Arch 3410 F14 - SYL - Proj 1 draft 25AUG14 3410 Sylla… · ! 5! $ Knowlton$School$of$Architecture$ ARCH$3410,$Fall$2014$ Coordinatrix:Gargus$ Studio$Instructors:$Balliet,$Gould,$Gunzelman,$Malmstrom,$Snyder,$Tilder$

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ARCHITECTURE 3410: ARCHITECTURAL DESIGN STUDIO IV The Ohio State University, Austin E. Knowlton School of Architecture AU 2014 – Mondays, Wednesdays, Fridays 1:30 -‐ 5:18 PM (see schedule) Instructors Jackie Gargus, coordinatrix ([email protected]) Kristi Balliet ([email protected]) Isabela Gould ([email protected]) Laurie Gunzelman ([email protected]) Troy Malmstrom ([email protected]) Zach Snyder ([email protected]) Lisa Tilder ([email protected]) Introduction Architecture 3410 is the first studio of the third year of the undergraduate architecture curriculum at the Knowlton School of Architecture. We will deal with three projects of medium to large-‐scale: a campus athletic facility (4 weeks), a fire station (4 weeks), and a craft brewery (6 weeks). In the interest of exposing students to a variety of perspectives at the Knowlton School, studio instructors will change sections halfway through the term. Students are urged to pursue conceptual, formal, and phenomenal aspects of their designs, but they must also have strong strategies for dealing with the site, program, material, circulation, service, and structure. Format: Studio meetings will be of two types: group pin-‐ups or discussions, and desk critiques. Each studio instructor will decide which type of meeting is most appropriate for each class session. Students are required to be in studio for the entirety of class time and must be ready to present at the beginning of class. All communication with the studio instructor should be carefully considered, as it will be critical to evolving directions and assignments. Students must check their university email daily. Deadlines: Students who miss deadlines due to valid extenuating circumstances may submit the required work at a date agreed upon with the instructor. University regulations limit such circumstances to serious personal illness and death in the immediate family, and both cases require written documentation: a doctor’s note or a newspaper obituary. Unexcused late projects are not accepted, incomplete projects are evaluated in relation to their degree of completion, and a student is present only if he or she presents sufficient work to the instructor. A student will be warned by email after the first unexcused absence; a student’s grade may drop one letter grade after the second unexcused absence; and a student with three unexcused absences can be immediately dismissed and given an “E.” Documentation: Students must provide hardcopy and digital reproductions of all final projects. Hardcopy reproductions will consist of images of all final models and 8.5” by 11” reproductions of all presentation drawings. Digital reproductions of both models (as jpegs) and drawings (as PDFs) will be stored on CDs, one CD per student, or dropped in the Instructor’s Homework Folder. Students must submit documentation by 5 PM Thursday, December 18, 2014. Failure to meet this deadline will result in a grade of "incomplete." Evaluation: Studio work is both individual and collective. Criteria of evaluation include not only individual design excellence, but also a student’s contributions to the studio through collective research, team projects, documentation, and discussions. There are three major design projects, as well as additional assignments. Grading is based on a comparison with other students in the course, with students who have taken the course previously, and with the instructors' expectations relative to the objectives of the course. Evaluation of projects is by jury review involving reviewers from other courses, other academic institutions, and architectural firms. For an "A", the student must satisfy the course objectives excellently; for a "B", in an above average manner; for a "C" in an average manner; for a "D" in the lowest acceptable manner; and an "E" denotes that the student has not satisfied the course objectives. Sexual Harassment: O.S.U.'s Sexual Harassment policy, which applies to all faculty, staff, and students, includes lewd remarks and inappropriate comments made in the studio environment, classroom, and computer labs as well as the "display of inappropriate sexually oriented materials in a location where others can see it." Students can file a complaint by contacting Student Judicial Affairs at 292-‐0748. Sanctions include reprimand, suspension, and dismissal from the University.

