leather working, grading 19 and raatching 100 19 paint wor :£, color matching 70 pottery, enamelling, color- 19 ing, decorating 45 19 textile weaving, fine cloth 70 source; Brawne, The New Museura.

Lighting systems should comply with the standards and guidelines as set in these tables Surface raaterials and finishes should be chosen accordingly so that glare'and illuraination are not^ 20 a problem, but rather enhance the qualities of the art work

197 FIRE PROTECTION SYSTEMS building materials should be of the highest fire prevention standards 21 an alarm system sensitive to heat and smoke can be installed to detect and extinguish fires and not harm the art in the process 22 ; The use of chemical foam or liquid would damage artworks

Some areas of the rauseum could be equipped with a regualr water sprinkler systera to put out fires- the administrative offices, the auditorium, and the tea room and classroom.

Gallery spaces storage and preparation rooms would have to be / equipped with a systera desinged specifically to preserve the art- works A way to do this is with the use of carbonic anhydrides These are nuetral gases which suffocate the fire by saturation 23 of oxygen in the air

Manual fire extinguishers must be provided in strategic locations, needed to quickly put out any developing fire in the kitchen, adrainistrative area, auditoriura, and serviôe areas

Occupants should be directed toward visible exits. The system of evacuation should be efficient, well-defined and visible even in heavy smoke.

Of course, these systeras should be checked routinely to assure 198

1l-':'í ;. OVi.i.u.NT SYSTEMS elevators- Austin code requires every public building over one story to have an elevator avâilablé for use by the handicapped^^ Slow speeds can be tolerated due to the nature of its use It should be able to haul freight as well as people, therefore, it should be accessible to shipping/receiving as well as to the public It should have a capacity of 4 tons and open onto every 26 27 level. Doors should be 3'-6" wide at least. ' stairs- should have maximura public accessiblity, be an integral part of the circulation pattern, be safe for use by the people using it. It may be used as an aesthetic eleraent in the design.

/ PLUf/E NG

The plurabing systeras piping and fitting should be designed for adequate pressure,rainiraal noise, access and reduced raaintenance.

29 It should be built to last with quality materials.

All plumbing shauld conform to the code, fixtures should be 30 aesthetically pleasing.-^

31 Hot water delivery should not exceed 120 degrees F.

199

= =s//3i: ACQUSTICAL SY oT.i..;o should control sound transmission, reverberation, distribution and quality. Spaces for offices, education, and auditorium should have short reverberation tiraes (.6- 11 seconds )-^

Separation of different activity spaces (ex. auditorium, public space, and administration) is a consideration in the use of any acoustical treatments. ^-3^3

Controlling noise is accoraplished by the use of sound absorbinfe raaterials and or sound reflective surfaces.-34'

ELECTR GAL SYSTEMS

35 power supply brought to site from city utility lines.

120 V outlets, with outlets no more than 6» from any electrical

device. -^

provides for the exit and emergency lighting as well as the sec- urity systeras, movement systeras, lighting systera and mechanical

naturally it must conform to the criteria established by the National Electric Code.

ce so many systeras depend on this one for their function.ng,

must have a backup systera.^"^ ^QO

—*-•:'• FOOTNOTES

Lehmbruck, Manfred, "Museura Architecture", Museum, Vol. 26 No 3^, 197^, P- 242-246. 2 programraer 3 ^McGumess, Stein, and Reynolds, Mechanical and Electrical Equipraent for Buildings. 6th Edition, New York, Wiley and Sons. I98O, p.555. 4 Lehmbruck, p. 180. ^Persegati, Walter, "The Vatican Museums," Museum. Vol 31, No 4, 1979, P- 240. prograraraer 7 'Brawne, Michael, The New Museura. Architecture and Display. Praeger Publishers, New York, I965, p 180. o Persegati, p.240.

^Brawne, p I80. / •'•^Persegati, p 240. prograraraer •"•^Egan, Walter, Concepts in Therraal Comfort. New York, Doubleday, 1974, P.I3B "'•^Coleraan, Laurence Vail, Museura Buildings. Vol. 1, American Association of Museuras, Washington, DC, 1950, p 173 Coremans, Paul, "The Museura Laboratory," The Organization of Museuras, Paris, The Unesco Press, 1974, p 97-99 •'•^Brawne, p 203 | - prograramer • 1 •'•'^"Masters of Light: Louis Kahn," AIA Journal, September 1979, p 60-62

""•^Molajoli, Bruno, "Museum Architecture" , The Organizatior of | Museuras, Paris, The Unesco Press, I97I, P184 \

201

rHkã KJIc*! 19 ^Lehmbruck, p. 183 ^Srawne, p. 170-I71, ^-'•Molajoli, p 184 "^rawne, p 179. ^^Molajoli, p 184 24 Brawne, p I79 * 2*5 1 ^City of Austin Building Code Brawne, p I79 ' 27 'McGuiness, Stein and Reynolds, p IO55. ' 28 programmer 20 ^McGuinness, Stein, and Reynolds, p. 411. 30 -^ programmer 31 ^ McGuinness, Stein, and Reynolds, p 411. ^^lbid p. 1157 33 ^" programraer 34 McGuinness, Stein and Reynolds, p 1195 35 -^programmer ^ McGuiness, Stein and Reynolds, p 532 37 programraer

202

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203

r;.:zJí;iJ The building construction costs were deriired using the square footage method as outlined in Building Construction Cost Data for I98I by the Means Corapany. Since the construction cost of muBeums can: vary tremendously, no square footage cost for museums was listed. So a method was employed whereby the Laguna Gloria + ) Art Museum was divided up according to different space types. ) These ^pi^ees were related to given building types so the cost ; ) per square foot was comparable, as the activities that go on 1 in the spaces were similar. For example, a museum shop specifi- cally was not iisted in the Means catalog, but the activities that go on in a museum shop are comparable to retail activities, so the retail space cost per square foot was used. An exception to this method was the exhibition space est- imate. Here, the case studies cost per square foot of the entire / buildings were averaged and used as the cost per square foot of the exhibition space in general, since this could vary tremen- dously, depending on finsih materials and structural system among the many other considerations.

204 BUILDING CONSTRUCTION COSTS: median building space: sq ft: price/ type: cost sq ft;

lobby 3200 45.90 community146,880 auditorium 5800 56.80 auditoriums 329.440 museum shop 640 27.50 retail 17.600 tea room 1110 53.40 restaurant 60,273 * exhibition space 9000 38.20 case studies343.800 officee 3954 39.54 office 156.341 storage/loading/raechanical 3050 16.90 warehouse 51.545 classroom 1000 39.35 schools 39,350 storage/workshop 2190 39.35 laboratories 86,176

BUILDING COST: $2,006,405 / city cost index for Austin, Texas: 82.7 .827 X 2,006,405= 1.659.405 cost per square foot= $52. * exhibition space: average of case studies' cost per square foot: Art Museum of South Texas; Corpus Christi, Texas 44 $/sf Mansfield Art Centen Mansfield, Ohio 27 $/sf Douglas County Museura; Roseburg, Oregon 21 $/sf Everson Museum of Art; Syracuse, New York 44 $/sf Kimbell Art Museum; Fort Worth, Texas 55 $/sf average is 38.20 $/sf CQST QF LAND; The land is to be leased from the city of Austin for a token sum of $1 per year. This cost, therefore is negligible.

Z05 LANDSCAPING COSTS: seeding @ $980/acre x 2.4 acres = 2352. trees @ $36.00 each x 50 trees= 1800. top soil @ $.23/sf x 150,000 sf= 34.500. TOTAL LANDSCAPING COSTS: ' ' $38,652

PAVING: one parking space per 500 sf of floor space"? 62 spaces 62 spaces x 180 sf/space= ll,l6o sf paving @ $1.67/sf: ll,l60 x 1.67= 18,637 TOTAL PAVING COSTS: $18,637

TOTAL BUILDING CONSTRUCTION including building, land, landscaping and paving: $1,755.238 / furnishings and equipment: 20f of building cost; 1,755.238 x .2= 351.047 SUBTOTAL: $1.755.238 + $351.047= $2,106,285 architectural fee; 6% $2,106,286 x .06«» $126,377

TOTAL PROJECT COST: $2,106,285 + $126,377« ^2,232,662.

source Building Construction Cost Data for 1981, Means Company, Duxbury, Massachsettes, 1981.

206

—«-—-r-fí í-?t rTB Time and Inflation factors: project began: Jan. 84 project ended Dec . 84 midpoint of construction would be June 84 which is 18 mos from now, Dec 83. project cost now is 2,232,662 inflation factor for Austin, Texas is 1.22 18 mos X 1.22?^= 1.475. 1.475 X 2,232,662=3,293.177 so this is the cost at the mid- point of construction in June 84.

