[SUGAR]
Blake Thomas Caskey
Program |
PROGRAM
A STUDY OF SUGAR REFINEMENT AND THE ADAPTION OF INDUSTRIAL ENVIRONMENT A MUSEUM OF SUGAR By BLAKE THOMAS CASKEY A Thesis In 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 ______________________________________________ Prof. Gary Smith Chairman of the Committee ______________________________________________ Brian Rex Master Project Advisor Accepted ______________________________________________ Andrew Vernooy Dean, College of Architecture ______________________________________________
Contents |
Contents Theory [6] Facility [24] Spatial Summer [39] Context [54]
P3
Industrial architecture is deeply rooted in function, process, and control. By inserting new program and process, architecture can be created separate from the form of its original function. Therefore the relationship between form and function in architecture can be redefined by program and not be attached to spatial function.
Scope
The site is located in the old Imperial Sugar Factory Refinery in Sugar Land Texas. The refinery ceased operations in Jan of 2002 and is now in the process of redevelopment. The refinery is located on 724ac in northwest Sugar Land. The original factory occupied 34.5ac located in the north east side of the plantation. One of the most distinct building on the site is the old Char house. It is a 60,000 square foot building used in the purification process of sugar manufacturing. The project will center around its redevelopment. It will be the first redevelopment for the original factory grounds. The project will be an adaptive reuse centering around providing community functions within the new space.
P4
Thesis | Scope
Thesis Statement
Figure Figure Figure Figure
1.1 1.2 1.3 1.4
River Rowing Museum Façade River Rowing Museum Façade Plan Façade
Figure Figure Figure Figure
1.5 1.6 1.7 1.8
BNSF Campus Building Main building Office building Historic Photograph
Figure Figure Figure Figure
1.9 Barn House 1.10 Section 1.11 Interior View 1.12 Plan
Figure Figure Figure Figure Figure Figure Figure
2.1 2.2 2.3 2.4 2.5 2.6 2.7
Mill City Complex Fire in 1992 Section Courtyard Mass Moca Complex Plan Interior Galleries
Figure Figure Figure Figure Figure Figure Figure
3.1 3.2 3.3 3.4 3.5 3.6 3.7
Figure Figure Figure Figure Figure Figure
3.8 Factory Grounds Context 3.9 Factory Grounds 3.10 Climate Data 3.11 Census Data 3.12 Census Data 3.13 Photographs
Figure Figure Figure Figure
3.14 3.15 3.16 3.17
Figures |
Figures Sugar Land Historic Photograph Plan of Factory Grounds Aerial Photograph Redevelopment Plans Charrette 1936 Sandborn Map Historical Photograph
Texas Travel Center Amarillo Entrance Plan Interior View
Figure 3.18 Pittsburgh Historic Museum Figure 3.19 Interior Figure 3.20 Plan
P5
Theory
Theory | P6
It is con-
Theory | Overview
maintaining a utilitarian program.
Theory
structed to provide function, devoid of providing
Industrial architecture is rooted in process and economics.
tity is often manifested free from the influence of style.
Critical regionalism can act as a means to understand place and context.
a cultural identity and place. The resulting iden-
Through a
constant reinterpretation of industrial objects through critical regionalism, an object may be tied to an existing time and place as well as create a relationship with mainstream values. It is through critical regionalisms ability to provide an intrinsic statement rather than a segmented mainstream view that industrial architecture can be reinterpreted.
Industrial architecture might be understood as a particular segment of architecture free from the influences of style and ornament and serve as a catalyst for the reassertion of local values through an understanding of critical regionalism.
While many forms of architecture
are heading toward the utilitarian goals of industrial architecture, big box retail, planned suburbia as well as corporate branding, the fundamental hindrances of industrial architecture
Industrial architecture is often a balance
are now providing a catalyst for local values.
between a local and global understanding of the
The heavy reliance of utilitarian philosophy does
economy. The architecture manifests an under-
not resolve many local expressions of place.
standing of local and regional values, while P7
critical understanding of itself, its localized re-
as an honest depiction of economic, social, and
gion, and concern itself with universal civiliza-
cultural values. This industrial architecture can
tion. The link, which critical regionalism exist, is
create a strong impact upon the local commu-
the mediation between traditionally regionalism
nity and create objects which may be inter-
and global culture (Nesbitt 490).
preted at different levels.
Industrial architec-
ture does not concern itself with mainstream values and therefore an existence can be interpreted as a manifestation of local values and identity. Industrial architecture can be rooted in both the vernacular and global levels as well as provide the framework for architecture to provide a sense of place based upon an understanding of critical regionalism (Frampton 310). Architecture is a constantly changing dis-
Critical regionalism creates the base unit, the region, and establishes it as the vehicle to recognize local characteristics.
The concept of
this region is the understanding which a global set of values and traditions can uproot and diminish the regional characteristics which are rooted in time and place.
As globalization
pushed a new global village of commerce, these ideas and thoughts are manifested in architecture.
The critical regionalist firmly roots itself
cipline which must concern itself with both criti-
within the familiar regional elements and rejects
cal understanding of itself as well as an assimi-
the forms of universal culture (Nesbitt 486).
lation of outside influences. For architecture to understand itself fully as a craft it must have a
Theory | Overview
Industrial architecture can be understood
Global
culture
assimilates
civilizations P8
tion” (Frampton 313). Carloni, an Italian archi-
law.
Critical regionalism exists as a theory
tect, suggests that belief that local culture can
which understands the detrimental effects of
condense the artistic and critical potential of the
civilization narcissism.
Global culture is rooted
regional while assimilating and reinterpreting
in local cultures and traditions and architecture
outside influences. It is through the relationship
must realize it is in this regional architecture
with the regional and the ties to the universal
that exist uniqueness and sense of place.
that architectural dialogues exist which con-
A critical regional approach to architecture must base itself on the tectonic sensibility of the area.