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Students with Disabilities: If students require accommodation for disabilities, they should immediately arrange an appointment with their professors and the Office for Disability Services. At the appointment, the professors, disability counselors, and student can discuss the course format, anticipate needs and decide upon accommodations. Professors rely on the Office for Disability Services for assistance in verifying the need for accommodations and developing accommodation strategies. Student Safety: University escort service provides safe transportation 7:30AM-‐3AM. Call 292-‐3322. Studio Behavior: Students must work in the studio, because of the collaborative nature of research and the shared development of techniques. Students are responsible for keeping their areas clean, their floors free from obstructions, and all studio furniture in good condition and original location. All presentation materials must be removed from review spaces following reviews and all studio materials must be removed from the building at the close of every quarter. Students may, however, store material in their credenzas over winter and spring breaks. Studios are inspected on the last day of final exams – negligent students are subject to grade withholding and maintenance costs. Also note: • The following items are prohibited in Knowlton Hall: non-‐KSA furniture, liquor, weapons, bicycles, skateboards, rollerblades, and pets. • The following tools are prohibited in Knowlton Hall: spray paints, foam cutter wands, welding devices, heat guns, and any flame or gaseous liquid device. • The following safety compliances must be observed: electrical power cords cannot be connected in a series or extend over traffic areas; fire extinguishers must remain accessible and in full view; access to stairwells, corridors, and aisles must maintain a 44” clear width and handrails must be unobstructed. • Building surfaces cannot be marked, anchored to, or penetrated. • Installations may not occur in any part of the building except by permission of the KSA Building Coordinator. • Power tools are restricted to the shop except when permission is granted by the KSA Building Coordinator. • Loud noise is forbidden. • Graffiti and vandalism are grounds for disciplinary action. SCHEDULE Project 1: OSU Athletic Facility 1 27 Aug, Wednesday Introduction, Project 1 Assigned, research assigned, site model assigned, site visit

29 Aug, Friday Studio Session, research due, parti review, site analysis discussion

2 1 Sept, LABOR DAY, NO CLASSES 3 Sept, Wednesday Studio Session 5 Sept, Friday Studio Session

3 8 Sept, Monday Studio Session 10 Sept, Wednesday Mid review, site model complete 12 Sept, Friday Studio Session

4 15 Sept, Monday Studio Session 17 Sept, Wednesday Studio session 19 Sept, Friday Studio session

Project 2: Urban Fire Station 5 22 Sept, Project 1-‐ FINAL REVIEW, Project 2-‐ Assigned, research assigned, site model assigned

24 Sept, Wednesday Studio session, research due, parti review, site analysis discussion 26 Sept, Friday Studio session

6 29 Sept, Monday Studio session 1 Oct, Wednesday Studio session 3 Oct, Friday Studio session

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7 6 Oct, Monday Studio session

8 Oct, Wednesday Mid Review Project 2, site model complete 10 Oct, Friday Studio session

8 13 Oct, Monday Studio session 15 Oct, Wednesday Studio session 17 Oct, Friday Studio session

Project 3: Craft Brewery 9 20 Oct, Monday Project 2: FINAL REVIEW, Project 3: Assigned, research assigned, site model assigned

22 Oct, Wednesday Field Trip to Cincinnati (money will be collected for the excursion.) 24 Oct, Friday Studio session, research due, parti review, site analysis discussion

10 27 Oct, Monday Studio session 29 Oct, Wednesday Studio session 31 Oct, Friday Studio session

11 3 Nov, Monday Studio session

5 Nov, Wednesday Studio session 7 Nov, Friday Studio session

12 10 Nov, Monday Mid Review Project 3, site model complete

12 Nov, Wednesday Studio session 14 Nov, Friday Studio session

13 17 Nov, Monday Studio session 19 Nov, Wednesday Studio session 21 Nov, Friday Studio session

14 24 Nov, Monday Studio session

26 Nov, Wednesday THANKSGIVING BREAK, NO CLASSES 28 Nov, Friday THANKSGIVING BREAK, NO CLASSES

15 1 Dec, Monday Studio session 3 Dec, Wednesday Project4-‐ FINAL REVIEW 5 Dec, Friday Work on Portfolio

16 8 Dec, Monday Work on Portfolio 10 Dec, Wednesday No Class 12 Dec, Friday No Class

17 17 Dec, Documentation of Studio work due (see above for details)

READINGS: Studio instructors are free to assign readings of their choice.