/

207 /

208

gtail M LIS OF FIGURES: 1 Travis County 2 Plan of the City of Austin, I839 3 Ten'Go.ãl^Zones 4 Population Projections for Austin and Travis County 5 Population Growth of Austin, Travis County and Texas 6 Highway Distances from Austh 7 Yearly Percentage of Income in Population of Austin and '* Travis County ) 8 Conventions in Austin 5 9 Administrative Staff of Laguna Gloria Art Museum 10 Budget Allocations i 11 The four areas of art museum activitles > 12 1976: Age Distribution 1 13 1976: Population Densities 14 1975: Percentage of Population Below the Poverty Level 15 1976: Spanish Origin Population 16 1976: Black Population 17 1970: Median Family Income byCCensus'.rTraibt 18 The Region 19 Environmental Geology 20 Austin City Limits 21 Austin Growth Areas 22 Generalized Developmental Constraints 23 Terminal Locations / 24 Traffic Patterns Around the Central Business District 25 Austin Urban Freeway Ring 26 Peak Operations of the Austin Transit System 27 Off-Peak Operations of the Austin Transit System 28 Reduced Qperations of the Austin Transit Systems 29 Bike Routes in Austin 30 Traffic Patterns Around the Site 31 Pedestrian Traffic Patterns Around the Site 32 Pedestrian Travel Times Around the Site 33 Utilities and Easements 34 Topography 35 Site Analysis 36 Context Analysis 37 Zoning

209 LIST OF TABLES; 1 Major Groups Providing Performing and Visual Art Functions in Austin 2 Austin, Travis County Musuems 3 Activity Frequency of Parks and Recreation Facilities 4 The Proportion of Austin Citizens who use Parks and Recre- ation Arts Facilities or Programs 5 The Acceptable Price Ranges Considered Appropriate for each '+ of the Parks and Recreation Departments services ) 6 Percentage of Respondents who would Budget More, Less or ) About the Same of City Money for Each Service Area Offered by the Austin Parks and Recreation Department i 7 Provide More Neighborhood Programs and Classes in the Arts > 8 Ten Year Economic Growth in Aust:a.n i 9 The Expanding Economy 10 Employment in Austin 11 Membership 12 Major Plant Species Climatically Suited and Commonly Grown in Austin 13 Austin Climatological Charts ii4 riUrban Glimatic Factors A Characteristics of Pedestrian Flow in a Homogenous Stream B Levels of Service for Standing Pedestrians C Pedestrian Behavior Related to Available Space 15 Recommended Maximum Illumination and Types of Illumination 16 Equivalent Color Temperature of Various Light Sources ^ 17 Levels of Lighting In Public and Some Ancillary Rooms

210 BIBILIOGRAPHY; Adam, T.R., The Civic Value of Museums. George Grady Press, New York, 1937- Austin I98I Economic Review, Austin Chamber Of Commerce, I98I. "Austin Economy Booming" , Austin Amercian Statesmaij, July 25, 1982. '' ) Austin Fact Book, Austin Chamber of Commerce. ^ Austin Metropolitan Roadway Plan, Department of Planning, ' City of Austin, I98O, > ) Austin Parks and Recreation Department Citizen Survey, YQI . 3, Summary of Results of Surveys: John L. Crompton, Principal Investigator, I98I. Austin Parks and Recreation Department Fall I982 Brochure. published by the Austin Parks and Recreation Dept. Austin Parks and Recreation Department, Master Flan, I98I. "Austin Thirteenth in Nation", Austin American Statesman, April 27, 1978, / Austin Tomorrow Comprehensive Plan, Department of Planning, City of Austin, I98G. Barton, Robert, State Climatologist, National Weather Service, US Department of Labor, USGS. Berlin, G. Lennis, "The Urban Environment: A Climatolgical Anomoly", Council of Planning LibraiÍEs; Exchange Bib- liography, Vol. 292, P. Biking Trails of Austin, brochure by the City of Austin Departraent of Urban Transportation, I982. Brawne, Michael, The New Museum, Architecture and Display, Praeger Publishers, New York, I965f T • ' '"' City of Austin Building Code, I98O Edition. Coleman, Laurence Vail, Museura Buildings, Vol. 1, American Association of Museums, Washington, DC, 1950. Coremans, Paul, "The Museum Laboratory," The Organization of Museums, Paris, The Unesco Press, 1974,

211 DiMaggio, Paul and Useem, Michael, "Cultural Democracy in a Period ofi'Cultural Expansion: The Social Composition of Arts Audiences in the US", Social Forces. Vol. 26 No. 2 (1979) Egan, Walter, Concepts in Thermal Comfort. New York, Doubleday, 1974. Goffman, E., Behavior in Public Places. New York: Free Press, + 1963. ) ) Highland Lakes 1982. brochure, Marble Falls Chamber of Commerce. i Historic Austin, Sharon GreenhiII, The Heritage Society of ) Austin, 1981. ) Jogging'i.'TraiIs of Austin, booklet by the Austin Parks and Recreation Department, I982. Laguna Gloria Art Museum public brochure, printed Io82. Laguna Gloria Art Museum Re-port ot the City, September I982. Lehmbruck, Manfred, "Museum Architecture", Museum, Vol. 26, No. 34, 1974. "Masters of Light: Louis Kahn," AIA Journal, September 1979- / McGuiness, Stein, and Reynolds, Mechanical and Electrical EquÍTDraent for Buildings, 6th Edition, Mew York, Wiley and Sons, I98O. Molajoli, Bruno, "Museum Architecture", The Organization of Museuma , Paris, The Unesco Press, 1974. Museums USA: A Survey Report, Natioal Resource Center for the Arts, Washington, DC, 1975- Pecquet, Claude or 0'Byrne, Pat, "Programming- A Tool at the Service of the Curator, the Comissionsing Authority and the A^chitect, "Museum, Vol. 31, No. 2, 1979' Persagati, WaIter,"The Vatican Museums, " Museum, Vol. 31, No 4, 1979. Public Transportation Plan, City of Austin, 1979- Sherrell, Cindy, "The Elements of â Museum", Thoughts^on the _ Museum and the Communitv. Texas Historical Commision, 1976. Soil Survey. Travis County. Texas. 1974, United States Geological Society.

;. i":-'^-^':"':.^^ • '•^''"" ••; - "-ii:ion, ^••Rv:;,r^ •'^^toi.i ^12

-i/":- Texas Museum Directory, I978 Revised Edition, Texas Historical Commission. Trondsen, Norman, "Social Control in the Art Museum," Urban Life. April, I976. Wittlen, Alma S., Museums: In Search of a Usable Future. Cambridge, MIT Press, 1970.

INTERVIEWS:

Burnet, Penny, Development Officer, Laguna Gloria Art Museum. Fuszek, Rick, Assistant Director, Austin Parks and Recreation Department. Greenhill, Sharon, Planning Consultant, Laguna Gloria Museum.

/

213

ifif?itriirnt"i f — r 1 11 1 TIK- - /

1 H :: r MUSEUMI

214

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43 Play tennis 23 14 15 5 Go swimming 5 5 11 34 45 Play golf 81 9 5 3 2 JO to recreation centers 33 22 18 16 11 'lay in athletic programs 38 14 11 16 21 ;o to outdoor nature programs 57 20 11 8 4

'lay on playgrounds 30 22 •- 18 17 13 0 to museums| 52 33 12 2 1 0 to concerts 31 32 27 7 3 0 to parks 9 18 21 •29 23 se the hike and bike trails 30 20 20 18 12 ist hang out... 12 8 7 23 50

.ns Who Use PA^D The Proportion of Austin Citiz' Table 4 Irts Fa^ilities or Programs i« About Less Than About Almost Once A Once A Once A Daily Not At Month Víeek All Motith _%_ %_ _n_ 2.4 0.0 27.4 13.8 0.0 297 56.5 11.3 2.6 31.1 0.3 382 55.0 19.7 4.0 25.3 0.9 50.7 21.4 5.9 351 22.4 0.6 49.4 26.3 10.6 322 28.3 0.0 34.2 8.6 1.8 357 13.5 0.0 76.1 5.0 4.7 339 8.0 0.6 82.3 20.4 7.6 362 28.9 0.5 42.5 20.2 6.5 353 21.5 2.8 0.3 382 51.3 12.2 62.4 22.3 354 3 16.9 0 23.3 ,0 ,3 1471 54.5 15.1 57.3 22.3 1988 0.5 18.9 5.5 26.3 0.0 2467 ^8.8 8.4 5.0 13.5 0.0 8.5 1.6 594 73.1 14.3 -Aniericat 355 75.6 215 Table 4 continued

Less Than About About Not At Once A Once A Once A Week A]T^ost All Month Month ^^a^Iy n % % % %••

