^M'-^Ki'm-r- --' •« >i^'?fi O^t LQG The Design for a School of Art 'mi The Depot District Lubbock, Texas Robyn Giuiro^a '^^mX'> m KfiB^i?»5!^ppii|M^|(!f|?s Fall 1999 I^^^S-"* • . .M by Robyn Qulroqa A Thesis Architecture Submitted to the Architecture faculty of the College of Architecture of Texas Tech University in Partial Fulfillment for The Degree of MASTERS OF ARCHITECTURE Jarfcesl White, Dean. College of Architecture December 1999 ii 5 2 a037cQ.L'J> /9 <^ r- •] ^r.^^ wt\' ~^Kitlft ii^ A^^m oj ii N (iW/!>«n#»ij%) 11 J IAB »? s; of IINSSI^ ' 04 THEORY 05 THEORY GOALS AND OBJECTIVES oe BACI^GROUND INFORMATION ON COLLAGE 24 THEORY ISSUES 25 THEORY ISSUE NUMBER ONE 26 THEORY ISSUE NUMBER TWO 27 THEORY ISSUE NUMBER THREE 26 THEORY CASE STUDIES 29 THEORY CASE STUDY NUMBER ONE: THE ANTHENEUM BY RICHARD MEIER THEORY CASE STUDY NUMBER TWO: ADDISON CONFERENCE AND THEATRE CENTRE 33 FACILITY TYPE 34 MISSION STATEMENT 35 ACTIVITY ANALYSIS 37 FACILITY PERFORMANCE REQUIREMENTS 40 SPATIAL ANALYSIS 56 SPATIAL SUMMARY 60 FACILITY TYPE CASE STUDIES 61 FACILITY TYPE CASE STUDY NUMBER ONE: CENTRE FOR THE VISUAL ARTS BY FRANK GEHRY 67) FAr:il ITY TYPE CASE STUDY NUMBER TWO: ART SCHOOL BY KUOVO & PARTANEN ARCHITECTS 111 OS i|Nii9D^ DESIGN PROCESS SCHEMATIC REVIEW DESIGN DEVELOPMENT COHCEFTONE CONCEPT TWO COHCEFTTHREE DESIGN RESPONSE RESPONSE TO THEORY ISSUES RESPONSE TO FACILITY TYPE PERFORMANCE REQUIREMENTS RESPONSE TO CONTEXT ISSUES IV -"" IABIH OJ ilNiSSiip 102 DOCUMENTATION 103 Overall Presentation Layout 104 Courtyard Level Plan if: 105 First Floor Plan 106 East and North Elevations 107 West and South Elevations 106 Transverse and Longitudinal Sections 109 Structural Axon 110 Site Plan and Mechanical Flans 111 Interior Perspective 112 Exterior Perspective 113 Mode! Photos 114 Conclusion 115 LIST OF ILLUTRATIONS 125 BIBLIOGRAPHY l£s iHaAgT 'AK I£s fiQABT The theory of artistic collage as an architectural design tool will be used in the design process. The principles of design used to create artistic collates, which combine materials of different sizes, textures, and colors, can also be used to make new architecture that fits into a context with existing character, and help the new architecture make an artistic Impression on that context. FACILITY The facility used to demonstrate this theory is a school of art. The school will teach several technic^ues and methods of art in one building. The size of the I school will be under 6,000 s.f. It will house several art activities, a small gallery, and offices for the instructors. igs PBABT CONTEXT i? The site for the school of art is in the Depot District in Lubbock, Texas. More specifically, it is on Buddy Holly Avenue just to the north of the nightclubs. The Depot District is a very historic part of downtown Lubbock. It is a gateway to downtown Lubbock from the 19^ I Street exit of Interstate 27 The character of the area is established, and it is very historic, containing mostly warehouse style buildings. • m.i^m^^ ^'-mi^^t^m ^' I •> ,' ^1 !lH@di Y THEORY The idea behind using the artistic theory of collage in architecture arose from architects such as Frank Gehry and Michael Graves. These architects approach architecture as sculptors, creating three- dimensional masses of solid and void. The theory of collage can be used in the combination of materials, as well as the juxtaposition of different architectural elements in the urban design scale. GOALS AND OBJECTIVES • introduce a new style into the Depot District rather than imitating the historic elements present in some of the surrounding buildings • design a volume other than the warehouse style— the style of most of the adjacent buildings • creation of a building that evokes curiosity by differentiating itself from the existing buildings • incorporate a few images of the historical context, without creating a straightforward, contextualism res pon sSeI imm ARTISTIC COLLAGE AS AN ARCHITECTURAL DESIGN TOOL Architectural form does not come to be without careful planning and attention to detail. Architects often use theories as a design tool. Many of these theories relate to art, music, and literature. The theory of artistic collage is one that deserves attention. Although there are very few people who have written about this theory in relation to architecture, there is no reason to say that the relationship does not exist. Artistic collage can be used as an architectural design tool, because the principles of form that apply to collage are some of the same principles that apply to architectural design. There are three parts to this discussion that will describe how collate relates to architecture. First, the history of collate, and some principles of form of collate will be explained. Second, some background information will be given into architectural form. Third, examples of buildings and