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Studio Sections

BALLIET Brown, Sam Bryson, Coy Gurtz, Justin Kuns, Vincent Lau, Katie Loversidge, Kathleen Schiering, Daniel Sheets, Ian Shirk, Ellen Strzepek, Gabriel Tian, Shangyu Yuan, Xuran

GARGUS Dai, Jianan Doherty, Brandon Dzierzak, Rachael Eland, Kayla Ford, Gabriel Hawks, George Luckenbach, Tori Leavitt, Skyla Moore, Max Park, Jae Hyun Ronan, Claire Schweer, Nicholas

GOULD Autin, Kristin Curtona, David Gan, Shiying Gutierrez, Lizeth Hu, Haobo Jannazo, Dominic Poland, Josiah Lindsey, Shauna Sandhu, Alexandra Steckel, Stephen Sun, Zhixin

MALMSTROM SNYDER TILDER/ GUNZLEMAN Conley, David Guthrie, Cameron Hirzel, Hannah Jones, Melissa Luna, Calvin Schellin, Elise Schlesinger, Jay Selvaggio, Anthony Sui, Wenli Watson, Andrew Yang, Yidi Zaworski, Zachary

Clemons, Emily Detroit, Ryan Fisher, Dan Geiser, Breanna He, Yang Jackson, Alexander Miller, Andrew Mosure, Nathan Reed, Bradley Roman, Bethany Wang, Can

Bertocchi, Kristina Clapper, Sarah Mallett, Alexis Blackson, Meghan Letizia, Chase Weizhen, Jia Corbitt, Michael Mei, Xiaoshuo Rennekamp, Michael Autry, Lane Leber, Nolan Hayes, Matthew

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Knowlton School of Architecture ARCH 3410, Fall 2014 Coordinatrix: Gargus Studio Instructors: Balliet, Gould, Gunzelman, Malmstrom, Snyder, Tilder M, W, F 1:50-‐5:15

NEW JESSE OWENS RECREATION CENTER NORTH OHIO STATE UNIVERSITY

Jesse Owens, one of the greatest athletes of all times, was also a graduate of the Ohio State University. While a member of the Ohio State University Track and Field Team, Owens excelled at the long jump and sprints. At an Ann Arbor track meet in 1935, Owens set three world records and tied a fourth in the span of 45 minutes, a feat considered by many to be one of the most remarkable accomplishments ever achieved by any athlete. The following year Owens represented the United States at the 1936 Berlin Olympics (Hitler’s Olympics) where he earned four gold medals, the most of any athlete at the games. Through his athletic excellence, focus, sportsmanship, and poise he single-‐handedly demonstrated the falsehood of Hitler’s claims of Aryan supremacy. In honor of its most famous alumnus, the Ohio State University has named the football stadium, the stadium plaza, and a number of ancillary recreation facilities after him. Our project is to redesign and replace one of the Jesse Owens Recreation Facilities with a new building, one more worthy of its namesake. The new building will be around 60,000 SF and replace the old facility of 28,000 SF.

The Ohio State University has made it a priority to create a stronger presence and a more urbane edge along its northern boundary on Lane Avenue. The redevelopment of the North Campus Dormitory cluster was a first step in that direction, as was the construction of the new Student Resources Center. The old Jesse Owens North Recreation Center makes an indifferent address to its prominent location. Hence, the decision was taken to replace the glulam shed of the old Recreation Center with a new building. Unlike the previous facilities, which were organized on one level, the University has expressed a desire for a multi-‐story building, which can better define the street edge while maximizing land usage efficiencies. Unlike RPAC, which is scaled to accommodate a great number of people and a wide range of sports and training facilities, the Jesse Owens North Facility, while open to the entire university, is specifically intended as an amenity for the North Campus dormitories. Design of the landscape surrounding the building will be necessary to accommodate exterior exercise activities and landscape can be used to strengthen the relationship of the Rec Center to the dormitory area. When it was first constructed, the curved glulam structure of the old Jesse Owens North Facility was considered to be a marvel of structural engineering and design. The University would like the new facility to likewise pay heed to the design opportunities afforded by designing a long-‐span structure and to the potential of a powerful architectural statement on Lane Avenue to promote the forward-‐looking image that the University wishes to project.

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SITE Your project will occupy the site of the old Jesse Owens North Recreation Facility, which will be demolished. The site is around 88,700 SF, bounded by Lane Avenue to the north, Neil Avenue to the east and south and the Student Academic Services Building to the west. The North Campus dormitories are located just across Neil, to the east, (CAD Files will be provided by the University Architect.)