Type of Residentlal Dwellin^ Single Family 3002 56.5 Duplex 22.9 15.6 4.6 0.4 179 53.7 24.0 Multi-Family 14.5 7.8 0.0 244 50.0 19.3 Respondent has: 22.1 8.6 0.0 Yard 3202 56.4 22.4 15.7 Tennis Courts 5.2 0.3 6 50.0 0.0 50.0 Swimming Pool 0.0 0.0 105 54.3 24.8 17.1 Homeowner 3.8 0.0 2316 59.0 23.6 14.1 Renter 2.9 0.4 1116 50.3 20.9 .19.5 Marital Status 9.0 0.3 1 Single 1029 49.5 20.5 20.7 9.0 Married 0.3 2131 58.1 24.4 14.0 3.1 Other 0.4 25Í _67.2 17.2 12.1 3.5 Student 0.0 Yes 499 49.1 22.2 19.9 8.4 No 0.4 2729 56.8 23.4 15.0 Age Group 4.5 0.3 Under 20 344 64.0 15.0 20-24 15.0 6.0 6.0y 396 41,0 25-34 27.0 23.0 9.0 0.0 1114 47.0 24.2 35-54 21.3 7.0 0.5 916 55.8 27.2 55-64 13.5 3.2 0.3 286 72.0 19.0 65 and Over 8.0 1.0 0.0 375 81.0 12.0 Le g.th of Time in Neighborhood 5.0 2.0 0.0 1 Year or Less 738 49.1 22.0 20.7 7.7 0.5 2-3 Years 754 46.4 26.0 21.7 5.6 0.3 ^-9 Years 814 54.4 25.5 14.9 4.8 0.4 10-20 Years 680 65.4 21.8 9.7 2.9 0.2 Over 20 Years 392 75.0 15.6 7.6 1.5 0.3 ^JÍildren Livlng ^t Home Yes 1737 57.7 23.1 14.4 4.4 0.4 - No 1630 53.9 22.8 17.5 5.6 0.2 Mg^of Youn^esr rh-îld at Home 3 and Under 523 60.2 20.7 15.1 3.8 0.2 - 4-9 500 53.8 24.6 16.2 4.8 0.6 10-17 570 57.9 25.6 12.3 3.9 0.3

i^SSS^^^ Under $10,001 ''fÔ5 ' 58.5 1'6.0 18.0 7.2 0.3 ílO,001-20,000 778 53.6 23.4 15.8 6.7 0.5 °ver $20,000 859 48.2 32.3 16.2 3.1 0.2 ^Hto__Available 8 a.m. to 5 p.m. Yes 2918 5.2 No 53.9 23.9 16.7 0.3 456 71.0 15.6 9.9 3.5 0.0 ^ Available 5 p.m. to 12 a. m. w — 2951 53.8 16.6 5.3 0.3 No 24.0 377 73.5 13.2 10.1 3.2 0.0 Table 5: 20

The Acceptable Price Ranges Considered by Austin Citizens to be Appropriate for each of PARD's Service Areas.

Current Acceptable Price Range Average Per Visit Cost Service Area Price Low Price % High Price %'' of Provision

• Parks, Playgrounds, Greenbelts No charge $0 83% $ .50 17% $1.50 Tennis $1.25 $1.25 66 1.75 20 2.25 Swimming .50 .50 72 1.00 17 2.25 Golf 2.75 2.75 53 3.75 40 6.25 Recreation Centers .75 .75 68 1.00 24 2.50 Organized Athletics .95 .95 62 1.25 27^ 1.50 1.50 16 Outdoor Nature Programs .50 .50 67 .75 26 2.25 Senior Citizen Programs .25 0 22 .25 68 1.50 Arts Facilities or 1 Programs ( .50 .50 62 1.00 29 1.50 Community Education Programs .50 .50 62 1.25 33 3.00 Programs for Handi- capped No charge 0 90 50 10 2.75

217

rwH' Table ^-. ^^

Percentage of Respondents Who Would Budget More, Less, or About the Same of City Money for Each Service Area Offered by the Austin Park and Recreation Department (n=510)

No Spend Spend Spend Service or Facility Opinion Same Less More

Parks or Greenbelts 12 33 3 52 Playgrounds 14 33 2 50 Swimming 12 38 2 48 Programs Offered for Handicapped Persons 21 30 2 47 Senior Citizen Programs 25 31 2 42 Recreation Centers 22 37 3 38 Community Education Programs 21 40 2 37 Keep Fit Programs or Facilities 20 44 4 32 Organized Athletics 22 41 5 32 Outdoor Nature Programs 25 41 3 31 Arts Facilities or Programs 22 44 3 31 Tennis 24 44 8 24 Golf 31 41 16 12

218

•ÍW-r' 22 Table 1-.

PROVIDE MORE NE GHBORHOOD PROGRAMS AND CLASSES IN THE ARTS

Very Low Fairly Low Fairly High Very High N Priority % Priority % Priority % Prioritv %

CITYW DE: 2323 16.0 29.0 34.2 20.6 Zones 222 r 1 19. 4 39. 0 27. 9 13.1 2 261 20. 7 32. 6 29. 9 16.9 3 240 15. 0 35. 0 33. 3 16.7 A 234 24. 4 31. 2 28. 2 16.2 5 243 20. 2 32. 1 31. 7 16.1 6 242 5. 0 16. 1 48. 8 30.2 7 164 5. 5 14. 6 40. 2 39.6 8 240 19. 2 26. 3 33. 3 21.3 24.2 9 215 10. 2 32. 1 33. 5 27. 5 37. 0 18.7 10 262 16. 8 Sex 17.6 Male 976 18. 2 33. 1 31. 1 22.9 Female 1296 14. 7 25. 9 36. 5 Race 30. 9 17.2 Khite 1708 19. 4 32. 5 39. 0 32.6 Mexican-American 310 7. 4 21. 0 14. 7 49. 6 30.3 Black 238 5. 5 Type Dwelling 34. 0 20.9 Single Family 2002 16. 1 28. 8 35. 7 13.7 Duplex 109 15. 6 34. 8 33. 1 20.0 Multi-Family 145 17. 9 28. 9 Respondent has 1 34. 3 20.6 Yard 2119 16 1 29 .0 30. 0 20.0 Tennis 10 30 0 20 .0 34 9 23.8 Pool 63 14 3 27 33 0 20.1 Homeowner 1565 17 .8 29 .1 36 .6 22.4 Renter 696 12 .5 28 .5 Marital Status 34 .5 22.3 Single 668 13 .4 29 .6 33 .2 19.9 Married 1445 Í7 .0 29 .7 21 .0 35 .5 25.3 Other 138 18 \ Student 32 .6 23.8 Yes 340 ^13 .8 .7 .7 33 .1 20.7 No 1800 16 .4 29 Age Group 36 .0 25.5 13 .2 25 .1 Under 20 219 39 .4 20.7 20-24 11 .8 27 .9 236 33 .5 22.6 25-34 12 .5 31 .3 782 33 .2 19.0 35-54 17 .4 30 .7 625 31 .6 20.5 55-64 .6 26 .1 180 21 31 ,7 15.1 Over 65 211 27 .9 LD. 1 219 Table 7 : cont. Very Low Fairly Low Fairly High Very K.\gh N Priority %> Priority %o Priority '^ Priority '^

.cngth of Time in Neiphborhood 550 11.0 1 Year or Less 30.5 36.7 21.6 2-3 Years 517 13.9 34.2 31.7 20.1 4-9 Years 564 18.2 26.9 35.1 19.6 10-20 Years 425 19.0 27.2 33.4 20.2 Over 20 Years 272 20.9 23.9 33.0 22.0 Children Livine at Home Yes 1202 14.1 27.8 35, 23.0 No 1020 18.6 30.9 32, 18.1 Age of Youneest Child at Home 3 and Under 1496 16.9 29, 33. 19.8 4-9 368 10.8 27. 37. 24.á 10-17 367 18.5 29, 32.1 Incooe 19. í Under $10,001 473 13.7 25.0 40.2 $10,001-20,000 527 12.1 33.4 34.0 21.1 Over $20,000 603 20.6 35.3 26.4 Auto Avai]a:'le 11.1 8 2.=. to ; r.iL, Yes 1" b '• 16.9 30.1 33.5 No " • — 10.1 21.9 30.4

220

BUBHilIáiliálliiíBiÍiiÍIÍIÍÍiíÉIIIMIÍÍl 221

JE InM TfeLble of Gontents

Introduction

Gase Studies;

Art Museum of South Texas; Qorpus Ghristi, Texas Mansfield Art Genter; Mansfield, Ohio Douglas Gounty Museum; Roseburg, Oregon Everson Museum of Art; Syracuse, New York Kimbell Art Museum; Fort Worth, Texas Philip: Johnson Gallery; New Ganaan, Gonnecticut Vincent Van Gogh Museum; Amsterdam, Netherlands

Gonclusion

Bibliography Gase Studies:

The examination of several case studies can be very heneficial to

the developement of this project. The following buildlngs were selected

for specific reasons relative to the particular project at hand: an art

museum for Austln, Texas, a city of half a mlllion people, to be built on

a site on Towne Lake in or near the recreational Auditorium Shores—

Zilker Park.

Most of the chosen case studies are located in towns relatively the

same size as Austin, were built as new construction for the purpose of

housing art, have a park-like setting as their site and depend on temp-

orary traveling shows to make up most of their exhiblts. The exhibits

themselves are generally limited to art: paintings and sculpture. All

ofthecases attempt to cover a common set of criteria (context, function,

form, site, building systems, and cost) and hopefully will become a useful

tool in this project's design.

•**••• Art Museum of South Texas Gorpus Ghristi, Texas Philip Johnson 1972

I choose to use this museum as a case study hecause ifs progmm

is remarkably similar to the project that I will he doing. Gorpus

Ghristi is a town about the size of Austin, both happen to he in Texas,

it is sited near water and is not downtown, hut rather in a park-like

setting. It has exhibits that are temporary and the activities are

similar to those that will be addressed in my project— it is an art

museum as well as an educational center, and contains an auditorium

for both day and night activities.

Johnson once called it "the most exciting building I've ever done."