These individual regions contain
nected to both context of an object in the global or contemporary world but also grounded with sense of place (Frampton 354).
different ideas and beliefs which define the re-
Critical regionalism is important to estab-
gions character and provide individual identity
lish the link between industrial architecture an a
(Frampton 320). It is important to understand
sense of place. The creation of critical regional-
critical regionalism is not just a link the ver-
ism is a reaction against the international style
nacular past but as a means of understanding
which tried to impose a universal architectural
and construction a future.
language
“There is the para-
and
universal
dogmas
(Frampton
dox: how to become modern and to return the
310). Critical regionalism attempts to root itself
source, how to revive an old, dormant civiliza-
with the identity of the particular instead of be-
tion
ing nested inside the universal approach.
and
take
part
in
universal
civiliza-
There is the paradox: how to become modern and to return the source, how to revive an old, dormant civilization and take part in universal civilization” Frampton
It P9
Theory | Overview
and bombards the remaining with a universal
regional cultural assessments.
Critical regionalism wishes to serve as
Regional archi-
mediation between the global and regional. The
tecture is a byproduct of local and group identity
outside power wishing to impose an internal,
and must understand itself and its place in
globalizing, universal architecture against the
global culture.
particulars local identity must not create a
Critical regionalism is not simply manifested with the most readably accessible local material and form of construction. While these conditions may appear as part of the stated goal, the real power is the liberating principles which respond to cultural, natural, and contex-
Theory | Overview
tries to create an evolutionary process through
global modernization which undermines, with ever increasing force, all forms of traditional culture (Frampton 314). Unlike the modernist movement, seeking to create universal spaces, Industrial architecture seeks a specific response to a process, rooted in time and place.
tual particulars of the region (Lefaivre 12). The
The power of vernacular architecture lies
application is meant as a universal set of rules
with its ability to understand technology, cli-
which can be applied to create regional architec-
mate, and site which defines the character and
ture rooted in a sense of place (12). Much like
sense of place of a region. There exists within
the industrial rules of economics create utilitar-
this vernacular architecture a strong sense of
ian spaces, critical regionalism is a set of rule to
rationalism.
evaluate them.
criteria on which modern building methods are
This rationalism is the functional
essentially based (Frampton 322). P10
individualist forms of expression which express
in confrontation with not only the world but it-
self indulgence rather than a critical measure of
self as well. The response to mainstream archi-
architecture” (Frampton 320).
tecture sought by critical regionalism is not only addressing responsibility for introducing a contrasting image that reflects a critical regionalism to which it belongs, but makes regionalist architecture answer to the region. Therefore, critical regionalism evaluates the actual works in a confrontational sense, as well as the very legitimacy of the possible world views which interpret it in the mind (Nesbitt 488).
Theory | Overview
Critical regionalism is self examining and
Kenneth Frampton has laid out seven aspects of critical regionalism as reflective upon his views of consumer culture as well as universal civilization. His intent is not to create a style but rather a system and method of creating a common goal of a sense of place. (1) Critical regionalism does not aspire to the Modern movement but favors the small rather than the large. (2) The idea of consciously bounded ar-
Kenneth Frampton’s describes a bound-
chitecture which provides limit to intervention.
ary where “a critical impulse degenerates into
(3) Architecture is seen as tectonic fact rather
highly photogenic scenography.” He continues,
than scenographic episode, with value deter-
“it is an architecture of narcissism par excel-
mined by what an object is rather than what it
lence, for the formal rhetoric addresses itself to
looks like. (4) A project is understood as site
high fashion and to the mystique of Bofill’s flam-
specific and realized through topography, local
boyant personality.” A understanding of “highly
light as it reveals the tectonics and response to P11
cal to global instead of global to local design. It
experience
through
focuses on the tactical and tectonic rather than
sight. It is directed towards developing an ex-
the visual and graphic through a manifestation
perience rather than simply interpreting infor-
of topography and local fabric, material, craft
mation. (6) The occasional inclusion of reinter-
and local climate (Frampton 314).
architecture
other
than
preted vernacular elements can develop recognition of place without being to familiarizing. (7) Critical regionalism is most applicable within cultural interstices which one way or another are able to escape the optimizing thrust of universal civilization (Frampton 327).
Critical Regionalism requires that architecture transform from a builder to an observer and interpreter of place.
Much like the indus-
trial rules of economics create utilitarian spaces, critical regionalism offers a set of rule to evaluate them. Industrial architect seeks to stream-
Critical regionalism allows for design un-
line and heighten these response to the very
der theoretical understanding which can respond
minimum forms and spaces. Industrial architec-
to theoretical positions through a mindset and
ture fused with an understanding of critical re-
method.
gionalism allows for creation of architecture
The discipline requires a critical
evaluation of place for form with a lack of design
Theory | Overview
climate. (5) Emphasis of the tactile as a way to
rooted in a sense of place.
rules, proportions and dimensions as classicism or other perspective architectural styles (Nesbitt 490). Critical regionalism gives power from loP12
Reinterpretation
The articulate the built for of the past with contemporary culture and society.
Integration
Create critically sensitive addition to current system.
Self Sufficiency
Utilize self sustaining building practices and demonstrate responsibility to site.
Theory | Issues
Design Issues
P13
Theory | Issues
Reinterpretation
To articulate the built form of the past with contemporary culture and society. Performance Requirements Reuse of abstracted regional and vernacular elements into a contemporary form. Potential Design Response Respect Built Mass Form Scale Potential Design Response Exaggerate, Attenuate, Distills, Idealize, Erode Elemental Factors of Vernacular Forms (Quantrill 64) Performance Requirements Express the local building technology and celebrate craft. Potential Design Response Utilize Steel Frame with Brick Infill Potential Design Response Utilize Concrete Construction Flexibility with Vernacular Forms
P14
Theory | Issues
Integration
Create critically sensitive additions to the current system. Performance Requirements Respect through building systems and construction. Potential Design Response Design Based on Industrial Bay System Potential Design Response Use Vernacular Building Material in Contemporary Construction Performance Requirements Create dialogue through historical analysis. Potential Design Response Reference Past Built Forms Potential Design Response Respect Historic Sites
P15
Theory | Issues
Self Sufficiency
Utilize self sustaining building practices and demonstrate environmental responsibility to site. Performance Requirements Understand the life cycle of energy and create responsible energy flows. Potential Design Response Water Reclamation System Potential Design Response Passive Cooling and Heating Strategies Potential Design Response Energy Harvesting and Storage
P16
is southeast England is sacred ground in the
River & Rowing Museum
world of rowing. Since it was founded in 1839,
David Chipperfield Architects
hundreds of crews from around the world have
Henley on Thames, UK
Theory | Case Studies
CASE
The riverfront town of Henley on Thames
come to the small Oxfordshire town to compete in the races for the Henley Royal Regatta held each June.
