AN A M CIENTlEm WOR

ICMAEIOSON

T E X A S

BY

DANIEL C. TREBESCH

A THESIS

IN

ARCHITECTURE

Submitted to the Architecture Faculty of the CoUege of Architecture

of Texas Tech University in Partial Fulfillment for

the Degree of

ECTURE

ommittee

.Cl^_K^^â2

w Programming Instructor (ARCH 4395): Assist. Prof. Driskell Design Critic (ARCH 4631): Prof.

Acc

College of Architectíire Month, Year

-T'Tî,

WO, ! -J1

AN AMT CENTEE

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IBY ©ANIIEL Co TEEIBESCIHI PROGRAMMING FALL 1987

t rn ABLE OF CONTE niN

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TIHIIESIS PEWLOIPMENT 11 INTRODUCTION 12 THESIS STATEMENT 12 WHAT IS AN ART CENTER? 12 WHY AN ART CENTER? 13

GOALS ANB OIBJIIECTIIVES 14

IBACMIKOUNID) STHJW 16 ART CENTER - TEXAS 17 ART CENTER - RICHARDSON 18

MACIRO=ENVIIROMMIENT, §ITIE ANALYSHS 22 REGIONAL BACKGROUND 22

The Area 22 History of Texas and Dallas 22 General Characteristics - "The Suburbs"23

ENVIRONMENTAL ISSUES 24 Existing Land Use 24 Geography 24 Richardson Geographical and Regional 24

Set t ing Climate 26

General 26 Cloud Conditions 26 Winds 27 Soils 28 Vege ta t ion 28

Statistical Analysis 28 Mean & Extreme Temperature 28

Relative Humidity 30 Prec ip i t a t ion 30 Sun & Heating Degree Days 31

Wate r 33 Conclusion & Recommendations 33

DEMOGRAPHIC CHARACTERISTICS 36 Taxat ion 36 Related Industries 36 The City 36 Popula t ion 36 Age Distribution 37 Income 38 Race 39 Labor Force 39 Economic Character 39 Future Employment Conditions 40 Employmen t 40 Community Planning 41 Land Use City Wide 41

SYSTEMS ANALYSIS 43 Educat ion 43 Religion 44 Gove rnmen t 45 T r a n s p o r t a t i o n 45

au tomob i l e 45 mass transit 47 air 47 rai l 47 motor freight 47 bus lines 48

MAJOR CONCLUSIONS 48

MECEO^IENVEIRONMIENT SIITE ANALY§E§ 50 THE "ORIGINAL" MASTER PLAN 50 GENERAL SITE DESCRIPTION 50

WHAT BORDERS THE SITE? ON SITE SPECIFICS

Uti l i t ies Effccts of Building on the Site Landscape and Existing Trees Park ing Circulat ion Sound and Sound PoIIution Views to the Site Topography Zoning Relationship to Other Structures General Style Mate r i a l s Fountain Design - What is It?

BIBLIOGRAPHY ACKNOWLEDGEMENTS

A C T m T Y (& SIPACE ANALYSES INTRODUCTION ART AND EDUCATION GENERAL INTENTIONS ENJOYMENT AND APPRECIATION CREATION CONVERSATION AND CONGREGATION PUBLIC VS. PRIVATE PUBLIC SERVICES ENCLOSURE

CRITICAL MISSION OF FACILITY PRIORITY OF ACTIVITIES ARRIVAL

Park ing Entry & Lobby

USAGE Educat ion

55 55 55 55 59 60 60 61 61 61 61 62 62 62 65 65 75 77

78

79 79 80 80 80 81 81 81 81 82 82 82 82 82 83 83

Lec tu re Class Room Lab Studio

Sales Community Service A d m i n i s t r a t i o n Sculptiiral Garden Exhibi t ion

SUPPORT Secur i ty Storage & Receiving Users Users Day Time of Use Pe r sonne l

BIBLIOGRAPHY

SIPACE EIELATION§EIIIP§ General Space Relationship The Entry Area The Gallery Sector The Administration Sector The Education Sector The Support Sector

SOUARE FOOTAGE REOUIREMENTS

84 84 84 86 86 86 86 87 87 89 89 89

90 90 92 92 94

97 97 98 99 100 100 101 102

SIPACE SIPECIEECATIIONS 106

CO§T ANALY§I§ 143 INTRODUCTION 143 CONSTRUCTION COSTS 14^ TIME SCHEDULE 146 LIFE COST ANALYSIS 148 FINANCING 149 BIBLIOGRAPHY 150

IFTOPnNG ANALY§n§ 151 BACKGROUND 152 FUNDING STRATEGIES 152

U. S. Government 152 State of Texas 153 City of Richardson 153 Private Sources 154

CONCLUSION 154 BIBLIOGRAPHY 155

SYSTEM FEEIFOEMANCE IREQIUIIIREMEMTS 156 GENERAL INTRODUCTION 157 SYSTEMS & REQUIREMENTS 157

Structural System 157 Fire Alert System 158 Handicapped 158 Exterior Systems 159 Mechanical System 159 Electrical System 160 Security System 160 Acoustical Concerns 161 Building Code/Zoning Requirements 161 Overall Design Concepts 161

BIBLIOGRAPHY 163

CA§E STUPHES 164 GENERAL PURPOSE 165 ENVIRONMENTAL SYSTEMS 165 MATERIAL IMPORTANCE 166 THE SPACE - INHERENT FLEXIBILITY 167 AS TO SIZE-COST-FUNDING 168

Burmingham-Jefferson Civic Center 168 Von Braun Civic Center 168 Scottsdale Center for the Arts 169 Spokane Riverpark Center 169

Center for the Arts 170 GENERAL CASE STUDIES 171

Brighton Branch Library 171 Central Library, Negev University 172 Florida Museum ^^3 California Plaza at Bunker Hill 174

BIBLIOGRAPHY ^j^

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8

LI§T OF TAIBL EnGUJEES e^ í^ if^ í^ í ^ <=^ íR:::* í ^ *=:Í» Í ^ iR:^ if^ iR^ iR:^ í^ if^ e^ í^ iRif e^ f^ í^ e^ í^ i ^ l í ^

Uo Original Master Plan 2o Site Plan 3o Dallas & Suburbs <lo Map of Richardson & Surroundings 5o Dallas & Suburbs éo Sunshine Hours 7„ Wind Data So Temperature Minimum & Maximum 9o Tempera tu re Averages KDo Relative Humidity lllo Average Rainfall II2o Maximum Rainfall USo Heating & Cooling Degree Days ]I41o Sun Angles IBo Environmental Characterist ics léo Popu la t ion IL7o Age Distribution ISo Income Per Household l^o Unemployment Rates 2(IDo Existing Land Use 2IIo Land Use 1985 22o 1980 Educational Status 23o Regional Thoroughfare Grid

20 21 23 25 26 27 28 29

29 30 31 31 32

32 34 37 38 38

39 42 43 44 46

24„ Bus Route - Richardson 49 2So Original Master Plan 51 2(So Site Plan 52 21 o Existing Site 53 2S„ Aerial View 54 29o Site Surroundings 56 SdDo Site Adjacencies 57 S lo Water & Sewer Plan 58 32o Site View 59 33o Landscape Techniques for Parking 60 3<lo Res t r ic t ions 62 3So Site Topography 63 3{Êo Specific Topography 64 37 o Fountain Plan 73 3S„ Fountain Plan - Detail 74 39„ Viewer Circulation 88 4KD„ Gallery Section 88 41 lo Space Matrix 96 42o Generalistic Diagram 97 413 o Entry Diagram 98 <l<lo Exhibition Diagram 99 41So Administration Diagram 100 41 (S„ Education Diagram 100 417„ Support Diagram 101 4}S„ Brighton Branch Library Views 171 415) „ Central Library Views 172 S(ID„ Florida Museum 173 Blo California Plaza at Bunker HiII 175