projects will be given to show ''KeWer by Vladimir Tatlin the relationship of collage and the forms of these architectural projects. •w^ A oj^uote by Rasmussen generalizes how architecture is thought of as art: "For centuries architecture, painting, and sculpture have been called the Fine Arts, that is to say the arts which are concerned with 'the beautiful' and appeal to the eye, just as music appeals to the ear. And indeed most people judge architecture by its external appearance, just as books on the subject are usually illustrated with pictures of building exteriors »i "Metropolis" by Paul Citreon ' f^tafin hiler Rasmussen Experiencing Archj-Pisctur (Cambridge, Mass.: The MIT Press, 1959), 9. ^Hl|di Y PART ONE: ARTISTIC COLLAGE Many cultures have used the technlo^ue of collate throughout time. Collage can be traced as far back as the American Indians. The Indians used materials from their environment to create masks, Some examples of materials the Indians used are cornhusks, teeth, fur, and other fibers.^ According to \Naldman, "The idea of pasting real objects to a surface existed for centuries in the crafts and folk arts of many cultures."^ Even though collage has been used for centuries, there was not a name given to the techni(\ue until the early twentieth century. Collage became the name of the artistic techriia^e when Pablo Picasso and Georges d>rac\ue made it » famous. Collage comes from the French word coller, which literally translates as "to glue or paste."^ Figure 3 Picasso and Brac^ue used collage to glue and paste objects onto their paintings. The two men focused their attention on cubist theories from around 1910 to ' Donna Z. Meilach Collage and Assemblage: Trends and Technic^ues (New Crown, Crown Publishers, 1973), 10. Tlie Palace at 4 a.m." by Alberto O'lacometti ^ Diane Waldman., Coif^ Object (New York: H.N Abrams. 1992), 2. "* Meilach, 1, ,-r.. 1914. To achieve a cubist painting, the men had to create three-dimensional ejects. To create the look of wallpaper in a painting, Picasso pasted actual wallpaper on the painting and then painted over it. This layered effect created the three-dimensional illusion that Picasso wanted to achieve.^ Picasso and Bra^ue continued to experiment with collate as a means to express their cubist ideas. '^aldman states, " Once the two artists realized that it was no Ioniser necessary, or even desirable, to maintain the fictive three-dimensional space of pictorial illusion, they were compelled to experiment with the space of the picture plane in new and unorthodox ways,"^ Collate began to separate itself from cubism between the years of 1912 and 1914. Picasso and Bra<^ue recognized collate as a separate artistic technio^e. The two men exchanged ideas on how to create pictorial illusions in paintings, and they began to experiment with collate in sculpture.^ Collate became "recognized as a viable medium in the context ''Merz Construction" by Kurt 5chwitters Meilach, 10-12. ' Waldman, 22-23. Meilach, 14-15. of art"* when Bra<^ue and Picasso experimented with optical illusion in the early twentieth century. Collate lost popularity in the 1920's. Picasso and braa^ue practically abandoned collage as an artistic tool, and they moved on to other new technia^es, Kurt Schwitters, however, continued to experiment with collate even after Picasso and Bra^^ue abandoned it. Schwitters was a poet with excellent rhythm. This rhythm helped him to create collages with good composition and balance. He was one of the only people between the years of 1919 and 19Ad> who continued to use collate to create works of art.^ Collage began to emerge again in the 1960's. This time collate was not only used by artists, but by almost everyone. Collate was so easy to use that advertisers used collate for billboards and maqazine ads. Young children used collages of words to make cards for their parents on birthdays and holidays}^ Collate was everywhere. Meilach states, "Soon high school and college art teachers recognized that they 'Guitar, Sheet Music, Glass" by Pablo Picasso \Naldman, 3. Meilach. 24. ^°Mellach. 24. already were using many collage concepts to lead into other art forms such as painting, architectural renderings, exercises in color, shape, texture, and space."^^ These teachers realized that they could use collage to create a finished work of art. Meilach further says this about these teachers, "They realized that working with collate and found materials could encourage the student and artist to take a fresh look at mundane items, to divorce them from everyday functions and to give them a new image."^^ Collate can be done by anyone, but for it to be considered art, there are rules and guidelines that must be adhered to. Collate is one of the easiest artistic technio\ues to use, but that does not mean that any assemblage of objects is art.