The British minimalist David Chip-
perfield’s design is a subtle interpretation of wooden sheds along the Thames riverbanks. The projects houses three permanent galleries
“Structures have the look of streamlined Oxfordshire barns and river sheds”
devoted to exhibitions about the sport of rowing, the Thames River, and the town of Henley. The complex also contains special exhibition space, a café, a gift shop, an educational center, a
Figure 1.1 River & Rowing Museum
library,
and
various
functioning
rooms.
The structures have the look of streamlined modern versions of rustic Oxfordshire barns and river sheds. However, there is a cerP17
Theory | Case Studies
studies in Japan. The Chipperfield addition is a calming appropriate addition to the Henley riverfront as both an interpretation of the regions architecture as well as functioning museum for
Figure 1.2 River & Rowing Museum
tain interjected energy added by the modern interpretation, the upper levels are cladded in solid timber, so they appear to float above the floor to ceiling glass expanses along the first floor. There are also Japanese inspired qualities in the structure influenced by Chipperfields early Figure 1.3 Plan, Figure 1.4 River & Rowing Museum P18
Worth, Burlington Northern Santa Fe’s campus
BNSF Corporate Campus
reflects the tradition of railroad architecture,
Lake | Flato Architects
combining the simplicity of Fort Worth’s brick
Fort Worth, TX
warehouses and the prairie’s immense concrete
“grand round arches enhance the building, precedent to the large scale brick structures of utilitarian architecture”
silos with the contemporary requirements of a high tech operation center.
The use of grand,
round arches enhance the building, precedent to the large scale brick structures of utilitarian architectural structures. Defining the sides of an automobile forecourt and using reclaimed railcars to frame the site.
There use of a seven-
teen foot overhanging metal roof, supported by two pairs of two story struts, shade the three story glass window walls of the brick clad office wings. Figure 1.5 BNSF Corporate Campus
The long east/west office wings create
green courts which protect from the prairie sun and wind.
P19
Theory | Case Studies
CASE
On 180 acres at the far edge of Fort
However,
many
environmentally
Theory | Case Studies
which reference a vernacular construction type. responsible
construction techniques are employed.
To-
gether with vernacular references and contemporary solutions the Burlington North Santa Fe Fort Worth Campus contributes to both a sense of place as well as a contemporary connection to site and environment.
Figure 1.7 Office Building
The case study offers a study in how architecture can be rooted in a vernacular style and still respond to contemporary problems and solutions.
The complex contains many prece-
dents of railroad architecture and construction. There is repeated scale and material responses Figure 1.8 Historic Photograph P20
the region and vernacular architecture of the
Barn House
area.
Brian Mackey-Lyons
building forms of the regions and reinterprets
Halifax, Nova Scotia
Theory | Case Studies
CASE
The Barn house develops a connection to The design draws upon the vernacular
the local architecture outside of a regional form. The project is organized as a traditional gable roof form that articulates the domestic tradition
Figure 1.10 Section
as well as a reference to English barn construction found in the area. The design implements the exaggerate, attenuate, distills, idealize, and elementalize regional precedents (Quantrill 64). Eight flanking pedestal elements line the public spaces of the home which are juxtaposed against transparent of southern sun and northern ocean views. MacKay-Lyons implements the vernacular boat with an overturned hull upon chalks as the overall idea for the home which Figure 1.9 Barn House
references heavily the historical ship building tradition of the local economy.
The private P21
Theory | Case Studies
draw upon everyday things to understand the relationship between architecture and its response to culture. This is evident in the derived form from a vernacular barn into a contemporary residence that draws relationships to the local economy, means of construction techniques and history as well as a response to the regional climate (Baniassad 15).
This projects
draws upon the design as a focus of pragmatics of program and construction as a manifestation of local culture. The result is nothing more than
Figure 1.12 Plan
a response to the need for shelter as a necessity and a connection to the landscape (Baniassad Figure 1.11 Barn House Interior
5).
spaces occur in shed like additions along the east and west which are related to expansive local practice of additive forms. The belief that culture derives from the everyday rather than the unique. Design should P22
Frampton, Kenneth. “Critical Regionalism: Modern Architecture and Cultural Identity,” Modern Architecture: A Critical History, New York: Thames Hudson, 1985. Lefaivre Liane and Alexander Tzonis. Critical Regionalism: Architecture and Identity in a Globalized World. New York: Prestel,2003. Nesbit, Kate. “Critical Regionalism” Theorizing: A New Agenda for Architecture, New York: Princeton Architectural Press, 1996. Quantrill, Malcolm. Plain Modern: The Architecture of Brian MacKay-Lyons. New York: Princeton Architectural Press, 2005.
P23
Theory | Works Cited
Works Cited
Facility
Facility | P24
The facility type will be a museum for the Imperial Sugar Factory located in Sugar Land Texas. The Imperial Sugar Factory was one of the first settlements in the area and predates the city of Sugar Land. The facility will need to be multifunctional and incorporate other uses in order to be viable. The facility will be one of the first developments in the old factory grounds and will serve as a catalyst for the area. It will incorporate a balance of public and private functions. The facility, overall, will be devoted to preserving and advancing the history of Sugar Land through the use of public interaction. The Imperial Sugar factory was the main source of income for the area of Sugar Land. It is one common, but little understood, binding
aspect of the community.