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SITE

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PROGRAM ENTRY AREA Entry with airlock Lobby Space

- Membership desk area: 140 SF - Control point 40 SF - Lounge with WIFI 600 SF - Public M & F bathrooms @ at least two WCS as needed - Juice bar/ snacks 180 SF - Juice bar seating (seating for at least 30) as needed - Access to main, honorific vertical circulation - OSU Souvenir & Jesse Owens Memorabilia Shop - (May be grouped with other staffed areas) 400 SF

SERVICE SPACES

- Director’s office 200 SF - Staff work space (2 work stations) 220 SF - Meeting room 300 SF - Mechanical space 100 SF - Administration storage 100 SF - Copy machine room/ area as needed - Janitor Closets w/ Trash and Recycling 50 SF - Building Storage 200 SF - Loading, Receiving, trash as needed

ATHLETICS SPACES

- Women’s locker room as needed o 4 -‐ Showers o 40 -‐ Lockers o 3 -‐ Changing rooms o 4 – WCs/ sinks o 1 -‐ Sauna

- Men’s locker room as needed

o 4 -‐ Showers o 40 -‐ Lockers o 3 -‐ Changing rooms o 4 – WCs/ sinks o 1 -‐ Sauna

- Gymnasium (courts & surrounding space) as needed

o 2 basketball courts (@ 50’ x 94’) OR (flexible-‐ can be used for either)

o 3 volleyball courts (@ 30’ x 60’)

- Exercise Equipment area (can be in several areas) 3000 SF o Strength training machines o Free Weights o Cardio Machines (treadmills, stationary bicycles, elliptical, rowing, etc.) o Kickboxing and/ or Boxing Bags o TRX Zone

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- First aid/ training room 150 SF - Equipment storage (can be in several areas) 300 SF - Running track (any shape) as needed - Yoga/ dance/ aerobics classroom: 750 SF - Racquet Ball Courts (3 @ 40’ long, 20’, and 20’) - Ping Pong Tables (at least 2) as needed - Climbing Wall Area (Wall at least 35’-‐0” high) as needed - Vending machines 50 SF

EXTERIOR SPACES

- Exterior seating for Juice Bar and Food Trucks - Ping pong tables - Badminton court(s) (at least 2 @ 20’ x 44’) - Bike Storage - Paracourse stations - Parking for two food trucks (can be on a designated part of a street, but not Lane) - Double Long jump sandpit and approach @ 13’ x 115’ - (Can also be used for bocce ball when jumpers are not present @ 13’ x 91’)

- MISCELLANEOUS Net to gross efficiency 65% Significant daylight must reach all major spaces. Building must be accessible, i.e. elevator or ramps are required to all major spaces At least two fire stairs/ fire escapes are required. FINAL REQUIREMENTS Site Plan 1”= 50’-‐0” Plans (all levels) 1/16=1’0” Sections (at least 2) 1/16=1’0” Elevations (Lane Ave and one other) 1/16=1’0” Site Model: scale to be determined by sections Site Model to fit in class site model Final Model: 1/16 = 1’0: 1/16”=1’-‐0” Plans, sections, and elevations 2 renderings of interior spaces 1 rendering of building exterior 2 of these renderings must be sufficiently developed to indicate material qualities, daylight and program accommodation), Minimum print size 15”x20 ”

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CALENDAR:)ARCH)3410)/)Fall)2014

Sunday Monday Tuesday Wednesday Thursday Friday Saturday24 25 26 27 28 29 30

Classes=begin:=Assign=Project=#=1==

Project=#1


LABOR=DAY=M=================NO=CLASSES

Project=1 Project=1

7 8 9 10 11 12 13

Project=1=midreview Project=1 Project=1

14 15 16 17 18 19 20

Project=1 Project=1 Project=1

21 22 23 24 25 26 27

Project=1=FINAL=REVVIEW=Project=2=assigned

Project=2 Project=2

28 29 30 1 2 3 4



Project=2=midreview Project=2 Project=2

12 13 14 15 16 17 18

Project=2Project=2=(=OSU=last=day=of=1st=session=classes)