10

m O T O IPLATES

II „ View of L i b r a r y 67 2o View of Complex 67 3o View of City Hall 67 4o Close-up View of City Hall 68 So Detail of Library 68 (So Parking Detail 68 7o View of Library Adjacency 69 So View of Circle (Fountain) 69 2)o C lose -up View of Ci ty Hal l 69 1(!D„ View of Si te 70 l l o View of Site, Looking North 70 lI2o View of Site, Looking East 70 IL3o View of Arapaho, Eastward 71 l'^o View of Arapaho, Westward 71 ISo View Looking North 71 léo View of East Side of Site 72 ]I7o View of South Side of Site 72 ISo View of North-east Corner 72

12

TMESnS PEVELOPMENT R ^ < ^ iR^ í=:if <R:í iRy í^ í^ í^ í^ Í ; ^ Í : ^ Í:;^, ^ Í:;^^ Í : ^ Í ^ Í::; ^ Í::^ fi^ Í:^ t^ í ^ , ? ^ ^ ; ^ Í;;^^

I N T R O D U C T Í O N - Throughout my educational experience, I have developed an intense attraction for two related areas of interest. Architecture and the Arts have long been the major areas of inspiration for me. I find both areas to be interrelated in many ways. Each derives strength and intensity from the other. The relationship is undeniable, they require an enhancement of skill and a shear desire for creation. My ambition is to draw both areas of motivation into one, within the form of a thesis project.

THESIS STATEMENT- I desire to create an architectural design, exploring the innovative use of building support systems, the incorpora t ion of expressive s t r u c t u r a l systems, and the use of inventive lighting, to provide a wide manipulation of space to satisfy the user. I wish to explore the complex interrelation of art and architecture by drawing together all the facets of artistic understanding through education. I propose an Art Center.

WHAT IS AN ART CENTER? - The concept of an Art Center provides an interesting avenue to pursue. As hospitals have done to the medical community and malls to retailing, the Art Center will do for artistic appreciation. The exploration of a center capable of supplying the user with the complete art experience, from beginning to end, has not fully been realized. The facility would combine all phases.

13

from typical gallery space, to studios, lecture halls, class rooms, sculptural gardens, shops, and sales outlets. This offers the user more than a final product experience and reveals the stages in creation of ar t . It unravels the question of how art becomes art; from the study of art to the way the artist actually creates.

WHY AN ART CENTER? - This type of structure requires ar t i s t ic form, free flow exhibition spaces, a l ternat ive lighting s t rategies , and innovative systems to provide support to exhibition. The building's outward cxpression will be a living sculptural form, using inventive structural techniques and portraying the artistic energy within. AII these requirements point to the exploration of the Art Center theme and thereby merge art and architecture.

^SíAS TECH UBRARY

14

GOALS ã OIBJECTnVES í ^ <=:b* í v y í ^ <R: íR:^ iR::» <Rif í^i^ (R:f iR^ iR^ iR^ iRy íc; ^ í^y ^:^ i?;^, ^ ^ ÍC V Í ^ Í:;V^ Í;V^ Í;:^^ Í C ^

The center should strive to unite the communal and environmental components of the site into a functioning en t i t y .

The facility should be directed to all sectors of the local population. In addition, the complex should attempt to obtain state and national recognition in the attempt to bring in traveling visitors.

The ultimate purpose should revolve around creating a visual and functional linkage between the Art Center and the urban fabric.

The a t t i tude of the complex should be focused on all-around excellence to entice national touring exhibits of the highest quality.

The sense of group or even family should prevail to produce a tight knit group of contributors and activists.

Activities should be of an inter-supportive nature and be evident of such unity.

Accessibility to all people is imperative.

To promote a greater sense of community identity and pr ide by improving the aesthet ic cha rac te r of the community and distinguish the city from its surroundings.

15

The role of the volunteer is to be overemphasized, thus making a public interest statement.

Graph ic signage should abound, with lost direct ion becoming virtually impossible.

17

BACMIROUNP STUPY 1!=: ; <R:f í = ^ ív i / ^ ^ <R:í í ^ iR^ í^ í^ í ^ iR:f å^ í ^ í ^ í ^ <R^ /f^ í^ íC v, iR:^ í^ lí^ í^ iR^ í^

CENEEAL IBACIKCEOUNP

TIHIE AMT (CENTEM^ TEXAS A N P TIHIE UMITEID) § T A T E §

FROM THE STATE'S PERSPECTIVE -The need for an Art Center for the Richardson, Texas area is a complicated issue with many levels to evaluate. The United States has made a deliberate attempt to further the cul tura l and art is t ic interests of the populous. On September 29, 1965, President Johnson approved a law in which began the National Endowment of the Arts (NEA). This established the the need for an official govcrnmental policy in regards to the arts. The beginning of the role of the Federal Government in connection with the arts was established. The role played by the NEA on the governmental level is replaced by the Texas Commission on the Arts and Humanities (TCAH) within the state of Texas.

The project must first be examined within a broad, state level, context and with an understanding of the will and desires of Texas. The goals of the TCAH included:

receptive

"To foster the development of a climate for the fine arts that will

culturally enrich and benefit the citizens of Texas 18 in their daily lives, to make Texas visits and vacations all the more appealing to the world and to a t t r a c t to Texas res idency add i t iona l outstanding creators in the field of fine arts through appropria te programs of publicity and education, and to art lectures and exhibitions and c e n t r a l compi l a t ion and d i s semina t ion of information on the progress of the fine arts in Texas."*

The Commission also formulated its plans for future tasks which included:

...concerted effort to encourage the establishment of more nighttime family entertainment in Texas communities, such as summer theater, concerts, recitals pageants, festivals, a r t . c r a f t . h i s t o r i c a I e X h i b i t s . book fairs, l i te rarv lcc tures . f o l k l o r e . imported performances, and exhib i t s . "*

The conclusions and recommendations that concerned the federal support of the arts in Texas included; the TCAH should press for more funding from CETA to help those Texas art is ts who are unemployed or under employed, TCAH should make sure that those, such as elderly, children, or others are not denied access to the arts because of unavailable federal funds.

* Public Policv Toward the Arts in Texas. pgs. 11.

TIHIE AET CENTEE = TIHIE (CHTY €)W mCMAmm^

FROM THE CITY'S PERSPECTIVE Does the City of Richardson have a need for a Art Ccnter?

19 The answer is a clear, yes. The reasons span many levels within the community. The foremost stems from the or ig ina l concept ion of the site, the core of the governmental and cultural structure of Richardson. In the beginning there was a plan to construct a city hall, central l ibrary, civic center, museum, and theater. See figure 1. Financial intervention plagued the plan and after the use of the funds, only the city hall and the library were realized. The remaining land lies as a vacant grassland waiting for its day. See figure 2.

The functions once planned for the site are now undertaken in small over stressed community centers. The city hall was able to include space suited for group civic activities but the other civic minded activities, the museum, and the theater have been excluded and neglected. The theater activities have since been absorbed elsewhere, but the art is t ic , educational, expressive needs of the community require a home. The day has come when the financial inability has been overtaken and the circumstances support the implementation of the Art Center in its original form.

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22

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EECTONAL IBACIKGEOTOP

THE AREA The location of the project is within the south-central United States. The area, commonly referred to as the "sun belt", is noted for its sunny weather and long growing season. This results in an agricultural economic base. The topographic make-up of Texas varies widely from plains to mountains and forest to desert. The climatic conditions stretch from subtropics within the southern portions to a moderate climate in the northwestern panhandle.