The museum will
Facility | Overview
Facility
have substantial value within the grown urban context and become a catalyst for the arts and history of Sugar Land. The facility will serve as an educational tool, as well as a backdrop of creative cultural aspects of Sugar Land.
The
facility should be more than just a museum and aspire to become a source of pride of the residences as well as a location which arts and culture can be exchanged.
The facility is envi-
sioned to become a regional source of pride as well as show a dedication to preserving the past of historic Sugar Land Texas. The facility should facilitate a collaboration of both the history as well as the culture of Sugar Land Texas.
The facility will fuse both
technology and past machinery to create an sense of place of experience.
Sugar Land is
lacking a proper art and cultural gallery space P25
creating a community environment of civic pride
area for multiple arts to be performed as well as
and celebration.
Facility | Overview
within the city. The facility should provide an provide a backdrop for community events. The facility must be able to adapt and vary its ability to interact with the community through the design and interaction between public and private spaces. The facilities primary function should be to preserve the history of the Imperial Sugar Factory as well as its impact upon the surrounding areas. However, with the ever evolving urban fabric, it must also function as an area of exhibition, able to bring in outside exhibits as well as serve as a backdrop for community events.
It must be a location in which a cele-
bration can happen.
Overall, the facility must
not simply house tools and plaques, but become a catalyst which synthesis the past and present
P26
Facility | Building Type
the Schatzkammer (Newhouse 15).
Type
One of the first recorded museums was The primary function of this facility will be a
commissioned by Pope Julius II to Donato Bra-
museum
mante to display the antiques amassed by the Vatican.
The responsive form was the hall or
Museum building facility originated as a
gallery which created a linear space as well as
response to the need of exhibiting collections of
centralized rooms. These forms would become
objects. While the grouping of precious objects
the precedent by which museum design would
has been performed since antiquity, the result-
evolve (Pevsner 111). The evolution continued,
ing Schatzkammer
was contained by Egyptian
mainly responding to the need of displaying
tombs, ancient temples, and medieval churches
sculptures and pictures. It is important to note
all sheltered such collections (Newhouse 14).
that during the later sixteenth century several
While the massing together of these pieces
changes take place in museum design.
forms the beginning of the modern museum,
word museum starts to be used and in 1539 is
th
The
century these were nothing more
recorded by Paolo Giovio to describe his collec-
than linear spaces in which people exercised and
tion at his ‘musaeum’ (Pevsner 111). By 1565
the collection was meant to distract.
Not until
the term museum is understood as a collection
century did the Italian studi-
and the building type become collections of
olo provide an accessible art oriented version of
statuary with either centrally planned rooms or
during the 16
th
the later in the 16
P27
zation and veneration as well as volumetric
language until 1683, in reference to Ashmolean
qualities of spatial forms.
in Oxford (Newhouse 48).
This construction
form also allowed for providing natural light in the space. While the early 16th century Italian studiolo galleries arose in popularity for the upper class during the Renaissance. They mostly house the royalty and the wealthiest private art collections. The resulting space can be experienced as both a path between to places as well as a destination in itself reinforced with centralized spaces and linear galleries.
the
Renaissance
created
organization
and
program.
The
Kunstkammer or cabinet of curiosities brought together sculpture and painting but also introduced objects of natural science (Pevsner 114). This is evident in Leonhard Christoph Sturm’s plan for the ideal museum published in 1704 which included spaces for paintings, sculptures
forms
portant
characteristics
of
museums
which
which
emerged during the Enlightenment was the in-
merge the linear gallery space and centralized
tentional publication of private works and collec-
rooms into complex buildings as response to
tions.
growing private wealth.
into
spatial forms of museums, the Enlightenment
as well as natural science. One of the most im-
The museum facility continued to evolve through
While the Renaissance contributed to the
Museums are essentially compromises… their weakness is that they are necessarily homogenizedemptied of all connotations other than art. And that is, finally, an artificial solution (Newhouse 16)
It was not until the
eighteenth century that museum building type started to combine elements of Roman organi-
Around the latter part of the eighteenth century museums took on the charge that works P28
Facility | Building Type
long galleries. The word didn’t enter the English
During the late eighteenth century an-
museums (Pevsner 126). Only by making them
other aspect of museum design starts to evolve,
public and united them in display can they be-
the hours of operations.
come the object of true study, and every result
these spaces and arrangement of the pieces are
obtained from this is a new gain for the common
contently debated, a sense of programming by
god of mankind (Pevsner 126). The belief that
use is also being inserted.
art is now a cultural creation which manifest
between artist and patrons use and museums
certain times as well as creates for the future,
start to develop programmatic responses to
must be charged to the public, otherwise they
this.
will not be a part of the societal evolution.
which affect programming and security.
The museum type evolution is based
While the function of
There are conflicts
The museums start to establish times
The
next
stage
of
evolution
occurs
upon the assimilation of historic precedents into
through precedent design.
new form. The example of the Villa Albani is no
within architecture start to influence museum
longer arranged around the Baroque style of
design, such as the Academie d’Architecture
simply being attractive decoration, instead ico-
which set the theme of museums several times
nography dictates the order.
for the Prix de Rome between the late seven-
The hierarchy of
“painting and sculpture… are orphans. Their mother, architecture. As long as she was alive, she gave them their place, their function, their constraints” Paul Velry The Problem of Museums 1925
Important entities
arrangements becomes evident in the location
teen hundreds and nineteenth century.
within the building.
awards for the entries to the 1178-79 design for
The
a museum of art and natural history plus a print P29
Facility | Building Type
of art should not be kept in palaces but in public
taken by rooms of academia as well as gallery
study for scholars.