Project=2=Final=Review=Project=3=assigned

Project=2

19 20 21 22 23 24 25

Project=2=Final=Review=Project=3=assigned

FIELD=TRIP=TO=CINCINNATI

Project=3

26 27 28 29 30 31 1



Project=3 Project=3 Midreview=#1

9 10 11 12 13 14 15

Project=3=midreviewVETERAN'S=DAY=M============NO=CLASSES

Project=3 Project=3

16 17 18 19 20 21 22


23 24 25 26 27 28 29

Project=3THANKSGIVINGM============NO=CLASSES

THANKSGIVINGM============NO=CLASSES

THANKSGIVINGM============NO=CLASSES


Project=3 Project=3=Final=Review== work=on=Portfolio

7 8 9 10 11 12 13

work=on=Portfolio LAST=DAY=OF=CLASSES========== = EXAMS EXAMS

14 15 16 17 18 18 20

EXAMS EXAMS EXAMSSTUDIO=DOCUMENTATION=DUE

=

August)2014

November)2014

December)2014

September)2014

October)2014

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Arch 3410 Project 2 Fall 2014

The New Wexner Gallery and Art Center

Assigned 22 September, Monday Mid-‐review: 6 October, Monday Final Review: 20 October, Monday BRIEF: In the aftermath of wildly the successful exhibition at the Wexner Center, Transfigurations: Modern Masters from the Wexner Family Collection, Leslie and Abigail Wexner have decided to establish a gallery to house a permanent display of works from their collection. The gallery will display about twenty works, which each student must select from the current exhibition. The designers are urged to consider lighting conditions and a strategy for moving visitors through the gallery to best show off the art works. In addition to displaying works by recognized masters, like Picasso, Giacometti, De Koonig, Degas, and Dubuffet, all of whom are well-‐represented in the collection, the Wexners would like the new gallery to act as a catalyst in pushing Columbus to the forefront of the art scene. Hence, there will also be community outreach spaces, like classrooms, a lecture hall, a café, a visitors’ shop, and an area for children’s art, as well as apartments and workspace for three visiting artists. An additional requirement is an exterior space, which can be used to hold “Art Symposia,” modeled after outdoor stone carving competitions, which take place on the main piazze of Tuscan marble quarry towns, like Cararra, Massa, and Pietrasanta. This exterior space should also be able to accommodate informal concerts, performances, performance art, small-‐scale theatrical works, and community activities. The aim is to educate the public about art by making art part of their lives, and to create a reputation for Columbus as an art center by inviting internationally renowned artists to partake in these events.

SITE: Northeast corner of Broad & Washington A site on Broad Street was selected, so that the gallery can contribute to the development of the Arts District, i.e. the area adjacent to the Columbus Art Museum, the campus of the Columbus College of Art and Design (CCAD), and the writer-‐in-‐residence program at the near-‐by Thurber House. The clients also recognize the historical importance of Broad Street in Columbus, as a collector of major civic buildings. They urge the designer consider The new gallery as part of this urban structure, and to use it to help stave off the erosion and dissolution of the edge of Broad Street (initiated by the plethora of parking lots on the sites of formerly grand building.)

http://www.franklincountyoh.metacama.com/do/selectDisplay?select=GIS&curpid=01003946690

SITE%

Demolish%%exis/ng%building%

PROGRAM ENTRY AREA

Airlock as needed Lobby 1200 SF Ticket Desk 200 SF Coat Check 220 SF Public Bathrooms 2 @ 200 SF Museum Shop 500 SF Café 400 SF or as needed, with

seating for 20 (adjacent to outside seating)

TOTAL 2740 SF ADMINISTRATION

Director’s Office 200 SF Curator’s Office 180 SF Education Office 2 stations @ 120 SF Docents’ lounge 350 SF Conference Room 400 SF Admin. Assistants 3 stations at 150 SF Copier area as needed Admin Storage as needed Workers’ kitchenette as needed TOTAL 2120 SF

TECHINCAL SUPPORT SPACES

Installation Staff Area 400 SF Conservator’s Area 250 SF Webmaster/ IT 300 SF Crating, Framing area 300 SF Staff Workshop 220 Loading Dock 150 SF Loading Storage 200 SF Janitor’s Closet 2 @ 50 SF Mechanical Space as needed Trash area 80 SF TOTAL 2000 SF

GALLERY

Wexner Collection: 6500 SF +/-‐ 20 +/-‐ artworks (student’s choice) Video/cinema gallery 500 SF Visiting Artist Galleries 2500 SF 9500 SF