Therefore the design should react in depth to solar angles and consider the site specific climatic data to develop a s t r u c t u r e tha t will be successful. The specific recommendations will follow within the climatic section.

HISTORY OF TEXAS AND THE DALLAS AREA Texas became a state on Dec. 29, 1845 with the annexation into the United States. The state was settled by a wide range of immigrants all bringing their cultural heritages. European settlers concentrated within the northeastern and central sectors of the state while Hispanics predominantly located in the southern portions. The Dallas area found

23 itself being colonized by Germans, Norwegians, Czechs, Poles, and French. Throughout the early days the area grew at steady rates with the 1880's giving rise to a rapid increase in population in North Texas. The Dallas-Fort Worth metroplex emerged as a cultural and commercial center. The railroad supported the thriving frontier city. As the years past, Dallas (and its suburb - Richardson) progressed into a major artery of the south, leading as a c o m m e r c i a l , b a n k i n g , t r a n s p o r t a t i o n , and c u l t u r a l f o r e r u n n e r .

Therefore the cultural heritage, specifically European and Hispanic, must be addressed when considering cuturally oriented designs and graphics (Spanish signing).

GENERAL CHARACTERISTICS - "THE SUBURBS" The atmosphere as it relates to the cultural ideals is one of a cosmopolitan flavor. This resulted from the large influx of professional people associated with the Dallas business boom of earlier years. As the downtown developed, the common occurance of "white flight" hit Dallas in the later 50's. Suburbs grew toward the north along North Central Expressway. The result of this development was a sector of affluent professionals in the Richardson and surrounding areas. These people are capable of supporting a large cultural network. The average family income for 1980 was greater than $25,000. Sec figure 3.

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ENVMONMEOTAL HSSUES 24

EXISTING LAND USE The analysis of the land use is an important tool necessary to be capable of understanding the internal configuration of the city. The area is typified by several distinct p a t t e r n s .

There have been two major employment and commercial areas developed: one east of Northcentral Expressway and west of Plano Road between Lookout and AppoIIo Road and the other adjacent to Northcentral Expressway. Both of these clusters have a bearing on the site. Refer to figure 23 .

The major commercial district within the city is located at the intersection of Beltline Road and Plano Road, and along Coit Road.

GEOGRAPHY SMSA - Dal las-Fort Worth S tandard Metropol i tan Statistical Area Area: To include CoIIin, Dallas, Denton, EIIis, Hood, Johnson, Kaufman, Parker, Rockwall, and Wise Counties - 8,360 sq. miles Altitude: 300-1350 feet above sea level

RICHARDSON GEOGRAPHICAL AND REGIONAL SETTING On the county level, the city has 27.2 square miles of property which is divided with 18.2 square miles in Dallas County and the other northern 9 square miles in CoIIin County.

The City of Richardson is related to the Dallas area by being approximately 10 miles north of downtown Dallas. The city is actually completely surrounded by incorporated ci t ies:

To the north, the City of Plano; 25 To the east, the Cities of Murphy, Garland, and

Sachse; To the south, the Cities of Garland and Dallas; To the west, the City of Dallas.

The City of Richardson also completely encompasses the City of Buckingham. The city on the broadest scale is an important section of the Dallas-Fort Worth Metroplex, one of the largest metropolitan areas in the United States. Refer to figure 4 & 5.

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Map of Richardson & Surroundings Figure 4

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26

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DALLAS AND SUBURBS Figure 5

CLIMATE General - The Richardson area is located approximately 250 miles inland from the sub-tropic na tu re . enjoyable except for the summer months. wide variat ions in within an hour.

Gulf of Mexico. The climate is of a The general conditions are most

some extremes in temperature during The area is also characterized by

tempera ture , sometimes 25 degrees

Cloud Condi t ions - The Richardson area annual ly experiences 66 percent sunshine. The total picture can be seen in figure 6. The majority of the cloudy days fall between December and May. The concentration of sunny days occur between June and October. The month of July is the height of the sunshine season with 350 hours of total sunshine. The seasonal low is in the dead of winter when the sunshine per month slips to a minimal 160 hours from December through February.

27

HODSS

M A M J J A S

MONTH

0 N D

lOTi BiMi mm

Figure 6

Winds - The area is subject to winds with velocities stretching from 13 to 31 mph. The design of the structure should attend to wind protection for some areas because winds of 20 mph cause discomfort. The area does have the potential to produce winds of up to 60 mph from the southwest to south. The winter brings the possibility of northerners blowing in at speeds of up to 45 mph. The use of adequate northern protection is advised. The prevailing winds generally originate from the south. Spring brings gusts from the west. The specific wind data is contained in figure 7.

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28

WIND DATA Figure 7

Soils - The soil in the area possesses a high clay content and the shrinking properties must be considered. The soil has a high degree of chemical activity. It is comprised primarily of shales and chalks.

Vegetation - The area once called the "Blackland Prairie" was a large expanse of grassy plain. Today, it has become highly cultivated. The area has seen a wide variety of plant life adapted and now flourishing. Originally, the only vegetation followed the rivers and streams. It consisted of elms, pecans, mesquite, and oak trees. The landscape in the area has broadened to include a multitude of plant life. Any plant life that can survive in the climate (refer to additional climatic statistics) may be used with the proper design of the conditions to suit the species. At present, the predominant vegetation is composed of Ash, Prickly Ash, Chinquapin Oak, Cedar Elm, Redbud, and Willow.

STATISTICAL ANALYSIS Mean & Extreme Temperature - The temperatures for the area are quite comfortable. Richardson has an average yearly temperature of 65.8 degrees. The city has a record high of 111° F and a record low of -3°F. The mean maximum is 96.1°F in August and the mean minimum is

33.9°F in January. There are a limited number of each summer that the temperature falls below 80°F. to figures 8 & 9.

29 nights Refer

MONTH

January Febuary March April May June July August Sepember October November December

DAILY MIN.

35 9 37 6 43 3 54 1 62 l 70 3 7A D 75 7 66 ÍJ 56- D 44 l 37 D

DAILY MAX.

11 1 11 11111 ' " U J I . r 1

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TEMPERATURE MINIMUMS & MAXIMUMS Figure 8

TEIÆP 0 10 20 30 ÍO 50 60 70 DO 90 100 110 MONTHLT AVBRAGH

JAN FEB MAR . AP&IL MAY . JUNB : JULY : AUG ; SKPT : OCT : KOV : DBC ;

6«í.ô «íe.7

65.2 72.5 60.6 CI4.0 0«1.9 77.7 67.6 35.0 47.9

TEMPERATURE AVERAGES Figure 9

30 Relative Humidity - The humidity levels in the area, tends to soften the effects of the extreme hot and cold. The relative humidity data can be seen in figure 10.

MONTH

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RELATIVE HUMIDITY Figure 10

Precipitation - Richardson is located in an area that, because of the Gulf of Mexico, receives a good amount of precipitat ion. The weather permits a wide variety of outs ide ac t iv i t ies . Designs should use the positive characterist ics of the weather in this area. The city annually receives 36 inches of precipitation. The unusual aspect is that 60 percent falls from April through September. The spring brings thunderstorms for about 40 days of the season. The rainfall occurs, on the average, in the nighttime. The average storm lasts for periods of a day or two followed by a period of clear skies. The days when it rains in excess of .01" occurs on an average of 77 days a year. The winter brings an average of one good snow fall that stays on the ground. The city can expect around 2" of snow through the season. The area does encounter a wide

31 variation in the extent of the weather. Some years are average and noneventful with others bringing heavy snows or flooding rains. Figure 11 & 12 reveals the normal cond i t i ons .