The designs highlight two
spaces. Other than these primary functions of
responses to a growing issue within museum
gallery space, other programs are now consid-
design, the introduction of program other than
ered. Johan Marin Wagner’s response to of mu-
gallery space.
seums when asked by Lugwig,
Another design to note is E. L.
“If you visit a
Boullee’s 1783 design of a museum. The design
collection of ancient sculpture you go because of
is centralized on grandness achieved while the
the ancient sculpture. One recognizes the merit
arrangement is left unaddressed by Boullee.
and talent of an architect by the strict coinci-
This highlights the museums becoming monu-
dence of a building and its function.
ments in their own right (Pevsner 121).
principle to prefer utility to beauty unless the
This
design of museums as sacred spaces would continue until the rejection by contemporary and modern art (Newhouse 50).
It is my
“high walls, few doors, no side windows, light from above, no partitions, no baseboards, no base modeling, no paneling, no shiny floors and finally, no colors either.” Georg Baselitz
two cannot be united (Newhouse 97).” Not until Karl Friedrich Schinkel’s Altes Museum in Berlin does the museum form ma-
Program is once again discussed in the
ture into the grandness of public form as well as
late eighteenth century in Durand’s 1778 mu-
undertake a resolution between program and
seum design in which museums become public
function.
treasure houses. However, they separate them-
aspects which evolved the public to experience
selves from libraries by their displaying works of
art and culture.
different kinds. It is noted that much space is
type in the later parts of the eighteenth century
The design responded to the social This maturing of the building
P30
Facility | Building Type
-room, a cabinet of medals and a library of
with spaces which the building provides. How-
occurred through the assimilation of ancient
ever, it is still precedent that on the scale of a
building types, giving the museum a formality
room within the building, historical arrangement
and
prece-
rules throughout. The argument of whether art
dence, which sought to create a sense of purity
should be shown together and whether the con-
and veneration of culture. The Altes Museum is
text should be within the character of the period
also created with the first central rotunda de-
becomes resolved with the natural display. The
sign, a precedence which would be followed as
hierarchy of this system will be the next step of
the central space of museums (Pevsner 127).
the museum design in the twentieth century.
grandness
through
architectural
The Altes Museum marries architectural precedence with form and program to create one of the first great public museum entities. The Altes strong linier façade points to
Facility | Building Type
gave art the ability to educate the public. This
It is not until post world war II in which the museum makes another evolution from a monument in it own right to a perfect place to show, enjoy, and study works of art (Pevsner
historic precedence, however, the internal pro-
134).
gram of smaller rooms branching from a central
devoted to the exhibition of objects and starts
rotunda space resolves program.
The experi-
to provide architectural solutions to the prob-
ence of the museum is also debated. The avo-
lems associated with displaying them. The mu-
cation of an iconography convention of arrange-
seum starts to become about controlling forces,
ment over an historical experience is concerned
public and environmental, as a response to dis-
The architectural form starts to become
P31
Facility | Building Type
playing objects. The wide range of scale, style and content in many contemporary museums is a truer measure of their vitality as cultural institutions than attendance figures that obscure the failure of many museum-goers, to actually visit the art. In the same way that history is no longer represented as a single path through major movements- the linear or “conveyor belt” approachmuseum architecture can conform to no rules. When properly designed, new museums should be as varied as the virtual reality that compliments them, as varied as the art they contain (Newhouse 270).
P32
The intent of the facility is to celebrate the historical heritage of Sugar Land Texas as well as offer a venue for the civic, area, and regional arts.
Design Issues Flexibility
Allow for the proper balance between spaces for a maximum experience of the facility.
Security
Allow for security of both exhibits as well as people.
Energy Efficiency
Create energy efficient design.
Preservation
Respect previously built forms as well as integrate new constructions.
P33
Facility | Mission Statement
Mission Statement
Facility | Issues
Flexibility
Spaces should be able to accommodate a multitude of private and public events. Performance Requirement Allow for various potential uses through providing various scales of space. Potential Design Response Create Space Which Can Be Subdivided Potential Design Response Use Movable Partitions Performance Requirement Create Desire for Repeat Visitation Through Dynamic Exhibit Installations Potential Design Response Provide Different Spaces for Various Sized Exhibits Performance Requirement Provide areas which can accommodate for city events. Potential Design Response Locate Large Public Spaces on Visible Locations Within the Site Potential Design Response Allow for Private Spaces to View Public Events
P34
Facility | Issues
Security
Facilitate a safe environment for exhibitions, patrons, and employees without invading a public sense of privacy and building intimacy. Performance Requirement Surveillance of gallery and grounds. Potential Design Response Locate Private Areas Along Public Routes for Sense of Presence Potential Design Response Provide Personal Surveillance within Public Areas Performance Requirement Division of public and private securities. Potential Design Response Allow for Distinct Separations between Offices and Public Visitation Spaces Potential Design Response Allow for Various Levels of Security for Various Events
P35
Facility | Issues
Energy Efficiency
Use energy efficient design to help lower operation cost as well as serve as a means of experience. Performance Requirement Use local building materials. Potential Design Response Use materials which will hold up to the southern Texas climate. Potential Design Response Integrate local building materials into new energy systems. Performance Requirement Create an understanding of climatic energy flows. Potential Design Response Use Geothermal heating and cooling. Potential Design Response Implement a visible water reclamation system.
P36
Facility | Issues
Preservation
Use integration of existing site to improve visitor experience as well as facility management. Performance Requirement Use existing building material located on factory grounds. Potential Design Response Recycle existing structural systems. Potential Design Response Respect current site conditions. Performance Requirement Maintain historic sense of place of factory grounds. Potential Design Response Respect current design by referencing existing forms. Potential Design Response Historic bases for addition.
P37
The primary entry point for the facility. The first contact and organization for experiencing the facility as well as providing informational services and a securities. Activities Entry and Egress Performance Requirements Allow for perceived security of public spaces
Theater
Rest Room
Auditorium
Lobby
1. Function as central gathering space 2. Provide Information Services to patrons and museum Staff
Gallery
Cafe
3. Location of restroom facilities 4. Respond to both pedestrian and vehicular traffic Users Patrons and Museum Staff Equipment Information Kiosk, Central Desk Spatial Requirements 1,000 sq feet
P38
Facility | Spatial Analysis
Lobby
This space will house both house exhibits as well as traveling exhibits and local artisans work.