It symbolizes an important first for him- trying to mesh two things at

the same time; l) create a space that would be exciting even without

pictures and 2) design a museum that would offer ease of installation as well as flexibility "that arts of any period and all periods. . , will 2 be able to be placed and sympathetically understôodo"

Some directors might say that Johnson's design had a stronger focus

on the structure as a work of art more than on the function. The geomet- ric forms, painted in glowing white, make up the shape of the building,

set down in the landscape much like Le Gorbusier or Meier would have done (and as the Mansfield, Ohio Art Genter was intended.) The interior gives much to the form. The auditorium is expressed on'the outside as a large box with sloping roof and walls that slant inward toward the screeno The stairway is expressed as a half-cylinder, and the galleries are box-shaped.

i^nmmmimm GASE STUriIES

Jaye Stephens

Arch 4310-G

¥akM GASE STUDIES GASE S'RJDIES GASE STUDIES GASE STUDIES GASE STUDIES GASE STUDIES

JAYE STEPHKNJ JAYE S .KP ÍhJN.; JAYE S .'EFHENi: JAYE STEPHENS JAYE STEPHENS JAYE

ARCHI'TCCTURE 4-10 ARCHI'IEGTURE 4310 ARGHITEGTURE 4310 ARGHITEGTURE 4310

Si-r •;-!'^]-:-.;-, 24, 1982 SEPTEMBER 24, 1982 SEPTEMBER @$, 1982 SEPTEMBER 2^^, 1982 ÍIH-Jti—ÍSBS

fascade of the Art Museum of South Texas,

The sxte lends itself particularly well to the intention that the

building be set down in the landscape. It is at the water's edge of

Gorpus Ghristi Bay with no buildings close enough for it to relate to directly, Down the street is a convention area, Parking is to the left

of the building as you face it so cars do not distract from the fascade,

There are plenty of spaces, overflow is into the huge lot of the conven-

tion centeí, Buses park in the convention center lot regularly, Access is a sidewalk from the parking area to the front entrance, clearly iden-

tifiable as a large dark void in the otherwise all-white building, A wide set of steps makes the front door inaccessible to handicapped people, who must go to the back and enter at the courtyari level. Once inside, however, the handicapped can easily traverse levels by means of the ele- vator,

The people who use this building are mainly regular visitors from the city of Gorpus Ghristi, A large amount of schoolchildren come by the busload, A few convention-goers who have heard of the museum's famous architect filter through it regularly, but the number is small relative to the natives who visito Guided tours are conducted dailyo

ímM SAi^ A^vmt^g ^Záî^EíåB^^-^^ ^nfi.^MH3tS In terms of function, the plan is an intricate spacial sequence made of separate rooms. Entry is into a main hall two stories high that doubles as an exhibition area and central space, Immediatiy to the right is the auditorium. The auditorium is used for children's matinees in the day- times and for films for adults at night, According to the museum's ad- ministrative assistant, the'.acoustics are fine, There is no attempt to block off the gallery spaces for security reasons at night while only the audltorium is being used. Most activities take place in the main hall. Ghildren's aré classes are held during the day, adult's classes in the evenings, A small side gallery is also on the first floor, It's low ceiling makes it appropriate for viewing smaller art objects, The administrative offices and restrooms are on the first floor, toward the back of the building. Upstairs is another gallery with a 60' walkway. providing views of the main hall and the ottdoor sculpture garden, The walkway provides the excitement and anticipation for getting to the up-

stairs gallery. The concrete railings, however, are quite high relative

to a wheelchair, so the experience for the handicapped is limited somewhat,

The upstairs gallery is the most versatile and successful exhibit space.

In this museum the director cannot become architect by moving walls and partitions. Vertical circulation space is by way of the stairs or elev- atoro Horizontal circulation to the sequence of individual rooms ses walkways as connectors.

Il5i8î?fl7:îîíi iiiííii iill'-L ^í2^?OMr>^Q^^i2U .^mP^^t

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Storage is in the basement on racks. It is adequate as far as space goes,

but the sliding racks tend to stick. Paintings are moved via the elevator

to the exhibit floors, They must be brought into the building through the front doors, This strategy is not very smooth, especially on busy days.

The mechanical room is intthe basement. Heating and cooling are

electric. One unit handles heating, one unit handles air conditioning,

Mixing the air maintains a constant 70 degree temperature year round.

Vents are in the walls and in the concrete railing of the walkway, The

concrete helps to keep the buildlng cool in the summer, Being next to

the ocean makes humidity a big problem. The dehumidifier runs continu-

ously, but this will be supplemented with another unit as soon as funds

permit.

í^ -•- *-t::

ÍHJ walkway on the second level.

The exterlor and interior universal material is concrete with aggre- gate, The exterior wallscare concrete painted white, The roof is a built up roof of tar and white gravel, The floors are polished concreteo The hard suxfaces make echoes very loud, but according to the assistant admin- istrator, it is not a negative quality. 3 The bright Texas sun is handled "flambouyantly" but only in the main hall. Here the space is lit from several clerestories, light washes the walls, and heat is gained- a; problem in the summer. A big picture window of bronzed glass (so as not to distort the color of the art works)

rflÉl firames a scene of the bay. It becomes a delightfvO. picture in itself.

The side galleries are lit with more conventional, more controllable track lighting. Switches are distributed throughout the rooms.

While Louis Kahn was concemed with the way light affected the in- terior of his building, the Kimbell Art Museum in Fort Worth, Johnson was concemed with the way llght struck the exterior of the Gorpus

Ghristi museum. The walls and roof being white, they reflect the in- tense rays of the sun, bathing the building in a natural glow.

In 1972, this building of 30,000 sf cost $1,3 million dollars to build, which comes out to be $44/sf,

Footnotes:

^Texas Architect. May 1978, Po30.

^lbid,

•^Architectural Forum, January/February 1973» p.^3.

Summary:

Program: E' B ild a museum" vritb space f or temporary exhibits and educa- tional prcgrams

Site: Edge of the sea, Gorpus Ghrlsti, Texas, the bay at the port of entry.

Materials: painted concrete

Gost: $1.3 million (1972) for 30,000 square feet = $44/ sq ft.

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i

^•fflMI Mansfield Art Genter Mansfield, Ohio Don M. Hisaka & Assoc, 1970 This small art center was chosen as a case study because Mansfield is a smaller city of about 300,000 people, The site is semi-residential, and has many trees, just as my site in Austin does, It functions as a teaching facility as well as a gallery and has no permanent collection, It was completed on a modest budgeto Because of the nature of the building as an art center, the archi- tect felt that the building itself could become a piece of art, The site provided the setting to carry out this design concept for a "sculptuial 1 form set in isolation," This same concept was employed by Philip John- son in the Art Museum of South Texas in Gorpus Ghristi, Johnson's site was by the sea, this particular one was heavily wooded, below: exterior of the Mansfield Art Genter at dusk:

ém The main user group of this art center is the people of Mansfield, although they get visitors from all over the county, Most people drive their private vehichles, although many schoolchildren arrive by bus. The natural pattem of tree growth provided three distinct areas: one for the building, another for the parking, and the third for a vista from a main traffic intersectlon. The way the site is planned, there is room for the building to expand as well as the parking. However, for now the parking they have is more than adequate for their needs, The vista pro- vides a visual public accessibility, quite critical for the survival of an art center depending entirely on public support. However, not one tree was removed or relocated.

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Access to the building f or people is in an angled alcove to direct them to the entry, The small foyer is a transition space before coming to the gallery which is two stories high. The building is entered on grade, so there are no problems for the handicappedo Once inside, no stairs encumber circulation on either level, and an elevator can be used to get up to the second floor. There are two sets of stairs that can be used, one sculptuial staircase in the main gallery or the enclosed firestairs, included to conform to building fire codes. T—T ^ f J-«?P~

In this building, form does follow function, except for one purely sculptural curved wall forming a garden courtyard outside the director's office, Functionally, the art center is organized into two wings; one is for the teaching studios and the other is for housing exhibit, gallery and administratice office spaces, approximately 10,000 sf in all, The classroom wing is partitioned for flexibility, Art classes for children are held here in the daytime, art classes and films for adults are held in the evening. Guided tours are as requested. The exhibit wing is perpendiciilar to the studio wing. This wing is oriented toward an open meadow and carefully placed windows control the views to the countryside, An interesting method f or installing wall hung art has been devised f or the drywall partitions in the galleries: 1M plywood, covered in off-white burlap is laid over the walls. Nails can be hammered into the panels without

íiiii affecting the gyi^b^, They plywood is easily replaced when neceskry, Future expansion -ôFfEhe studio wing will create an enclosed courtyard f or sculpture

.J:L r -:_L.

FuToRE CU4S5ROOMS

This museum receives approximately ten temporary exhibits per year. It has no permanent collection whatsoever, Temporary exhibits are received at the south comer of the building, Large double doors open onto a wide hallway which is immediately adjacent to the storage room and the elevator. The elevator is used to haul paintings to the second f loor and back down agâin, No exhibits are stored for any amount of time at all, The storage is mainly f or items to be sold in the shop which is located on the ground floor and has additional storage space at it's rear.

AA—l

.»r=. i _-.—.-jr.v 1 The mechanicai; room is on the ground floor off the entry hall. A gas heating unit is located in this room, the air conditioning unit is on the íoof. Vents are located in the -f-loors. The large expanses of glass contribute to the high heating bills. Temperature must be kept at 72 degrees year round. Humidity is not controlled by any system, but so far has not proved a problem in this building.