4 . 7

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Sun & Heating Degree Days - The heating degree table, seen in figure 13, reveals how the proper control of the sun can help to reduce energy consumption. The use of shading is required from early May through October. During November and March, 50 percent shading is required. From December through February, the need for protection from heat gain is not recommended. Figure 13 indicates that the use of mechanical cooling is not required between December and February. March, April, and November require the use of minimal amounts of cooling while May

32 and September need about 50 percent cooling. The height of the season, July through August, requires extensive cooling. The use of this data, the heating degree chart, in connection with the solar angles, as it pertains to the design, will determine the extent to which shading devices are incorporated. See figure 14 for the local sun angles.

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H E A T I N G & C O O L I N G D E G R E E DAY Figure 13

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WATER 33

Water is an all important resource that must be evaluated. The availability of the resource is imperative to the success of any community. The Richardson system is structured with an estimated 30 percent of the precipitation running into surface reservoirs, to be used. The remaining water needed is received from Lake Lavon. The city is subdivided into six na tura l drainage basins. These successfully handle the removal of water and its eventual re-use. One of the creeks passes north of the site as it crosses under Northcentral Expressway. It has no direct bearing on the site conditions. The characteristics of the Richardson area may be viewed in figure 15.

Therefore, as seen in the map, the use of water within the design must be composed of a recirculation system. Bodies of water are recommended. The fountain planned for the east side of the building should be acknowledged through the design of the structure.

CONCLUSION & RECOMMENDATIONS

Design Implications - The climatic conditions of the area have a great impact on the design. Many of the variables may be determined when the climate influences are considered. The exterior of the s t ructure should be designed to maintain its appearance for a minimum of 40 years. The use of a drainage system is recommended that will prevent standing water and pull runoff away from the already present buildings. The issue of excess water during periods of heavy rain should be addressed to prevent future maintenance problems. These issues manifest themselves in terms of a minimum of 2 percent slope, water collectors between the s t ructures to the perimeters , and elevated walk ways ( 4' above paving surface). Wind bracing should be designed to withstand up

PLANO

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tj\

GAHLANO

DALLAS

500 1000 ^ ^ ^

in o ÎOOO INC

CAnLANO

ENVIRONMENTAL CHARACTERiSTlCS 1985 ( NATURAL AND MAN MADE )

LEGEND • ^ FLOODWAY

^ 100 YEAR FLOODPLAIN

^ WATER BODIES

A SLOPES GHEATER THAN 12%

£ 3 SUBSTANTIAL VEGETATION

SIGNIFICANT WILDLIFE HABITAT

SOIL TYPES: r n HOUSTW - • ! . » « - AUSTIN [ ^ IDOr - r r t ' H t H S - AOSIIN

T M HOUSTON - »1.»CI< - HOUSTON [ ~ 1 1I<IN1T» - " I I O

CITY OF

RICHARDSON TEXAS

1000 0 7000 NonTH

CO

35 to 150 mph minimum. The windows should be designed with overhangs to adequately protect from over heating. The specific measurements must be determined for the individual circumstance but should follow the solar angles in the data. A generic recommendation will not be made since the overhang and even angle of entry must be considered in reference to the specific design. The use of tint is also recommended to expand the ability to control the environment. The windows should be of a type to provide the security factor desired within this building use. The use of buffers to the north are recommended especially to the north of outdoor spaces. The proper barrier will enable the use per day to be extended.

36 ©EMOGIEAIPlHinC CIHIAEACTEEESTIICS

TAXATION County .13130 City .32050 School .95900 Total effective rate per $100 current value 1.57340

RELATED INDUSTRIES Art related enterprises - Dallas County

173 advertising firms 80 commercial photographic and art related agencies 501 publishing and printing firms

THE CITY There are 109 firemen in Richardson. Their equipment includes 2-1250 gpm pumpers , 6-1000 gpm pumpers , 1-106' aerial ladder, and 5 ambulances. The average emergency response time by the Fire Department to either homes or buildings is 3:42 minutes. There are 138 sworn and 73 non-sworn officers and 8 reserves using 62 sedans, 9 motorcycles, 5 vans, and 2 pick-ups.

The city has 422 hotel rooms, 825 motel rooms, 242 hospital beds, and 303 doctors.

POPULATION Richardson has long had a very stable population, maintaining an increase from only 600 in 1910 to 1,289 in 1950. The city experienced extreme growth in the 60's and 70's. This brought Richardson from 16,810 to 48,582. By 1980, the city had risen to the 72,496 mark with no end in sight. These statistics place Richardson as one of the fastest growing cities in Texas. The statistical data may bc referred to in figure 16.

37

POPULATION

cn tí, <

isso' 1960'

iwa

1967

1968

1969'

1970*

1971

1972 1973

1974

197S

1976

1977

197«

1979

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1981

1982

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PEOPLE

Figure 16

AGE DISTRIBUTION The Richardson area displays an unusual age configuration. When the city is compared to Dallas and even Texas, it reveals a predominantly younger society. The 1980 stats show that 2 1 % of the population is between the ages of 30-39, but in Dallas and Texas the percentage is only 16 and 14 respectively. The overall population is composed of more elementary and high school children and fewer college students. This suggests that there is a high degree of quality within the public school system and that students are continuing their education beyond the high school level elsewhere. Richardson has less, over 65 residents with 3 % , than Dallas County or Texas. The data can be reviewed in figure 17.

AIl of these stats show the educational intensity within the community as seen in the age distribution. The

38

development of an Art Center would be beneficial to this c o n c e n t r a t i o n .

r AGE DISTRIBUTION

~ \

29«

45X

• 1-19 YEARS

S 20-34 YEARS

£1 35-63 YEARS

13 65-OLDER

23%

Figure 17 INCOME Average income studies can reveal the social relationship of the community. This can in turn, tell if an area would be suitable for an Art Center.

As shown in figure 18, Richardson is a wealthy community. There are 45 percent of the families which make between $30,000 and $75,000. The relationship to Dallas which has just over 20 percent and Texas which has minutely less than 20 percent. The median family income is currently $51 ,016 .

INCOME PER HOUSEHOLD

$44000 •

$42000 •

$40000 •

S38000 •

$36000 •

$ $34000 •

$32000 •

$30000 •

$28000 •

$26000 ijw-*

, $24000 •(

^**

- I - •*• ••-1976 1977 1978 1979 1980 1981

YEAR 1982 1983 1984 1985i

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Figure 18

39

RACE

The role of the minority within Richardson is very slight but growing. Presently, there is a majority of whites with only about 7 percent non-white. The percentage has increased over time and expected to continue in an ever escalating fashion. There are no segregated neighborhoods or concentration of race in the city.

LABOR FORCE The labor force in the area is very promising. The major attribute is that Richardson is located within a much larger, highly urbanized, geographic area. The added innuence of an excellent transportation system increases the potential. The labor force in the year 2000 is projected to be 81,700.

ECONOMIC CHARACTER The purpose of an economic analysis in this context is in direct relationship to the ability to accurately predict the rate of expansion and other related indicators affecting the proposed Art Center. The climate in economic terms is very secure. Typically the area has experienced low

* 3 ' •

UNEMPLOYMENT RATES

1975 1977 1979 1981

YEAR

1983 1985

Figure 19

40

unemployment and strong business activity. The arca current ly contains over 3000 business operations. Thc unemployment rates are shown in figure 19.

There is not a local or state personal income tax nor is there a local or state corporate income tax. There are presently 11 banks located within Richardson with two credit unions and 11 savings and loan associations. The Texas Banking Red Book reveals the financial breakdown as such; $819,000,000 in resource capital, $506,000,000 in current loans, and $720,000,000 in bank deposits.