Facility | Spatial Analysis
Exhibition Space [3d]
Auditorium
Activities Viewing
Gallery
Performance Requirements Multiple means of circulation and entries/exits (two exits required by code)
Theater
Gallery
1. Large volume spaces (20’ minimum ceiling heights) Ideal configuration of 12’ of viewing between installation pieces 2. Openings for circulation of large exhibits (10’-12’) 3. Controlled and Uncontrolled natural light (25-50 fc) Users Patrons Museum Staff
Rest Room
Gallery
Lobby
Equipment Large Installations Space Requirements 8,000 square feet
P39
Contain smaller spaces of exhibits as well as hosting traveling spectacles. Primarily concerned with two dimensional objects which need to be exhibited in controlled environments. Activity Viewing
Auditorium
Gallery
Performance Requirements 1. Multiple Circulations on fixed paths
Rest Room
Gallery
2. At least 10’ ceilings (heights appropriate to width)
Gallery
3. proper viewing distances (4’ with 40° field of view) 4. Controlled light (15-30 fc, Optimum from above)
Gallery
Lobby
5. Large openings for installing installations (8’ minimum) 6. climate control (70° with 50% humidity) Users Patrons and Museum Staff Equipment Movable partitions Space Requirements 4,000 sq ft
P40
Facility | Spatial Analysis
Exhibition Space [2d]
The space will be needed to serve the local exhibits as well as serve a secure deposit of traveling collections. The space will provide for museum installation construction as well as offer a storage and service of the exhibits while at the museum.
Gallery
Activity Storage and Construction of Installations Archive
Performance Requirements 1. No natural lighting requirements (Accommodate for no natural light required by some exhibits)
Loading Dock
2. Climate Control (60° with 50% humidity) 3. Service opening adjacent to exhibits loading entries and service drop off 4. Security of private space Users Museum Staff Equipment Construction Equipment, Secure Storage Space Requirement 1000 sq ft
P41
Facility | Spatial Analysis
Exhibition Storage
Gathers for numerous functions, primarily audio and presentation functions. Activities Meetings, Lectures, Presentation Performance Requirements
Storage
Auditorium Rest Room
1. Audio and Visual Capabilities 2. Bled natural lighting with controlled lighting (Direct verse Ambient)
Lobby
Cafe
3. Service openings (8’) 4. Acoustical / Visual construction techniques 5. Power requirements (Use verse Idle) 6. Location adjacent to lobby (ease of circulation) Users Patrons and Staff Equipment Projector Equipment, Audio Equipment, Fixed Seating Space Requirements 1,000 sq feet
P42
Facility | Spatial Analysis
Auditorium
Facility | Spatial Analysis
Museum Administration Offices
Housing the staff and service portions of the museum. Activities Office Use
Rest Room
Admin Office
Performance Requirements 1. Open workspaces with enclosed offices
Meeting Room
Archive Lobby
2. Natural Lighting and Artificial lightening balance 3. Connection to public spaces and installations
Gallery
Equipment Security Observation Desk Workstations Space Requirement 500 sq ft
P43
The café should serve as a primary social gathering place. Activities Food service and bar Performance Requirements
Kitchen
1. Provide indoor and outdoor dinning areas (emphasis on indoor due to climate)
Rest Room
Cafe
2. Restrict direct light and provide multiple lighting scenarios to create ambiance 3. Allow for after hours use (security and entrance)
Outdoor Lobby
4. Bar area with big screen television (24 hours) Equipment Movable furniture Cashier Audio and visual entertainment systems Space Requirements 1,300 Sq Ft
P44
Facility | Spatial Analysis
Café
The café is intended to be strong social experience of the facility and must be able to provide the services to assist catered events as well as prepare meals. Activity Food Preparation Spatial Requirements
Loading
Cafe
1. Café service functions (record keeping, accounting)
Kitchen
2. Storage space (food) Users Cooks, Wait Staff
Storage
Auditorium
Equipment Refrigerator and Freezer Unites Cooking Equipment Space Requirements 1,000 sq ft
P45
Facility | Spatial Analysis
Café [kitchen]
Intended to both provide the facility with ecological responsibility as well as a connection between the outside and inside. Activities Exhibit Space, Community Space Spatial Requirements
Cafe
1. Understanding of local plant and wildlife
Rest Room
Roof Garden
2. Function for building heating and cooling Users Patrons, Museum Staff
Gallery
Space Requirements 800 sq ft
P46
Facility | Spatial Analysis
Roof Garden
Create a space for theatrical performances as well as facility in which public performances can be performed. Activities Theatrical Shows, Public Presentations
Gallery Storage
Spatial Requirements Theater
1. Acoustical Construction 2. Clear Stage Area
Rest Room
Lobby
3. Audio and Visual support booth 4. Flexible seating and spatial set up 5. Multiple Viewing arrangements Users Museum Patrons, Community Equipment Audio and Visual Equipment Movable partitions Spatial Requirements 1,500 sq ft
P47
Facility | Spatial Analysis
Black Box Theater
Public Space
Service
Lobby
1,000
Office
500
Auditorium
1,000
Restroom (male)
360
Restroom (female)
450
Audio/Visual
150
Café
1,300
Janitorial
200
Kitchen
1,000
Water Collection
500
Black Box Theater
1,500
Fire Protection
75
Roof Garden
1,500
Rooftop Space
800
Restrooms
800
Exhibition
Total Net Square Feet
23235
Large (Sculpture)
8,000
Net-Gross (1.25)
29044
Small
4,000
Parking
150 spaces
Storage
Facility | Spatial Summery
Spatial Summery
(Controlled)
1,000
P48
the “Flour Milling Capital of the World.” With its
Barn House
location along side the Mississippi with the Anot-
Brian Mackey-Lyons
hony Falls providing power for the massive mill-
Halifax, Nova Scotia
Facility | Case Study
CASE
In the 1880’s, Minneapolis was know as
ing complexes. The industry attracted so many workers that the cities population grew 350 percent in only ten years.