Interior views:

The classroom wing as well as the exhibit wing each have a clerestory window oriented toward the north, Northem light is more constant than from any other direction and is therefore considered besjt for naturally lighting the studios as well as the display areas, Supplementing the natural light are flexible head-unit lights mounted on sliding ixacks attached to the laminated wood ceiling between the natural-finished cedar beams. Two central panels, one upstairs and one downstairs, control the lighting in their respective locations. The interior finishes include natural finished white oak floors upstairs and dark green Vermont slate downstairs. The áark green floor accentuates the sculptural qualities of the off-white walls. The exterior is cedar tongue-in-groove yertical wood siåing painted white. Some local folk were upset that it wasn't left natural, but the architect insisted on white to reinforce it's sculptural qualitiés. Others said that it shovild be of cinder block or concrete. The roof is a biailt-up gravel roof. In 1970, this building, including the site work, cost a modest $270,000, which comes out to be a very modest $27/sf.

Footnote: •I 'T)on M, Hisaka & Associates", Progressive Architecture, December 1971,

p. 64,

Summary:

Program: a 10,000 sf art center includ- ing classrooms, sales^and rent- al spaces, administrative fac- ilities and flexible exhibit areas to be built within a mod- est budget,

Site: 8 acres in a semi-residential area on a triangular lot, heav- ily wooded around the perimeter.

Materials: ¥ood structural system, lamin- ated wood ceiling and wood floor natural finished, walls of off- white burlap backed with plywood, exterior is flush wood vertical siding painted white,

Gosts; $270,357 (1970) inc. site work $27/ sq ft

^Mí Douglas Gounty Museum Roseburg, Oregon Backen, Arrigoni & Ross 1969

The site for this museum is the county fairgrounds, rather than a down- town or semi-residential, This is mainly what made this case study unique.

It also makes a good example to compare display areas for larger objects as opposed to an all "on the wall" gallery, It is a modular, indefinitely expandable museum, The program was f or a 7OOO sf museum with library and research center not requiring stairs for access to display areas, with flexible interiors and expandable design, to be constructed at low cost,

In 1969 many buildings for cultural use had achieved an unprece- dented hialk and banality. It was rare that a building such as the Dovig- las Gounty Museum successfully combined good design, small scale and a

modest budget. Although at first many local people didn't like it because

it was too unusual, >Æsitors now realize the pleasing quality and sensible planning that went xnto the complex.

The architect wanted to capture in the exterior design some of the

essence of the early grist mills, farm buildings, granaries and water sheds

typicãl to Douglas Gounty. Even the suspended, glassed in bridge which

connects the units as it crosses over the oourtyard takes it's inspira-

tions from earlier brigLges common throughout the county. The museum is

located in the county fairgrounds.

Being on the interstate highway from Northem Galifomia to Portland,

Oregon, many tourists stop by during their travels. It is a regular bus

stop for busloads of senior citizen tours. People of Roseburg use it,

^•ék I >?

/

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also, but mainly for the films, programs,

and slide shows given, because the exhib-

its do not change more than three to four ,

times per year, The local people come in f^

cars, Parking is more than adequate be-

cause of the abounding space of the fair- • '*' grounds, The actual parking lot is pos- l1l itioned between the building and the IL'' I' rvíysíí liffî^ highway, People on the b ^ghway see the cars which makes them know there is something worthwhile going on in the building, One of the requirements of the program carried out successfully was that the access to display areas not be encumbered by stairs, so the second level is entered on grade.

á Mã m..

exterior of the Douglas Gounty Museum as seen from the direction of Hwy, 5»

The design is based on a system of 34' x 34' modules (or display pods).

These can be added onto as the need for space grows, Since the building has been built, an auditorium seating 118 people has been added, It is essentially a two-level complex, but the museum's tallest wing of four stories contains on the third and fourth levels the curatorial offices and rare book storage.

Entering on grade into a small module conatining a foyer with restrooms off to the side, you must cross over the courtyard before getting to the main display space. All of the public service spaces are down the stairs to the first floor cn the courtyard level. There is not an elevator in the building so handicapped people must go back across the bridge, outside, down a ramp into the courtyaid and then back inside the building, On this first level is a pod containing a meeting room which opens onto a terraced amphitheatre.

In the courtyaxd vsarious objects are placed for viewing. Across the court- yaxd, in the main pod cluster are contained a shop for selling books, a workroom, and a small display area. All of this level is closed off at nie;ht when progiams are held in the auditortum pod.

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(xll puUkd r i\j^4-< - All of the in-house stoxage is on this bottom level. Items are stored

on shelves and racks. Larger items are stored on other parts of the fair-

grounds- under the grandstand of the stadium hundreds of yaids away! The

assistant administxator, Fred Jaeger, said that there is never enough stor-

age space. bey must continually seek supplemental storage.

The museum is a repository of rare artifacts once used in the pio-

neering, farming, lumber and mining part of Oregon, The interior display

space is extremely flexible, achieved through the use of movable hung

panels, of which there are very few. The large open spaces with soaring

ceilings make the space suitable for large pieces of equipment, but not for wall-hung paintings or prints. The acoustics are good. There is no problem wi.tb echoes even with the hard floors and tall ceilings because of the wood beams and many sound-absorbing items in the spaces. Each pod has it's own identical mechanical system, located on the ground floor, They all ¥ork independently of each other, A relatively constant temperature between 65 and 72 degrees is maintained year round,

The HVAG system is a combination of gas and electricity, Vents are located in the floor, along the perimenter of each pod. Humidity is controlled with a dehumidifier, located in what is now the central modiile,

The natural lighting through large wall windows and skylights is supplemented with the use of incandescent track light- ing attached to wooden beams traversing the spaces. 'The track lighting is used' to spotlight points of interest on the machinery. There are too many windows, according to the administrative assistant.

It would be ideal if there were no win- dows at allo Natioral light is uncon- trollable, Each display area withini each module has it's own switch.

The wood frame structure is sett on a concrete foundation. The exterior cedar siding is clear-stained. The interior gypsum walls are painted white, and accentuated with red and bJLue panels.

Gedar beams and trusses give a rustic look to the lofty spaces. Floors are natural hardwood. Interior. In 1969 this building, including the landscaping, not including the

fumishings, cost $178,000 to build which comes out to a very modest $21/sf.

Summary:

Program: a 7OOO sq ft museum with libxary and research center not requir- ing stairs for access to display areas, with flexible interior and expandable design, to be constructed at low cost,

Site: an open field surrounded by hills on the county fairgrounds

Materials: Goncrete foundation, wood fxame with clear stained cedar exterior, gypsum on interior, asphalt shin- gle roof, anodized aluminum win- dows, hardwood flbor

Gost.: $178,000 (1969) inc. land- scaping, excluding fumishings $21/ sq fto

EXPâNSION DIAGRAM

k. k. k ^mm^fl Everson Museum of Art Syracuse, New York I.M. Pei 1968

The Everson Museum of Art was chosen as a case study because of ifs similarity in terms of program to the project at hand and because ifs uniqueness in terms of circulation. It is a medium sized art museum of

60,000 sf in a city of population 300,000. It depends on continuously changing txaveling shows because it's permanent collection is very small,

It contains an auditorium for educational purposes,

It is located in the Gommunity Plaza urban renewal area in Syracuse,

New; York. Eventually the plaza will be a cultural and civic complex but as it is now, it is uncertain what the future contextual buildings my look like. This means jt had to be designed in a semi-vacuum, even though it is near a downtown area. The users of this museum are from a very diversified group of people. Most are in-state people. People whp work downtown of ten come by f oot during their lunch hoior or suburbanites who happen to be shopping xn the nearby shopping districts. Some are regular members of the museum who come very of ten, up to three and four times per month. A few students from Syracuse University visit once in a while and tourists passing through are inclined to stop because of the strange shape of the building, Parking is available if you pay for it. Private lots are directly adjacent to the museum, and charge fifty to seventy five cents per half hoior.

^å This museum is particularly imaginative in it's use of contxasting volumes and forms, As approached from the freeway, it appears as a giant piBce of monolithic sculpture that has sixrvived some holocaust. It stands in the middle of nowhere, relating to nothing but two neighboring si^rvivors; a sports conventlon center and a municipal steam plant. The galleries are expressed on the exterior as four cantilevered, windowless boxes pro- jecting out over the plazas. The maih . base of the building sits on the ground covering up a plot no larger than 130' xl40'.

••:'\4 >^^-y- ;'v.fe^...::^^^ J.. L... .y .X / -y •-•f, '•• rendering as done by the architect.

Access into the building is up si stairs or a ramp onto a wide breeze- way partially covered overhead by a cantilevered box and def ined on the other side by the auditorium. Upon entering the museum, one is squeezed

,, o^ffh a tiny transition space to find suddenly a soaring atrium sculp-

-"^'•'-^-•—--•v^ :::amps provide the handicapped access to all parts of the building.

The bulk of the building is below ground level where almost all of the nDnpublic space is, The shipping and receiving area is reached from ground level by means of a wide ramp, The elevator ts immediatêiy adjaceht

to this space for transporting paintings and sculpt-ure to the different levels of the galleries. Restrooms, auditorium entrance, library and one

small gallery are the public spaces on this level. Studios for art classes

are also here. The administrative offices are set in the comer, surro unded

bysstorage.rooms. The art is stored on racks and in bins but this is a very short term time span, Most of the space is used to store items to be sold in the shop, Storage rooms off the studio store art supplies for the classes that are held in the evening, mainly for adults and students.

Slide shows, films, and plays are held in the auditorium in the evening.

This is the only case study that has an auditorium specif ically designed to do stage plays, It has a green room, as well as prop storage, At night

the upper galleries can be blocked off by a restraining bar across the

stairway ai),d the elevator tumed gff to go up.