FUTURE ECONOMIC CONDITIONS The economic future for the area is strong. According to the Texas Employment Commission, employers in the city have increased the number of jobs by 24,800 since 1978 (as of 1986). The employmcnt level now stands at 49,344. The trends appear to be steady and the projection for the future looks bright.

EMPLOYMENT Richardson has a portion of its employment directed toward the manufacturing industry, with about 22 percent of the work force in 1985. The cities largest employer is Rockwell Industr ies with over 5,800 employees. The service industry comes right behind with a 22.2 percent following. The wholesale/retail block retains 19.2 percent. The sur rounding areas breakdown accordingly; Dallas County had 20.5 percent manufacturing and 16.7 percent retail, Collins County had 24.6 percent manufacturing and 15.9 percent retail.

The prediction for the future by the Texas Employment Commission states that the trends in the mix should proceed through the twenty-first century. The annual growth rate for the area is seen to waver between three and four percent. With these estimates in mind the

41

employment number should be 81,600 by the year 2000.

CITY PLANNING The city is presently under advisement concerning the implementation of a comprehensive plan. The approval is expected sometime in 1988.

COMMUNITY PLANNING Area Community Centers and related buildings

City Hall/Civic Center - 411 W. Arapaho Road - 85,727 sq. ft.

Richardson Public Library - 900 Civic Center Drive -81,640 sq. ft.

Heights Park Recreation Center - 711 W. Arapaho Road -18,720 sq. ft.

Huffhines Park Recreational Center - 1500 ApoIIo Road -19,425 sq. ft.

General Public Parks - 25 Public swimming pools - 5 Golf courses - 2 Tennis courts - 30 Theaters - 8

The visible lack of a proper facility is evident from the inventory. Presently these activities are held at temporary and makeshift locations. The need for an area capable of supplying room for development and exploration (in art) is n e c e s s a r y .

LAND USE CITY WIDE The city contains 17,390 acres of land within its borders. The land use breakdown can be seen in figure 20. It is estimated that about 4,400 acres are undeveloped. With this 25% unused, the potential for development is clearly seen. The general city land use can be seen in figure 21.

PL*NO

cro C

o //// RECREATION / EDUCATION

-»v\, SIGNIFICANT VEGETATION

CITY OF

RIGHARDSON

DALIAS

SOO 1000 ^ ^ ^

•ooo*"o 3000 I IMORTH

TEXAS j

ro

43

LANDU

1 2 x ^

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V '

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H INDUSTRIAL

D COMMERCIAL

J Figure 21

§Y§TEM AMALYSIS

EDUCATION The educational front is strong in the city. The school system is highly rated nationally and produces many quality graduates yearly. The overall ratio of education is high. Almost 25 percent of the residents have college degrees and 16 percent have five years of study. The State of Texas and Dallas County do not rate as high with only 8.5 percent and 11.4 percent , respectively, possessing college diplomas and 6.3 percent and 8.0 percent , respectively, with five-plus years at an institution. Refer to figures 22.

44

1980 EDUCATION STATIS

10%

26%

V 22%

26%

• iã n n n

5+ YEARS COLL

4 YEARS COLL

1-3 YEARS COLL

HICH SCHOOL

< HIGH SCHOOL

Figure 22

The city has 35 elementary schools, 10 junior highs, and 4 high schools with a total of 32,656 students. There are 1800 teachers in the system.

The University of Texas at Dallas is in Richardson and has over 7,000 students. Richland CoIIege is about 2 miles form Richardson and Southern Methodist University is 8 miles away.

RELIGION There are a wide range of churches in the area including:

Baptist - 14 Church of Christ Christian - 3 Episcopal - 2 Methodist - 6 Catholic - 2 Presbyterian - •

Lutheran - 3 Assembly of God - 3 Christian Science - 1 United Pentecostal - 1 Jehovah Witness - 1 Jewish Synagogue - 2

45

GOVERNMENT Form of government - Council Manager City Government budget for fiscal year 1986-87 - $54.3

mil l ion General Government Revenue - $40.3 million Water and Sewer Revenue - $14.7 million The city was incorporated in 1925, with the current Char te r being adopted in 1956. The city council is composed of 7 council members. The mayor is selected from the council members.

The city presently holds a bond rating from Moody of Aal and Standard and Poor's of AA.

TRANSPORTATION AutQmQtive

Transportation to and from the site will most commonly take the form of the automobile. The area is wcll served by the local roadway system with LBJ, Northcentcral, and North Dallas Tollway being the main arteries. The lack of a mass transit system forces most commuters to use these roads to access nearby areas - Dallas, Plano, Addison, etc. LBJ Freeway, or 635 as it is also termed, encircles the north side of Dallas. The four lanes each way are the link between Texas Stadium - home of the Dallas Cowboys, Dallas-Fort Worth Airport, and at its end, Fort Worth. The service to the airport causes the adjacent areas to be business oriented with many hotels located along the thoroughfare. The Dallas ToIIway begins in Addison and provides a direct link to downtown Dallas. There is not much access to the tollway after it begins in Addison, supplying a relatively direct connection to the center of Dallas. Northcentral Expressway is probably the most vital access to the area of concern. It runs directly north-south connec t ing downtown Dallas, through Richardson, to Plano. AII the major roadways become very congested because

46

they are currently operating at near peak capacity during rush hours.

The N o r t h c e n t r a l Expressway is p resen t ly under construction to widen both directions by two lanes. The construction will take place within the current perimeters of the roadway and will not encroach on the site.

The specific site location, corner of Northcentral and Arapaho Road provides excellent vehicular circulation. Arapaho Road is a four lane road measuring right behind the major arteries in terms of importance. The site has a tie with the surrounding areas and also connects well with the city itself. Figure 23 shows the thoroughfare grid.

A s o , — H Q •J C ' t ln—•

AREA 1

v«ci«.r» —

f

REGIONAL THOROUGHFARE GHID

- j - MAJOn THOROUGHFAReS

CCWMUNITV i NEIGM80RHOOO 'RETAIl. CENTERS

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REGIONAL THOROUGHFARE GRID Figure 23

47 The goal of the design should be to appropriately address the traffic arteries to entice an audience from all areas of the metroplex.

Mass Transit The Richardson area is contained within the Dallas Area Rapid Transit system, DART, with future plans to reach the extreme southern region of the city with rail service by 1997. The system will eventually stretch to Plano.

Currently the DART system services Richardson by bus on both a crosstown capacity and with downtown access.

The availability of interstate bus service is supplied by Trailways in the Richardson area.

Air Dallas-Fort Worth airport is the third largest, for volume of departures and serves the area from 16 miles west of the city. Love Field airport, located in the downtown area, is the largest commercial-pr ivate a i rpor t , servicing small aircrafts. It is located 10 miles southwest of the city. The corporate/municipal airport in Addison also adds to the freedom of travel, 6 miles west of the city.

Rail The Southern Pacific Railroad runs parallel to Northcentral Expressway. It runs an average of 7 times per week. The Santa Fe Railroad bisects the expressway just north of the Arapaho underpass. It runs 5 times per week. The St. Louis and the Southwestern Railroads service the area on the far northwestern corner of the City of Richardson. The city does not contain a rail terminal.

Motor Freight There are 14 intrastate and 34 interstate freight lines certified to stop in Richardson.

48 Bus Lines Greyhound Bus Line serves the area with an average of 6 runs per day. DART runs 35 runs per day to downtown. There is an airport shuttle bus on demand to DFW.