At its zenith, 20 mills
Figure 2.2 Fire in 1992
lined the river canal, inclueding the Washburn A Mill. Designed by Austrian engineer William de la Barre and built in 1878 as the site of a former mill destroyed by an explosion, the A Mill was the largest, most technologically advanced facility of its time.
At peak production, it ground
enough flour for 12 million loaves of bread per day. In 1928, the A Mill was rebuilt after anFigure 2.1 Mill City Museum
other explosion.
Following the decline in the
milling industry after World War I, the A Mill closed in 1965.
In 1971, the building was P49
Facility | Case Study
The old walls of the mill were fortified and contemporary office complex built inside the old shell of the factory. were also preserved.
The grain elevators
The exhibition space is
has been adapted from the original 13 foot bay system to 16 columns on a 26 foot bay system. Figure 2.3 Section
added to the National Register of Historic Places,
The buildings southern face is the most striking in which the contemporary glass infill is juxtaposed against the old mill walls.
and 12 years later it was designated an National Historic Landmark. The mill was destroyed by fire in 1991 but put under the stewardship of the Minnesota Historial Society. In September 2003 the A Mill was reopened and featured an 80,000 sq ft Mill City Museum on the lower three levels and in the north ruin courtyard. The multipurpose building also houses 62,000 sq ft of office space. Figure 2.4 Courtyard facing South P50
for
ten
years,
a
nineteenth-
century industrial complex in northwestern Mas-
Mass Moca
sachusetts ahs been give a new life as an art
Bruner / Cott
museum/vacation center. The focal point of the
North Adams, Massachusetts
Facility | Case Study
CASE
Vacant
13 acre site is the Mass MoCa. Originally built for Arnold Printworks, a cotton fabric company, the complex was used form 1940 to 1985 by the Sprague Electric Company.
As it was the pri-
mary source of employment in North Adams. The complex is located close to Williams College and Tanglewood and it became the focus of a contemporary
art
museum.
The
160,000
square foot museum opened in 1999, however, 40,000 of that is office space for project viability. As visitors enter the courtyard they encounter building 3, which was cut down to its foundation walls to become an outdoor gallery. This is also Figure 2.5 Mass Moca
the cemetery of the abby serving as a grass reP51
Facility | Case Study
tional, state of the art, black box theater, which can be organized as a 650-seat conventional stage or for performance in the round, or for video cinema screening.
Figure 2.6 Mass Moca Plan
flecting pool for the clock tower, a centerpiece of the complex. The lobby occupies the entire first floor in building 10. The performing arts theater building, building 11, is a multifunc-
Figure 2.6 Mass Moca Interior P52
Facility | Works Cited
Works Cited Arbonies, Glenn. Time Saver Standards For Building Types. (p. 677-692) Pevsner, Nikolaus. A History Of Building Types. Princeton: Princeton University Press, 1976. Stern, William F., “Mill City Museum.” Architectural Record. 204 (1999): 67-71. Trulove, James. Designing the New Museum. Gloucester: Rockport Publishing, 2000. Von Naredi-Rainer, Paul. Museum Buildings: A Design Manual. Boston: Birkhauser, 2004.
P53
Context
Context | P54
n
t
r
o
d
u
c
t
i
o
n
The project is located in the old Imperial Sugar Factory in Sugar Land Texas.
The region has
historically been a producing area of sugar as far back as the late seventeen hundreds.
Fort
Bend County is located on the north west side of Harris County and Sugar Land is about twenty miles southwest from downtown Houston Texas.
Sugar Land Texas Is located in Fort Bend County. The county borders Harris (Houston) on the Southwest Edge.
Sugar land has a population of around 200,000. The town has seen an explosive population growth within the last fifteen years and has seen several large scale urban development projects.
The Imperial Sugar Factory grounds,
located in the north west quadrant of the city, Figure 3.1 Sugar Factory Grounds (Char House)
are now a focus of a redevelopment plan. Know as Tract 3, the site consist of 721.4 acres with 36.7 acres occupied by the factory and being redeveloped as the Imperial Sugar Redevelopment Area. The factory was in operations until P55
Context | Introduction
I
The long running operation as well
as strong tie to the community of Sugar Land lay the perfect foundation for an historic adaptation of the area.
site are the sugar elevators and the Char House.
Context | Introduction
late 2003.
The site is bordered by Oyster creek on the east side. The north border is State Highway six and the south is Alternate 90. The railroad runs along the southern border as well. These factors of the site allow for easy access from anywhere in Sugar Land as well as offering access to the nearby towns of Richmond and Houston.
Figure 3.2 Factory Grounds From Downtown
The Imperial Sugar Factory is located along oyster creek in northwest Sugar Land. The factory ceases operations in 2003.
The
721.4 acres site is also the location of the corporate headquarters of the Imperial Holly Sugar Company.
The factory production and history
predate the city of Sugar Land. There are several structures located in a linear patter from east to west forming two main axis which cross the site.