,m.fisxBsi~x'- ^mJMl As a container for displaying art works and it's related activities, it is unique. It is a small building, yet it provides a lavish variety of exhibition spaces, ranging from tin^, intimate gallerieS;to a gxandly scaled centxal sculpture court. Unlike most modern museums, the Everson contains no vast exhibition spaces capable of being subdivided into smal- ler units. The director felt that such type of space would be unsuitable f or the continuously changing txaveling shows the museum depended on to fill it's galleries. The flexibility he wanted came from individual spaces

in a variety of shapes, sizes, and characters— nine altogether. These

spaces could be a fine inducement for a major art patron looking for a

permanent, public home for his collection.

The galleries are related to a centxal two story focal space- a

sculpture court which is the largest of the exhibition spaces, In this

court is a controversial spiral staircase. Some say it upstages the ob-

jects on display, but the museum's director calls it "our most extxa-

vagant piece of sculpture „1

^mim There are two separate and CDinplete HVAG systems, The heating units are in their respective mechanical spaces, The aircconditioning units are on the roof. All are run on :électricity, Vents are in the ceiling in the basement and in the floors of the galleries, Two dehumidifiers

control humidity. Tempexature is kept 69-72 degrees ail year round,

The box-like galleries are intended for paintings, so they are artificially lit with recessed incandescent lights, There is one main i

switchboard in the basement, but each gallery is provided with it's own

switcheso The sculpture court is also lit up by artificial lights, but

the waffle grld ceiling is flanked by narrow strips of clear glass through

which natuxal light pours down the wallSo This is "just right" according

to Golleen Smythe, an administxative assistant,

..The interior walls (excluding those of the sculpture court) are cov-

ered with pff-white acrylic-coated linen and cotton fabric and the floors

are polished oak, The sculpture court walls and it's floor and the ext-

erior of the building are bush-hammered aggregaje of red-granite- a 2 "product of the sculptor's tool'.' The cost of this building in I968 was $2.6 million dollars for the

60,000 sf including plazas.

Footnotes: •^"Goncrete Frames for Works of Art", Architectuxal Forum, June 1969, p.58.

^lbid.

^mÆÚ Summary:

Program: build a structure for a small permanent collection plus txa- veling collections for the city of Syracuse, including an audit- orium for educational purposes

Site: Gommunity Plaza in Syxacuse, New York which will eventually be a civic and cultural complex although now it has no immedi- ate neighboring buildings

Materials: Bush -hammered red-gxanite ag- gregate walls are covered with off-white acrylic linen and cot- ton fabrlc; polished oak floors on upper levels, on lower ground floor, they are partially ground terrazzo containging red-gxanite aggregate

Gost; $2,6 million (1968) for 60,000 sq ft including plazas

——n '—T—• COURT

LOWER GALLERV ~^ " I- ADM NISTRAtlON

SECTION

.L^^^IûA Kimbell Art Museum Fort Worth, Texas Louis Kahn 1972

¥hen Fort Worth industrialist Kay Kimbell died in 1964, he left his fortune to the Kimbell Art Foundation with instructions to build a museum of quality f or Fort Worth, The city donated 9|- acres in the Amon Garter

Square Park which contained the Amon Garter Museum of Western Art, the

Fort Worth Art Museum, and the Fort Worth Museum of Natuxal History. Be- cause of the views of the city from the other buildings in the complex, the Kimbell Art Museum was limited to a height of no more than forty feet,

The architect's stated intention in designing this structure for the small but expanding art collection was that the "strength of the building design should derive, above all, from a direct approach to it's various uses honesty in relationship between visible forms and means of construction, taste in proportion of these forms, quality of materials and exquisite craf tsmanship." For the successful interpretation of these intentions, Louis Kahn won a design award of high honor. The simple ryth- mic quality and repetition of cycloids and vaulted shapes acheived this.

Mmsåk The main users of this building are people from all over the metro- plex that includes the cities of Fort Worth, Dallas and surrounding sub- urbs. Many students from TGU,SMU,UTA, and TGJG visit frequently, People viBÍting the other museums in the complex also come to this one. The Kim- bell has a large following of regulars who frequent the museum once a month or more. Tourists álso come by, but not In large numbers, There is a parking lot for employees at the service entrance which is on the basement level, Most people park their cars along the streets that are to the sides of the museum and walk on the sidewalks provided. Those who park on the street to the fron of the building walk across the lawn to enter at the entrance at the center,q.

exterior view showing service entrance,

The exhibition spaces function as continuous interior streets xathex

than a cyclical pinwheel as is in the Everson, Van Gogh, or New Ganaan

museums, All are on the first level, None are encumbered by steps or

, holds. The display area is clearly separated from service and

gre areas, which are located in the semi-recessed lower floor.

i-'aJ-.

•^ ^•' Paintings are stored mostly in the basement on xacks. The receiving/ shipping area is on this level, to receive the mny traveling exhibits.

They are moved to the upper level by means of an elevator. The display spaces have no interior supports breaking them up- they are unobstructed and flexible. There are few doors, designed for optimum security. Each of the rooms is an individual structure, a 100' x 20' cycloid vault of post*tensioned concrete supported at the four comers. Æ

viâw into basement

The nature of the vaults somewhat limited the optimal design of the auditorium. The vault must be extended on one side as a flat ceiling to make room for an aisle. The result is an artificial version of the des- ign concept;s pure form. The seats must be arranged in a long deep pat- tem, restricting viewing. The nature of a barrel vault does not make itself ideal for good theater acoustics, Extensive acoustical boaxd on the back wall attempts to compensate, The skylight reflectors have to

^fa^ be controlled by electrically operated louvres to darkentthe room for slide shows. Very few nighttime activities take place in this museum,

Only special occasibns warrant it staying open past it's normal nine to five sched\ile.

auditorx um with seating for 189.

^'^* 12 ^ ^8^

6 4 7 9 10

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3 •19

• f -

. ON

1 Porticos 2 Plaza 3 Entrance portico 4 Fntr.Tnce f'.allery 5 Stairs from lower-levei entrance 6 Boolístore 7 Shop 8 Library; mezzanine above 9 Light courts 10 Upper part of 2-story conservator's studio 11 Snack kitchen 12 AudJtorium Unnumbered areas are all galleries.

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V-TWC^J^ Tbe environment is carefully controlled. Artifacts over 4000 years

old are part of the museum's permanent collection. The tempemture is

regulated by thermostats on threce separate HVAG units, located in the

mechanical rooms in the basement. Three dehumidifiers keep humidity

at a constant optimum, Yents for the HVAG system are in the floor,

Kahn believed that as far as the interior of the building was con-

cemed, natural light was the only light to use because it has mood- but

it should never be used on the art directly, A window is a source of :.

glare and would be a disturbance to the eye. So he minimized windows and

devised an aluminum reflector to reflect thé light from the skylights at

the top of the vaults onto the inside of the vaij.ts, giving it the "lumin- 2 osity of silver," and softly illuminating the walls. Incandescent track

lights illuminate the art work at night and when supplementary lighting

is needed. Switches are distributed within the vaults in sections for 3 each area. Three "light Gourts" containing sculpture affoxd visitoxs

access to the outdoors while remaining inside, Hanging vines on trellises

cover the courts to soften the glare,

The usé of materials in this building was very studied, Kahn decid-

ed that non-contrasting materials went well together. Since the structure

of the shells demanded structuxal concrete, he choose travertine for the

infill material, it being much like concrete with it's irregularities,

pits and impredictabilities, For the exterior roofs he choose lead, be-

cause it would f'respond to light,"4 The movable interior walls are either

white oak or aluminum framed plywood covered in Punjab cotton, The floors are also white oak. Rugs are distributed throioghout the spaces to reduce echoes,

^Bdyj below: a ''light court" interior i -^» 'imii"Tgl«báJa

millTlllMTOlllWBT ^msJl^} The cost of this 120,000 sf building in 1972 was $6o5 million.

Footnotes: 1., Honor Award: Kimbell Art Museum", AIA Joumal, May 1975, p. 28, 2„ Masters of Light: Louis Kahn", AIA Joumal, September 1979, p.6l.

-^lbid. 4 'Kahn's Kimbell: A Building in Pxaise of Nature and LightV, Interiors, March, 1973, p. 86.

Summary:

"Build a museum of the first Materials: Goncrete, txavertine, glass, class in the city of Fort Worth" aluminum sky reflectors, oak to house éxhibits of the kind floors, aluminum soffits, that are not housed in the neear- lead roofing, partitions of by museums and of limited height white oak or aluminum framed that would not obstruct views plywood covered in Punjab c.---: from other buildings in the cotton complex Gost: $6.5 million (1972) 120,000 9^ acres donated by the city sq ft not including porches of Fort Worth in the Amon or plazas Garter Square Park Philip Johnson Gallery New Gancian, Gonnecticut Philip Johnson 1966

This was chosen as a case study to show it's unique system of art

storage. It is not meant to be a comprehensive study, only to illustrate

a unique solution to a problem that many art musuem directors are all too

familiar with. Philip Johnson built this gallery f or his art collection as well as to demonstxate several of his ideas for museums in general. The site is on his New Ganaan estate, yet he did not want a building in his back yard. Thus, he placed a berm around the structure. The berming of the building serves primarily as a study in the aesthetic effect of the mound as a form as well as disguising the building. It also allows for an al- most pexfect environmental control for his art collection. With the in- sulation the earth provides, it is possible to maintain a constant 50% humidity and 70 degree temperature all year round. It is quiet, too, so he is able to study his collection without distraction,

Being bermed, natural light does not intexfere intô.the space,

Since natural light is uncontrollabele, it is not permitteá into the interior. This explanation is in direct opposition to his treatment of the interior of the Art Museum of Souith Texas, which he designed, where natural light is a major light soircce,

The interior space is comprised of three tangential circiilar areas, each containing a set of swinging panels f or the display and storage of paintings. This is what Johnson intended to show to educators and coi:-: lectors to give them an idea of how to store their collections yet have easy and immediate access to them. Many large museums can show only part of their permanent collections at a time. Some must store up to 10% of their entire acquisltions and many times this is in racks difficult to get to. Also, the fixmiture and sculptinre are on casters, sotthe arxange- ment can readily be changed. The powexful central space in this gallery makes the cave-like interior very formal in contxast to the very casual exterior.