MAJJOE C( )NCLU§]I( )M§

The data may seem to be on the broad, contextual side. This may seem not to relate DIRECTLY to the project, however, this is not the case. These community factors all combine to form the City of Richardson. The knowledge and understanding of the people and their surroundings is the largest significant indicator of the character of the community and, in turn, a prime determinant of its urban form. The proper relationships, directions, and hypotheses may then be assessed.

The City's expanding population, higher educational goals, and all around strength, directly supports the creation of an Art Center.

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50

M]ICE(Q)=ENVIEONMIENT

TIHIE '"'OEIIGmAL""' MASTEE IPLAN The original plan for the site included not just two buildings but a complete complex of five. The design in ten t ions were qui te different from the present configuration. Figure 25 reveals the original proposal. The site developed much differently than proposed. Figure 26 shows the present configuration. The design of the original proposal was not reached. The site failed to embody the spirit that was intended. The master plan, as it was conceived, consisted of a configuration of structures with the City Hall in the center. An axis can be seen in two distinct directions as seen in figure 26. The area known as the circle was intended to be the center of the universe with the functions of the environment playing off its two axes. The site as a whole focused outward to the Arapaho thoroughfare. The extremities of the site served the parking requirement with the circle controlling the order and hierarchy of the parts.

GENEMAL SHTE PESCiniPTIION The area is presently inactive consisting primarily of a large grassy plain. See figure 27. Burms have been developed along the perimeter to partially fill the plot. The site sets almost waiting for a building. A feeling of incompleteness abounds. The area awaits the reconciliation of the original master plan. See aerial of site in figure 28.

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55 WIHAT IBOEIOIEIRS TIHIIE SETET The area around the site has different uses and impacts with every degree of the compass. There is single family residential , multi-family residential, small business, office space, public buildings, churches, and large man-made barr iers . Figure 29 outlines the existing structures and their uses. The northern sector is comprised mostly of 11 single family homes. The resulting street scape is very appealing and may be incorporated to form a bond to the most influential side of the site. The north-eastern corner possesses a poor view of a gas station and a busy intersection. To the east is probably the largest inherent problem, Northcentral Expressway. It creates a man-made wall of over 25 feet of solid concrete. It also pollutes the site with excessive noise. To the south-east is the only other bad view from the site, it looks parallel to the expressway and the old downtown section. The south consists of s tructures built to be adjacent to the city functions. The Chamber of Commerce, Post Office and office buildings make up this border. The area to the south-west and west is comprised of mostly apartment buildings with Burger King directly west on Arapaho. This potential problem was handled superbly by both the city and the food establishment. It now enhances the site. The larger picture can be seen figure 30.

SETIE SIPIECIIIFIICS

UTILITIES The site is well equipped when it comes to availability of service utilities. The site has direct access to a 6" gas line, 8" sanitary sewer (refer to figure 31 ), 33" storm sewer, and an on site power box (northcentral side of site).

EFFECTS OF BUILDING ON EXISTING SITE The creation of a new structure on the site will alter many

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59 of the existing characteristics. The building will have the effect of pulling more people deeper into the site than ever before. The Art Center will also "activate" the north-eastern corner of the site. The present atmosphere of the site has a feeling of open expanses, because the building once meant to be there was never realized, until now. This feeling is said to be enjoyable and is definitely one of the assets of the site. Concern should be taken to preserve the already pleasant site character.

LANDSCAPE AND EXISTING TREES The area has been recently landscaped with live oaks (30). As a whole, they are all strong young trees. They border the northern and eastern edges of the site. The placement is in small clumps bordering the berms. The trees should be saved, if possible, since the replacement of "mature" vegetation is one item uncontrollcd by the designer because of budget related restraints. The area is basically a flat plane of rectilinear shape. Refer to figure 32. Three to five foot berms exist along the edges of the site. The beginnings of an outside area between the library and the Art Center is currently under way and will be discussed in depth later.

SITE VIEW FIGURE 32

PARKING 60 More than adequate parking currently exists for the site. The Art Center will require its own parking. The situation may be solved easily by shifting some parking to other areas. The original parking capacity was never reached for the City Hall or the library. These out lining parcels would supply the necessary parking needed if the 'shift plan' is used. The city is very concerned with the views from off the site. The use of inventive and existing techniques are recommended to conceal parking areas. The parking area will also be in agreement with the existing themes used on the other areas. Refer to photo plate & figure .

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CIRCULATION Currently the flow of traffic, as it pertains to the Art Center, emerges along two axes. One is perpendicular to Arapaho Road running to the "new fountain". The other runs parallel to the City Hall and bctween the library. This is the major one, of the two, at present, but may change with the addition of "the fountain". Both of these arteries are necessary to the proper circulation through the site, although they could become an intrical part of a larger, more complex system.

NOISE POLLUTION 61 The level of unwanted sound is a major concern because Nor thcen t ra l Expressway and Arapaho Road are both heavily traveled. The use of sound controlling devices is recommended along the northern and eastern edges.

VIEWS TO THE SITE The area is a very appealing site. The existing buildings are well designed in their own right. The landscaping is well maintained, making the entire site appear visually at tractive. The views are all interesting and appealing except looking east to south, from the north. The views of both buildings are important to the unity of the site and should be retained if not incorporated and developed into the design.

TOPOGRAPHY AND DRAINAGE Figure 35 reveals the topography of the total area, as it currently exists. The berms are not contained within the original plan but may serve the purpose of the buílding design (will be determined in accordance with the final scheme). Refer to the specific site topography, figure 36. The flow of runoff water should be an important factor in the design of the parking and the open space. Presently there is a large grassy area. The proposed construction will fill a large amount of this area. The problem of water control must be considered with particular concern given to the protection of the integrity of the existing structures.

ZONING The Richardson zoning code classifies the site under the I-FP zoning district. This zoning category permits any structure that is for city use. The city requires that the structure be constructed of fireproof building materials. The classification specifies setback requirements at 40 feet from the property line, there are no other setbacks on side or rear spaces. The code requires a minimum of 2 percent

fip landscaping in parking areas. The parking itself must consist of at least 30 parking spaces with an additional space for every 200 sq. ft. beyond 10,000 sq. ft. A height restriction of 40 ft. applies because of the housing that borders the site to the north. See figure 34.

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RELATIONSHIP TO OTHER STRUCTURES - GENERAL The impact of the proposed s t ructure on the existing building is undeniable. The new structure must consult all the concern common to the site from topography and drainage to stylistic harmony. There is one element that binds the area; the fountain. This will aline the structures along the two primary axes. The development of the central area, common to all buildings, will complete the triangle and by doing this, complete the site.

STYLE The style of the building is undeniably influenced by the buildings that are already present on the site. They are of two distinct styles. One is the massive exposed concrete with strong s t ructura l overtones. The other possesses linear quali t ies , free form curves, and smooth, slick surfaces. The new building must address those existing entities in such a manner as not to disrupt the harmony of

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65 the site by the introduction of too much variety. The new bui lding must incorpora te the essence of the other structure but also impose its own presence. The healthy balance of old and new must be combined in proper measure to produce a successful project.

MATERIALS The materials of the buildings on the site stretch along two tangents. The Library is composed primarily of exposed concrete. The outward expression is of texture and bulk. Refer photo plate 4 & 5. While on the other hand the City Hall is constructed of smooth metal. The building reflects sleekness and line. Refer to photo plate 9. The options open to the designer are two-fold. First, the incorporation of both types of materials could be chosen or second, the use of a completely new material with the exclusion of the other two could be done. The final determination will be withheld until the design phase.