EDUCATION & COMMUNITY SPACES

Auditorium 1250 SF +/-‐ Classrooms 3 @ 450 SG

Adult Ed Teaching Studios 2 @ 300 SF WCs 2 @ 125

Children’s workshop 650 SF 4100 SF

ARTIST IN RESIDENCE SPACES Artist Apartments 3 @ 800 SF Artist Studios 3 @ 400 SF Teaching Studio 450 SG Children’s workshop 650 SF Library/ Shared Lounge 450 SF 5150 SF

EXTERIOR SPACE

Art Symposia Space (for open air as needed Art competitions, Performances, Informal concerts, performance Art, community events, etc. Exterior Seating for Café as needed Parking For 25 cars Parking for 2 busses Access to loading dock and trash area.

Site: Total SF = 41,850 Program: Total SF = +/- 30,000 SF (not including exterior site work) Net to gross efficiency 65% Significant daylight must reach all major spaces. Lighting of galleries in a major design issue FINAL REQUIREMENTS Site Plan 1”= 50’-0” Site Model 1/16 or 1/32=1’0” Physical model 1/16 – 1’0” Plans all levels 1/32=1’0” Sections (at least 2) 1/32=1’0” and elevations Elevations (if not clear in rhino or physical model) 1/32=1’0” Digital model (Rhino or harder) Massing model at the scale of the site, if the site model is not at 1/16. 2 renderings of interior semi-public spaces 1 rendering of building exterior 2 of these renderings must be sufficiently developed to indicate material qualities, daylight and inhabitation)

MONDAY: 22 September 2014, Program distributed, precedents assigned WEDNESDAY: 24 September 2014, 2:00, Field trip & Site Visit 2:00 WEXNER CENTER FIELD TRIP Transfigurations: Modern Masters from the Wexner Family Collection

§ Meet in the Mershon lobby. § Your entrance to the Wexner Center Exhibition has been reserved. § No backpacks or big bags can be brought into the exhibition. § Provisions will me made for you to store your things in the Mershon lobby. § You may bring a pencil and notebook into the space, but no pens are permitted. § Sketchbook size is limited to 12x18. § Any small bags you bring into the exhibition will be checked. § “Docents” (i.e. students trained to discuss the exhibition) will be scattered throughout the

galleries to answer any questions you may have. TASKS:

§ Wander through the exhibition. § Be amazed that this is the stuff that the Wexners have in their house. § Try to figure out the core interests of the various artists.

o Figuration? o Abstraction? o Materiality? o Dematerialization? o Flatness? o Pictorial Space? o Opticality? o Tactility? o Statis? o Kinesis? o Space/Time? o Timelessness? o Gesture? o Caricature? o Action Painting? o Horses?

§ Try to figure out themes in the collection and themes in the work. § Take notes and sketch/ diagram favorite works with your pencil. § Pick your favorite object and be prepared to say why. § Select around 20 of your favorite works, to be included in the collection

o of your design of the New Wexner Gallery. § Also pay attention to the Wexner Center itself. § How does the architecture support or subtract from the experience of viewing art?

SITE VISIT (After the Wexner Center Field Trip)

§ Go to the Site: From the Wexner Center: o Walk to the bus stop on High & 15th Street o Take the #2 COTA bus to Broad & High o Switch to the #10 Bus or walk for 10 minutes to the site. o You can also drive, if you have a car.

§ Analyze and document the site o Take photos, make sketches o Note relationship to CCAD campus o Pay attention to views, scale, light, kinds of neighborhoods, etc. o Gather info on neighboring buildings you will need for site model.