The most prominent buildings on the P56
Context | Site
Figure 3.3 Aerial Of Factory Grounds
P57
Context | Site
Figure 3.4 Redevelopment Plan P58
Context | Planned Development
Figure 3.5 Charrette Development Plan Charrette The town of Sugar Land held a charrette September 17th through the 21st. The previously approved master plan for the site was divided into two separate accounts. The factory lands, the redevelopment of the 700 acres, and the factory grounds themselves, the 40 acres pictured above. The above illustration is a proposed plan for the redevelopment of the factory ground in which the Chare House is located. The Char House was designated as one of the structures which will be preserved on the grounds site. The Char House is highlighted. P59
Context | Historic
Figure 3.6 1936 Sanborn Map
P60
P61
Context | Historic
Figure 3.7 Historical Photographs: Top Left Original Mill 1906 Top Right Aerial Photo 1988 Bottom Mill in 1960
Figure 3.8 Factory Grounds facing North P62
Context | Context
Looking from South into Factory Propery
Figure 3.9 Factory Grounds P63
Context | Context
Looking South into Factory Propery
Figure 3.10 Climate Data
P64
Context | Climate
Climate Information
Figure 3.11 Census Data Figure 3.12 Census Data 2006
P65
Context | Demographics
The Demographics of Sugar Land Texas indicate that there is a high population of married households and a large population between 24 and 64. It is also indicated that there were many structures built in the 80’s and 90’s but since then there has been a decline in construction. This is related to Sugar Land growth reaching the city limits. New construction in Sugar Land is now an infill process which must be accounted for in new construction.
Top Left: Looking South Top Right: Looking East Bottom Right: Looking into site from Downtown Sugar Land
P66
Context | Context
Figure 3.13 Photographs
Patter
The articulate the built for of the past with contemporary culture and society.
Climate
Create critically sensitive addition to current system.
Theory | Issues
Design Issues
P67
Facility | Issues
Pattern
Use integration of existing site structures to create uniform development which functions as a cohesive complex. Performance Requirement Repair/Create voids in within factory grounds. Potential Design Response Create main axis to North of Char House. Potential Design Response Create service road on South Side connecting to Alternate 90. Performance Requirement Remove or repair structures within the site to create commonality. Potential Design Response Establish street façade along Alternate 90.
P68
Facility | Issues
Climate
To respond to the climactic conditions through integration of technology and structure. Performance Requirement Express environmentally responsive systems in façade or massing. Potential Design Response Utilize shading device on south side of Char House. Potential Design Response Understand climate conditions and create systems which respond to high humidity and heat. Performance Requirement Use breeze to provide air to outdoor space. Potential Design Response Locate museum café along north east corner of Char House. Potential Design Response Harvest rainwater from site to service non-domestic functions.
P69
good example of a building that responds to the
Texas Travel Information Center
context and culture of west Texas. Perhaps most
Richter Architects
striking about the building is its seven different
Amarillo, Texas
Facility | Case Study
CASE
The Texas Travel Information Center is a
colors of brickwork. The architect chose to use different colors of bricks in a horizontal stripped fashion to simulate the layers of different color rock that exist in the near by Palo Duro Canyon. The building contains a main lobby filled with pamphlets and other printed material about Texas and an area to watch video presentations. Right before reaching the entrance to the building, the terrain is pulled back, creating the idea of a dry creek bed, once again relating back to the culture of the region and the dry environment. Metal cows are placed outside the build-
Figure 3.14 Texas Travel Information Center
ing. Though seemingly irrelevant, they too relate to the culture of the region, demonstrating that west Texas is a ranching and agricultural P70
Facility | Case
tures that exist in this area. The varying heights and shapes of different masses of the building also seem representative of near by Palo Duro Canyon. Figure 3.16 Interior
Study
Figure 3.15 Texas Travel Information Center Entrance
area.
Besides creating a building that fits into the context of West Texas, the architect was also successful because the building creates a warm and
Figure 3.16 Plan
inviting atmosphere that people love. The building's orientation is also important. It faces away from the highway and creates a pedestrian friendly entrance that has views to the many pasP71
the Historical Society of Western Pennsulvania
Pittsburgh Regional History Center
transformed into a museum, library, archive,
Bohlin Cywinksi Jackson
and educational facility had an unlikely begin-
Pittsburgh, Pennsylvania
Facility | Case Study
CASE
The nineteenth century warehouse that
ning.
This plain building was use to store ice
harvested from Lake Chautauqua in western New York State. The first floor had been built high enough to accommodate for rail cars which would deliver the ice and the upper floors were reinforced to accept the weight loads of the ice. This translates into thick bearing walls with heavy wood and beam construction. The first floor ceiling was of long span construction with steel transfer girders and vaulted brick ceiling.
The
upper levels have relatively few and small windows. Which matches the current need for a black box setting for exhibitions and archival Figure 3.16 Historic Center
storage areas.
When renovated a seven P72
Facility | Case Study
Figure 3.17 Interior Views
story atrium was added, this provides central circulation, as well as 360 degree view of Pittsburgh on the upper three floors.
Some of the
timbers were removed and recycled as the face of the receptions desk and end grain floor in a portion of the lobby. The exterior was cleaned and the brick masonry repainted.
A new still
and glass canopy and colorful banners maker the entrance.
Figure 3.18 Plan
P73
Theory | Works Cited
Works Cited Armstrong, R M. Sugar Land Texas and the Imperial Sugar Company. Houston: D. Armstrong Co, 2000. Barreneche, Raul. New Museums. London: Phaidon, 2005. Frampton, Kenneth. “Critical Regionalism: Modern Architecture and Cultural Identity,” Modern Architecture: A Critical History, New York: Thames Hudson, 1985. Meade-Chen. Cane Sugar Handbook. New York: John Wile and Sons, 1977. Nesbit, Kate. “Critical Regionalism” Theorizing: A New Agenda for Architecture, New York: Princeton Architectural Press, 1996. Wallingford, Sharon. Fort Bend County Texas. Stafford: Fort Bend Publishing Group, Inch. 1996. White, Robert M. Weather Altas of the United States. Detroit: Gale Research Company. 1975.
P74
Facility
Title | Subtitle P75
Reinterpretation
The articulate the built for of the past with contemporary culture and society.
Integration
Create critically sensitive addition to current system
Self Sufficiency
Utilize self sustaining building practices and demonstrate responsibility to site.
Title | Subtitle
Design Issues
P76
Title | Subtitle
Title
To articulate the built form of the past with contemporary culture and society. Performance Requirements Response Potential Design Response Here Potential Design Response Here
P77
Title | Subtitle P78