FOUNTAIN DESIGN - WHAT IS IT? The City of Richardson is currently developing thc arca directly east of the library building. During in depth interviews with city engineers and the city planning department, the design efforts currently on the drawing board were discussed in relation to the proposed Art Center. The city has developed plans to incorporate a fountain within the circle as seen in figure 37 & 38. The project is directed at the site problems that are currently being experienced. The area is barren and unused despite its inherent qualities. The fountain will attempt to utilize the portion of ground to draw interest to this very pleasant but currently neglected region. It will draw people deeper into the site and try to connect the area east of the library into the functioning sector, thus giving unity to the complex. The current plans of the city and their future aims of a functioning whole will be accelerated by the Art

UZTÁ ..,• J " ' "T" ""' '"*'""'' 0"' «"' ^"« by utilizing the unused third, and placing the "center" of the site back in the intended position.

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B I I E L n O C T A m Y 75

Americans and the Art«; L. Harris, Americal Council for the Arts, New York, 1981.

Amgriyan D e m o g r a p h i r s . U. S. Census Department, Nov. 1 9 8 5 .

ClimatÍC Atlas of the Unifed States. U. S. Department of Commerce, 1968.

Comprehensive Annual Financial Report. Daniel W. Parker, Department of Finance, City of Richardson, Fiscal year ending Sept. 30, 1986.

Comprehensive Planning Guide. City Planning Commission, Richardson Texas, 1987.

Demographic Charac ter i s t ics of the Metroplex. Dallas Chamber of Commerce, Research Department, 1 9 7 8 .

Draft Summarv - Comnrehensive Guide. City of Richardson, Oct. 1986.

Economic Data Listing. Unknown, Richardson Chamber of Commerce, 1981.

From Breckenridge to Richardson: A Glimnse of Your Citv's H i s t o r V . L. Gibson, Richardson Chamber of Commerce, June 1970.

Listing of Sources for Gathering IVtnrketing Demograohics and Statistics. Unknown, Chamber of Commerce, Richardson, Texas, 1987.

76 LûíiaJ—Climatolo^ical Data. National Oceanic and Atmosheric

Adminis trat ion, 1981.

Procedure for Plat and Site Annroval. City of Richardson, 1 9 8 7 .

Public Policv Toward The Arts In Texas. Lyndon B. Johnson School of Public Affairs, University of Texas, 1 9 7 8 .

RÍChardSQn Communitv Audit . Texas Power and Light, 1987 .

Richardson Communitv Service Guide. Citizen Information Center, City of Richardson, 1987.

Soil Survev of Dallas Countv. Department of Agriculture -Soil Conservation, 1980.

Survev of Buving Power. Unknown, Dallas Fort Worth SMSA, 1984 .

The Citv of Richardson News Letter. City of Richardson, Bound editions Jan 1986 - Oct 1987.

1977 Popu la t i on Es t ima tes anij PrQJg<?tÍ9n§, U. S. Department of Commerce, Bureau of the Census, 1 9 7 7 .

1980 Census of Popiilation and Housing. U. S. Department of Commerce, Bureau of the Census, March 1981.

77 The information contained in the body is part ial ly accummulated knowledge obtained through the years the author was a resident of the community.

Other facts were brought to light in extensive interviews and meetings conducted on tr ips to the City Hall. Conversations took place with:

Arts Commission City Engineers City Planning Office City Zoning Office Community Affairs Office Park and Recreation Office Public Information Office Public Library Personnel Richardson Chamber of Commerce

Indepth personnal interviews were conducted with: Sue Pacey - Chamber of Commerce Tony Ohourke Monica Buck - Planning Department Zoning

A d m i n i s t r a t o r Jerry Hiebert - Planning Department Director Eva Hatula - Public Information, City Hall G. L. Barnett - Engineering Technician Susan Salony - Planning Technician

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79

ACTWITY ANALY§I§

EMTEODUCTIION This section will first outline the attitudes and then the descriptions of the activities contained within the Art Center. It will define the type of activity, explain its inter-workings, and its relation to other functions on only an activity base level. The design of this type of structure for this purpose does not come equipped with rigid design standards. There are not specific ways of organization, short of the exact type of experience that is desired. The specifics must be individually analyzed, and from there the relationships and in turn the positioning, of the entities can be dictated.

AMT ANID) lEPUCATION The correlation between art and education is undeniable. The goal of all such programs is the exhibition of art and the general understanding of it through education. The exhibition element of the pair can be comprised of permanent displays, touring collections, or regional facets of artistic works.

There are basically three forms of facilities directed toward the art center theme. First, a gallery is intended to address the issues of touring exhibits and locally based sources. There is no permanent display of works. Second, a museum perceives art in a much different light. It is designed for permanent displays and sees art from the conservationalisfs viewpoint. The museum does provide classes, tours, studio courses, and lectures. Third, the community art center serves as a focal point or forum for

80

local artist expression. There is not a permanent collection but more typically a vehicle for local works. The center often includes classes, discussions, and special programs.

GIENEEAL HNTENTIIONS To create a setting where the pursuit of ar t related knowledge and true appreciation can exist. The complex should attcmpt to develop all stages of the art experience. A free flow a tmosphere shall prevai l , encouraging expression, development, and the exchange of ideas on all p l anes .

The center will aim to combine all factions of the art and education field under one roof, providing a museum, gallery, and community center to pursue the enlightenment of the artist 's cause.

ENJJOYMENT <& AIPIPEECnATnON The general well being imposed by the art experience shall be encouraged through almost festive surroundings. Bright color will be incorporated through murals, sculpture, and furnishings to support this at t i tude. The feeling of enjoyment will be physically and emotionally enhanced by the manipulation of space, material, and form.

CMEATEON The basic intention of the facility is to promotc the creative will and desires of the student. The purpose of good design as it pertains to creation shall embody the idea of freedom and restricted intervention. Creation stems from the ability to push to higher levels within the mind and the existence of physical restraints must be limited wherever possible.

81

CONVEMSATHON c& CONGEEGATIION The planned arrangement of the circulation space will include small areas for relaxation and intermingling. The free exchange of ideas is essential to the creative process. It will be encouraged wherever possible. The design will include study and conversation niches scattered throughout the complex. They should be comfortable and inviting with design that promotes conversation.

IPUIBLEC VSo IPMIIVATE The entry and lobby areas should convey a sense of being a completely public area. This must in turn be expressed by the elements in and leading to the space. The public's direction is determined by the entry. The circulation to the other public areas is then evident. The private and regulated activities must be confined to zones of use, enabling the control of certain areas during certain time periods.

IPUIBLIIC §EMVIICE§ The complex should provide bathrooms in the lobby area (public), adjacent to the exhibition spaces and smaller facilities (private) for the students and artists. Phones and water fountains should be placed throughout the structure in areas of congregation.

ENCLOSUME The use of subdivideable space is recommended to enable certain areas to be used while others can be locked. Alternative doorways must be strategically located. The public spaces (namely the exhibition space) should be capable of being sectioned off from the private activities (referring to educational ones).

82

CEETICAL MISSION ®F IFACIILIITYs

mHOElITY OE ACTnVHTIES The public activities First - User, to include the public, the students, and the a r t i s t s

The semi-public activities Second - Administration and security

The private activities Third - Maintenance

AMEHVAL

IPAEKENG The facility should allow for easy drive-up, drop-off entry and strive for the best possible circulation pattern both for the facility and also as it impacts the other entities on the site. The use of a shift in parking use with the current parking areas will ease the space restrictions and should be directed toward the original master plan discussed later. The scheme of the parking set up should be designed to accommodate all forms of vehicular t r anspo r t a t i on including cars , motorcycles, bicycles, or all type of motorized bike. It should also cater to all types of mass transit including buses, vans, and motor homes.