^M^ Summary:

Program: A small, unobtrusive gallery for the purpose of housing his collection, for his study of the aforementioned, and to dem- onstxate way of handling stor- age problems

Site: the grounds of his Naw Ganaan estate, a grassy slope

Materials: Reinforced concrete, steel

Gost: N/A

^>n>. ,Ulíiiíiíti«i»««''"-'-'' Vincent Van Gogh Museum Amsterdam, Netherlands Gerrit Rietveld, J, van Dillen, and J. van Tricht 197^

Although this case study is not detailed in all areas studied, I choose to include this in the f inal report because it has a very important point to make about interiors that are too bland,I I hope this supplementary l iaterial will provide an example to learn by in this one area, at least.

This museum has the unusual chaxacteristic of being designed by three different architects over a period of ten years, It was begun by Gerrit

Rietveld,ihe died after one year, it was passed on to his partner J, van

Dillen who died two years later, and finished by a third partner, Jo van

Tricht,

Like the Kimbell Art Museum in Fort Worth and Philip Johnson's New

Ganaan Gallery in Gonnecticut, this museum also had a height restriction, imposed by it's neighbors, It is a neighbor to a 1925 expressionist villa and the Stedelijk Museum, both buildings very much ^jnlike the De Stil arch- itecture it's founding architect was master of. It's scalé is very con- trolled, much of the bulk is below ground, the way the New Ganaan solution is.

The project arose from the deirands of Dr. V.W. Van Gogh, Vincent's nephew, for the Dutch Govt to house his father Theo's collection of 230 of the neo-Impressionist's painting, correspondence, and works of contem- poxaries in a special permanent display. The conditions set by the Van

Gogh Foundation were l) the paintings should be exhibited inainly in over- head daylight, and 2) the museum should be a place of "creative recreation," including a lecture hall and meeting rooms.

^/M»*l Rietveld intenåed the building to have a pyxamid type spacial se-

quence: the basement containing the lecture hall, offices, workshop and

mechanicals, the first, second and third floor galleries and the fourth floor a penthouse with conference room. The building's center was to be

an expanding Void, much like Fxank Lloyd Wright's Guggenheim Museum. Each

floor would receive natural light through the roof. Rietveld's plan was Z carried out by Tricht, a "pinwheel motion of richocheting energies," The

central space contains a theatrical freestanding s-taircase much like the

Everson Museum of Art. The entxance to the museum has a very low ceiling,

emphasizing the dissipation upward of the central space.

.jLMíâ ,tim The spacial exercises are fascinatiflg,, yet the composite effect is a bland interior. Natural light passes through 224 pyramidal skylights,

The second floor contains light sensitive watercolors and prints to it is sealed off from all natural light, including the atrium space, and given a dark, intimate setting. The off-white painted fiberboaxd covers off-white brick walls in display areas. Service and structural areas are enclosed and painted off-white. The floor is covered in brown or oxange carpet, In this interior, paintings float helplessly about, small and intensely emotional handwritten messages are pinned on giant bulletin bpards. They compete for attention under a soft undiff erentiated light that claSlies with the stron outside glare.

Third floor painting gallery is washed in soft diffused natural light, Secluded calm of second floor gallery invites pause and contemplation

^ÊÊÊ This museum is not the only one designed without regaxd to it's con- tents. Rietveld's envisioned structure may be a fascinating space, but it did not show much sympathy for Van Gogh's work. Van ticht claims responsibility for the interiors, delibexately trying to achieve a

"sinuous yet rtxanquil equilibrium, '^further adding to the restlessness of Van Gogh's paintings.

Above staircase at atrium northeast corner. Below north elevation

POTTERSTRAAT ELEVATION Æ A r^r: :iirTl' TTTTT .+».-•< n -XL: -t Gonclusion:

From the study of these "shelters of art" one can leam their co3mi - mon elements that seem vital to the success of an art museum, Among

these are:

Variable exhibition spaces- either from flexibility achieved by

movable partitions in an anonymous space or from a variety of set rooms,

each differeing from one another in size or character,

Ease of circulation- basically achieved through one or a combin- ation of two pattems: a circular spiral conf ig-uration and/or interior streets; implemented on either one or m-ultiple levels, Every museum stud- ied had some type of central space, used for one or more of the following: entrance, sculpture court, public service area or circulationo

Proper lighting- so as not to danage light-sensitive art works, to illuminate displays and to create a certain mood f or viewing a par- ticular exhibit, A combination of natural ând artificial light or art- ificial light alone is used, depending on needs,

Accessibility to the public- either through proximity to the pop- ulation for whom it was built, or proximity to other patronized buildings.

Interior environmental control- a constant temperature and controlled humidity to protect the artifacts and paintings from deterioration.

Adeqi:iate storage space- and immediate access to the stored goods.

B^^lH ^m Footnotes:

"A Touch of De Stijl", Progressive Architecture, March 75» P. 68,

^lbid.

^lbid.

Summary:

Program: museum and ancillary facilities to house the art collection of Theo Van Gogh

Site: flat terrain on north shoulder, east end of Museumplein, bound- ed by this and Van de Veldestraat and Paulus Potterstraat

Materials: exterior- cream white split conctete block set with color compatible mortar, glass, dark painted window fxames, painted steel staircase tower, basalt lava steps and terrace. Int- erior--fire treated wood fib- erboard display walls, painted syxithetic plaster resin walls, pexforated acoustical metal tile ceilings, needlefelt carpet in omnge or brown

Gosti N/A

.rfiAia Bibliography

"Art Museum of South Texas", Texas Architect, my 78, p. 30.

"A Touch of De Stijl", Progressive Architecture, March 75, p. 68-70,

Bxawne, Michael, The New Museum: Architecture and Display. New York: Praeger, I965. Po 157-158.

"Goncrete Frames for Works of Art", Architectuxal Forum, June 69, p. 51-64,

'T)on Mo Hisaka & Associates", Progressive Architecture, January 71, p. 82-83.

"The Great Museum Debate", Progressive Architecture, December 69, p„ 77-85.

"Honor Award: Kimbell Art Museum", AIA Joumal, May "/^, p.39o

"I.M.Pei & Partners: Everson Museum of Art", AIA Joiimal, June 69, p.lll.

"Johnson & Burgee", Architectural Forum, Jan/Feb 73, p. ^1-43.

"Johnson Underground", Progressive Architecture, April 67, p. 146.

"Kahn's Kimbell: A Building in Praise of Nature and Light", Interiors, March 73, p. 84-900

"Kimbell Art Museum", Texas Architect, May 78, p. 28,

"Mansfield Art Genter", Progressive Architecture, December', 71, p. 62-65.

"Masters of Light: Louis Kahn", AIA Joumal, September 79, P» 60-62.

"Sunken Hillside Gallery",.Architectural Recoxd, June 67, p. 146.

"Wood for ífood's Sake", Progressive Architecture, April 67, p.58-60.

Interviews; by phone

Johnson, Shirley: Public Relations Director of Kimbell Art Museum, Fort •;.Worth, Texas, 1-817-332-8451.

Jaeger, Fred: Assistant Administrator of Douglas Gounty Museum, Roseburg, Oregon, 1-503-^0-4507. Smythe, Golleen: Assistant Administrator of Everson=Museum of Art, Syxacuse, New York, 1-315-^74-6064,

Ellison, Lois: Administrative Gooxdinator of Mansfield Art Genter, Mansfield, Ohio, 1-419-756-1700.

Lambert, Gigi: Assistant Administrator and Director of Education, South Texas Museum of Art, Gorpus Ghristi, Texas, l-512-8(':4-3844o

^IB^ ^M DOGUMENTATION

LAGUNA GLORIA ART MUSEUM JAYE STEPHENS AUSTIN, TEXAS

The nature of the city, the site, the building's purpose, and the attitudes of the people of Austin seemed to demand a certain spirit of festivity, easualness, and recreational nature,

The site is located on Town Lake (the Golorado River). The only vehicular access is from the south, off Miller Lane.

Since views to the lake are lovely, it seems natural that most spaces inside the building should take advantage of this.

A pedestrian path going along the entire north edge of the site provides access for the casual pedestrian walking by.

A pedestrian ramp allows access from the west side of the site, down from the highway. The site is divided into three zones- parking on the south side, an urban park on the north side with the building between.

The access .to the site is on an axis with the front doors.