Museum/ Gallery Precedents Precedent research assigned: 22 September, 2014; due 16 September, 2014 Amateur Architect (Wang Shu ) History Museum, Ningbo, China 2003-‐08 BIG (Bjarke Ingels Group) Danish National Museum, Copenhagen, Denmark 2013 Calatrava, Santiago Milwaukee Art Museum , Milwaukee, Wisconsin, 2001 Cook, Peter Kunsthaus, Graz, Austria2003 Coop Himmelblau Museum of the Confluence, Lyonm France 2014 Coop Himmelblau Akron Art Museum, Akron, OH (2007 addition) Diller, Scofidio, Renfro ICA, Boston, MA, 2002 Eisenman, Peter Wexner Center, Columbus, 1989 FR-‐EE (Fernando Romero) Museo Soumaya, Mexico City, 2011 Gehry, Frank Vitra Museum, Weil-‐am-‐Rhein, Germany, 1987 Gehry, Frank Guggenheim Museum, Bilbao, Spain Gehry, Frank Weisman Museum, Minneapolis, MN, 1993 Hadid, Zaha MAXII, Rome 2010 Hadid, Zaha Contemporary Arts Center, Cincinnati, 2003 Hadid, Zaha Phaeno Museum, Wolfsburg, Germany 1998 Herzog & de Meuron Caixa Forum, Madrid 2001-‐07 Herzog & de Meuron de Young Museum, San Francisco 2005 Herzog & de Meuron Schaulager, Basel 2003 Herzog & de Meuron Perez Art Museum, Miami, 2013 Holl, Steven Sifang Musuem, Nanjing, China 2003 Holl, Steven Nelson Atkins, Kansas City, MO 1999-‐2007 Holl, Steven Kiasma Museum of Contemporary Art, Helsinki, 1992-‐98 Kahn, Louis Kimbell Art Museum, Fort Worth Texas, 1966-‐72 Kuma, Kengo Nezu Art Museum, Tokyo, ai, 2011 Kuma, Kengo GC Prostho Museum, Kasuga, 2006 Kurokawa, Kisho The National Art Center, Tokyo, Japan 2009 Libeskind,Daniel Jewish Museum, Berlin, 1987 Meier, Richard Museum Angewandte Kunst (MAK ), Frankfurt, 1979-‐85 Mies van der Rohe, Ludwig Neue Nationalgalerie, Berlin,1968 Moussavi, Farshid (FOA) MoCA, Cleveland, 2012 Neutelings Riedijk Sound and Vision Institute, Hilversum, 1999-‐2006 Neutelings Riedijk Museum aan de Stroom, (MAS), Antwerp, 2010 Nouvel, Jean Quai Branly Museum, Paris, 1999-‐2006 Nouvel, Jean Arab Institute, Paris, 1981 Nouvel, Jean Cartier Foundation, Paris 1994 OMA, (Rem Koolhaas) Kunsthalle, Rotterdam, 1992 Ortner & Ortner MUMOK, Vienna, 2001 Piano, Renzo NEMO (New Metropolis Museum), Amsterdam, 1997 Piano, Renzo Beyeler Foundation, Riehen, Switzerland 1997 Piano, Renzo de Menil Foundation, Houston, TX, 1982-‐86 Piano & Rogers Pompidou Center, Paris 1977 SANAA, New Museum, New York, 2007 SANAA 21st Century Art Museum, Kanazawa, Japan, 2004 SANAA Glass Pavilion, Toledo, OH, 2007 SANAA (Nishizawa, Ryue) Hiroshi Senju Museum, Karuizawa, Japan 2010 Scarpa, Carlo Querini Stampalia Foundation, Venice, 1963 Siza, Alvaro Serralves Foundation, Porto, 1991-‐99 Stirling, James Staatsgalerie, Stuttgart 1984 Taniguchi, Yoshio Gallery of the Horyji Treasures, Tokyo, 1998 Trahan Architects Louisiana State Museum and Sports Hall of Fame, Natchitoches, LA 2013 Tschumi , Bernard New Acropolis Museum, Athens 2003-‐09 UN Studio Mercedes Museum, Stuttgart, 2001-‐06 Williams & Tsien Folk Art Museum, New York 2001 Wright, Frank, Lloyd Guggenheim Museum, New York, 1959 Yim, Rocco Guanggdong Museum, Guangzhou, 2004-‐2010 Zumthor, Peter Kunsthaus, Bregenz, 1997 Zumthor, Peter Kolumba Diocesan Museum, Cologne, Germany 1997

Documents

Arch 3410 F14 - SYL - Proj 1 draft 25AUG14 3410 Sylla… · ! 5! $ Knowlton$School$of$Architecture$ ARCH$3410,$Fall$2014$ Coordinatrix:Gargus$ Studio$Instructors:$Balliet,$Gould,$Gunzelman,$Malmstrom,$Snyder,$Tilder$