To the right side is patron parking, clearly indicated by its relation- ship to the entry, To the left side is employee parking, situated because of its relationship to the service entry. Existing trees that cut off visual access to the corner lot that is on the southwest comer of the site are preserved, since there is no telling what sort of commercial building will be built there,

The massive newspaper offices building with its blank wall facing the site is a good backdrop for the dramatic organic lines of the museum building.

Approach to the building is from the side patron parking lot.

This makes the centrally placed entry a less formal composition.

^mÊ One must step up to the entry courtyaxd. This change of levels is for a relief from the monotony of traveling on a single flat plane, to build excitement and create a curiosity and interest to motivate the person to go into the building. There is a ramp for the handicapped as well as stairs. It seems most adults prefer stairs to ramps, so both are provided.

There is also an entry on the lakeside of the building f rom the pedestrian path. This entry is much less formal than the froiit entry, because people coming from the pedestrain path will naturally be more recreationally oriented and probably dressed more informally and expect a less formal activity. Entry on thls side is over the pool on a concrete bridge curving along,the side of the building.

Water is a very important element on the site and in relationship to the building. On the fromt entry court, a fountain in the pond is held by a wing wall of the building. It provides sound and movement as the water spilling over the terraces, steps down as the patron steps up. This water node is one of several nodes of the building.

On the lakeside of the building is a pool that the building itself wraps around and holds. There is a configuration of foundalns that are adjustable in flow so that any combination of all cbf them may be used to provide an infinite varieties of water shows for those in the lobby, on the bridge, and especially those people in the basement floor administrative offices, as this is their major vieH,

The building f orm came f orm a desire to express the individual parts inside, emphasizing the building's main purpose: housing art.

It is zoned into several areas, The galleries are zoned on the east side, This separates them from the reast of the building,

GTtmhasizine: their impirtant function as well as placing it as far from the highway noise as possible, The white wing walls of the buiading allow

for a good gxound conncetion, a surface against which to place sculpture

and makes niches for water, sculpture and landscaping,

The sarvice area is on the ghighway side of the site as well

as adjacent to the parking lot, It is concealed, yet it is clear

where the area is incated so there will be no confusion to delifere^rs.

It is paved with brick pavers with grass growing between. This makes

the large surface much more pleasant and cool than if it were solid

pavement, Since the exhibit^s don't change daily, there is very

light traffic in this area. It is large enough for large trucks

to back up th the loading dock. It is also sunken so the laading dock

will be at the proper height for easy loading and unloading. and

still be on level with the floor ff the building itself. The gar^ge

dumpster is located near the manintenance rsDom £ and the

tearoom for convenience to the museum employ^es. A path for the

truck to drive up to it is provided, It ii hiddeâ to all views from the museum and park and is thereffire very inconspicuous.

The tearoom is placed on the recreational side of the building to

take advantage of the views to the lake, the activity going on in the park, It has dining indoors and out. Glass windows and skylights take advantage of the natural, and not too bright northem light.

It is placed diagonally to the shore of the lake because this maximizes the enjoyment of a body of water. There is a transition space from the museum lo^by into the tearoom for reception, waiting and restingo Golor- ful banners can block out light if a more shaded atmosphere is desired as well as add a festive elemt. The eating room is on two levels and very linear so every table has sight of the water and the outside.

There is no physical access from the outdoor dining to the park so the use of the tearoom can be monitored. Naturally, the kitchen is adjacent

d stoxage is pxovided, fox extia tat^les and chaixs as well as tablecloths and table accessories.

There are two classrîuoms that can be made into one large one if desired by opening an acoustical folding door. Glassrooms are situated around a sunlit circular node adjacent to the main lobby, This node also provides natual light to spaces in the administrative officés in the basement, Each classroom has a sink and storage area. They are adjacent to the aain lobby. They are adjacent to an outâoor terrace on the lakeside that can be used for outdoor learning activities. One classroom has immediate access to the kitchen, so thai.the oven or any kitchen applåances, fixtures or utensils can be used for art projects or classes.

Large northem windows let in constant north light. The audiovisual room is also used as a leaming space, so it is on the circular node with the classrooms, It is filled with beanbag chairs for an informal, relaxed atmosphere for viewing,

The lobby is used as circulation space and auxiliary exhibit space as needed or desired. Upon approach to the entry, one can see completely through the building to the lake beyond, Two solid mech- anical shafts act as sentries to clearly indicate where one enters.

A small vestibule gives one a defi^ite sense of entry. Over the slanted roof, banners, flag f, or signs can announce a certain exhibit or feature.

Once inslde the lobby, there are galleries immediat]fy to the left, or the rest of the building to the right. A sciilptuxal staixcase wxapped inside a circular column goes down to the administrative spaces or up to the roof deck. To the right of the circular element one is channeled to the classrooms and tearoom, to the left one flows to the auditorium lobbby and auditorium, Restrooms are directly adjacnet to the lobby yet they are secluded because the circular node containing the stairs is

^•i-rer;t1v in fTOTnt nf. -11. Along one side of the lobby are magnificaent views of the lake, changing as you walk through it because of the curved

path you take, Along the other side are auxiliary services: wet bar

for special occasions, the restrroms, the art hanilinga area, the

museum shop (cla^arly visible f^m and in direct line with people txa^iling

an£ browsing theough the lobby,) and the audip-visual room, iraintenance,

classrooms and tearoom, An axis connects the stair node wlth the gallery node,

The galleries are separate from the reai of the museum to control

access, provide security, and emphaæize importance. Each gallery is of

a different size and shape for a different chaiacter for different

exhibits. Each one sepaxate from the other allows

an exhibit to be set up easily by blocking it off from the others

without disturbing the traffic flow in the others, A large central

space for very large objects, a connection with the outdooors and nat-

ural light through the glass done, It's colorful shade blocks direct sun

by moving along with it, Not only functional, it aéés a colorful

moving elemént to the outside of the museum., making it as changeable

as a chameleon. Light is very well controlled, as the galleries have

no fenestration whatsoever,

The auditorium is at the fron (bf the building since it being a very

introverted space, has nothing to do with the lakeside of the building.

Movies shown at night will draw people usmng vehicular modes of txansport

as opposed to leisure walking by. There fore, it is close to the parking

lot and even has its own entry if it iæ desired that the rest of the museum,

especially the galleries, be off limits to auditorium patrons for

security reasons, Naturally the ticket booth and refreshment bar are sit- uated in the auditurium lobby.

Administrative offices are accessible to the publiCj, yet somewhají

out of the eay, They are not spaces you wander into for no reason.

Located in the basement, they are divided into zones themselves. The re-

"~"_ J—1^ lly in*p f ront of you once you get down the star Public information offices are located immediatly adjacent to the reception

area, The administxation spaces axe somewhat moxe elite ad private, so

they are around the staix^ell, Practically every office is âong the win-

dow side of the basement, which looks out onto the lagoon that the museum is wrapped around, They can look out and see lovely fountains and even sculpture. The "big guys"- the direstor, administrator and

development officer have large offices with their auxiliary personnel

locally adjacent to their office. Support Booms such as centxal recoxds,

the mail room and computer room are on the windowless side of the basement

since these do not have many people working in them for any lenghth of

time. A large skylight brings in some natural light to these spaces, as

well as a slice of the sky. The lounge is isolated for privacy, for getting

away from everything, while the board-room/libra±y is centxally located

for convenience to all employees using it, Permenant storgae is in the

basement where access is carefully controlled. Access by some employees

from the administxative axea is possibie, as well as access fxom and to

the art handling area,

The urban park area is a series of reô brick terraces, Red brick

is used on the terraces and on the courtyaxds to contrast with the white

building, The terraces are used to hold sculpture direct pedestrain traffic close

to the building.to stimulate interest, to hold landscaping, plaidiing and

as a tranisition from the solt green #rass to the haxd clear lines of

the concrete building, The terxaces become seating yáúSfix fox the amphi-

theatre which can be used at aM.nfinite variety of scales between large

(taklng up the whloe lawn) and small (concentxated axound the small cir-

cular theatre) A sidewalk on the east side of the site provides a link from the parking lot to the park.

The structure of the building is concrete load bearing walls in most

-Dlaces and concrete one way pan joist ceilings. The concrete beams in

tracks for hanfíin items, add interest to the ceiling in pattern and spa^in long distances.

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^^C' ^a/r^ The use of color in the building is very important. It is color-

ful for a cheerful, casual, festive feeling in most of the spaces,

yet the coloring in the galleries does not detract from the art work

because it is very miniiml, The galleries have a dark blue terrazo floor

surface which sets off the eculptuml walls as well as give a restful

atmosphere, The lobby and circulation areas are warm glowing gold haid-

wood floors. Lobby furniture is soft and orange for warth, colora and

liveliness. The administrative offices are carpeted in a dark blue

carpet with a subtle print accenting the blue-orange-red-yellow

cilor scheme and keeps noise to a minimum. The audio visual room and a

auditorium walls are dark red af f or drama and warmth with blue caxpet

and blue terrazo flooxs for a solid base. The ceilings are navy blue

so as to fade away when it is dark and a peifoxmance or show is in process.

In the auditorium, tiny firefly lights are in tangled webs hung from the

ceiling simulating "stars" in the sky.

The mechanical room concentrates all the mechanical equipment in the

basement, with the large mechanical shaigts used to distribu e the system to othei

g floors of the building. The system for heating and cooling is a Variable

Air Valve system and a humidifier and dehumidifier are fed to the galleries

to maintain a constant 50% humidity in this part of the building.

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