EMTIRY (& LOIBBY The entry plays the symbolic role of setting the stage for the opinion of the user. The ability to set the proper impression is essential. The overall feeling of the facility

83

must be summarized and outwardly expressed through the entry. The opinions formed here are everlasting as are the feelings. The ability to portray the proper attitude here will extend to all sections of the complex. There shall be more than one entrance into the main lobby area. The building should define its main entry distinctly from the exterior. The ability to locate the main entry easily is imperative for success. The point of penetration should be protected from the elements to enable waiting and provide a transitional space between the exterior and the interior. The main lobby will serve as a large congregation space from which all public activities may be accessed. The space will regulate the circulation throughout the building and act as a circulation core.

The area should be a transitional space to the functions of the facilities. The use of signage and overall design to direct the user is essential to the success of the building. The area should provide a resting spot on the way to the main purpose of the building in the form of a lobby. It should allow the users to regroup, wait, talk, walk, and prepare to enter the other areas of the structure.

USACE

EID)ILJCATII(D)N The education section is devoted to the enrichment of all that is connected to the arts. This sector deals with the instruction and improvement of art ist ic skills. The program centers around a four stage learning operation. The first is explanation, through short but insightful lectures. The second is discussion, through a small class setting. The third is lab instruction, where the student is instructed and assisted in the actual activity. The fourth

84

and finally, studio activities are encouraged allowing individual exploration.

LECTURE The use of the spoken word is very powerful. Its proper execution can set the foundation for a strong arts background and all around understanding of the process.

CLASSROOM The classroom provides the necessary setting to discuss an activity and develop an understanding for the inter workings of the theory behind the action. The use of intimate chats between both instructor and fellow students leads to the ultimate goal of understanding.

LAB The lab activity bridges the gap between the rigid class structure and the freedom of the artist studio. The student receives group exposure to an activity under a controlled setting. The freedom to explore a certain area is provided with the availability of supervision and guidance. The lab activities produce excessive amounts of noise and dust. The division of this activity and the exhibition space is imperative. The areas will be structured under an open scheme to provide the most flexibility and freedom to design.

Ceramics - The needed equipment for the activity is throwing wheels, canvas covered work tables, stools, drying area, shelving, storage, kilns, glazing area, wedging boards, and plenty of sink space. Dust is a particular problem and the use of an exhaust system is recommended for the work area and the glazing area. The use of nonporous surfaces are nccessary. The use of specialized clay mixing equipment will be required and an area for this purpose will be needed. Bulk storage for raw

85

materials should be adjacent to the area. A kiln room will be needed that can handle the excessive heat of firing.

Textiles - This activity will need tables, yarn storage, project storage, racks for working and display, chairs, looms, and specialized equipment to be acquired as needed. Area to work on large projects for extended periods of time will be necessary. Area to stretch and view works is r e q u i r e d .

Painting - This activity prefers northern light, if not available the artificial lighting should try to match this preference. The flooring must be a washable surface and the walls should be tackable. The required equipment include drawing tables, easels, stools chair, shadow boxes, painting storage, and plenty of sink area.

Printing - This activity also requires northern light for best results. The floors must be washable and be acid resistant. The use of treated concrete provides the best and most inexpensive solution. The area will require equipment including, metal top tables, stools, chairs , cutting boards, slide screen, storage and plenty of sink space. Other specialized equipment including printing presses will be ordered to suit the specific curriculum. Shelving and chemical storage is required.

Glass blowing - This activity requires will ventilated space or partial exposure to the outside. The reason is the large quantities of heat produced by the activity. Fire protection is of the highest concern to the designer. For these reasons, the activity can not be incorporated with any other area except with certain functions of the ceramic section. The equipment necessary for the art consists of a glass furnace, blowing benches with roUing arms, storage, work tables, blowing rods, holder, and material storage (raw color).

86

STUDIO The studio is probably the most improperly conducted activity. The studio should provide the student the independence to surpass all previous activities and obtain new, higher goals. This happens when the environmental atmosphere is encouraging and the freedom to interact and react remains unrestricted. The areas should be designed to be flexible to handle the wide variety of artistic forms. Sinks will be needed in the individual areas and the walls should enable display and viewing.

SALES The use of a sales outlet in the facility is desired to enable the user to bring home a remembrance of the visit. The are can provide income for the complex and also boost the overall appeal of art , as a whole. It should be located within the most public sector, preferably before the exit after viewing the exhibitions. The space should be isolated from the gallery in terms of sound.

COMMIUNnTY SEEVICE The structure must contend with the general needs of the community and focus toward them. The ability to meet as a unit is an important function of any civic group. There should be space designed to indulge the activists in the area, to encourage congregation and exchange of ideas. The accommodation of a minimum of 20 people is desired within the space.

AID)MINI§TEATIION The proper management of any function is absolutely mandatory for success. The attitude of the administration filters down to every activity within the center. The activity requires people of high standards to ensure the ongoing success of the facility. The administrators must

87

consult the financial concerns of the building and maintain the overall well being. They shall be in charge of all controlling factors; bring in exhibits, bring in art ists , coordinate the programs, and regulate the educational policy and in t ras t ruc ture . This causes long hours of difficult work. The offices should be designed to accommodate the demands of the administrators.

SCHJLIPTUEAL (SAEPIEN The intent of a sculptural garden is to provide a needed break from the rigid touring of the gallery space. The goal of the area should be to create an environment capable of presenting larger art objects in such a way as to be restful and in touch with the natural surroundings. The use of the proper scale and sequence is important to give the right series of events and maintain the interrelationship of the pieces. The play of light, color and texture must be designed to achieve the experience necessary to the level of pleasure desired.

The activity first must contend with some of the basic concern of any gallery space. 1. entry - the orientation, penetration, and direction 2. inherent choices - graphic signage 3. movement - tendency to circulate along the wall, left to

right 4. perimeter adherence - tendency to stay along the sides 5. flow rate - patterns and isolationism 6. exit - anticipation and desire to continue

Viewing - The viewing within an area will follow certain norms and must be addressed in the design of exhibition space. See figure 39.

E

E 5 <o 5 6

88

re 39 Major Circulation Route

The patterns of movement usually follow the configurationj in figure 40.

n ..

f

• Minimum Distance of Light Fixturo from Wall

• • .. M I—'S

Cone of Vision

....--^,.4

\ | |

Enougli space lo allow easy movement for crowds. Enough space (or Iree-slanding art objects.

H-• H t -Enough space to allow viewer to be out of main trattic llow.

Figure 40

89

The orientation is essential to the success of the art facility. The visual arts require the movement of the viewer. The design of the experience is necessary to provide a pleasureful activity. The sequence of the items is important to the overall impact of the exhibition. The starting point to any exhibit should be crystal clear. The progression afterwards should follow a designed path. The desígn should allow the user to move through the gallery and not force the viewer to see an object twice. The traffic flow should consider and provide space for slower speeds and encourage closer examinations. The user should be able to quickly walk through an exhibit and receive the overall feeling of the pieces.

SUIPIPOMT

mcmm The security personnel play a vital role in the continual survival of the center. They provide the backbone of support to the operation of the complex. Security must maintain the status quo and smooth the bumps of everyday operation. The financial stability also hinges on the ability of the security personnel to do their job. The prime objective of the security force is to regulate entry and exit from the structure. They must also take responsibility for the protection of the interior and the grounds from theft and vandalism.

STOEAGE (& EECEIIVnNC These functions remain behind the scenes but provide an essential link between the outward activities and the functional structure of the facility. The storage must meet the same environmental requirements that the display

90

areas do and be designed, in such a way, as to enable easy set-up, delivery, storage, and inventory. The receiving area must be accessible to large deliveries of exhibitions and their crating. It must handle the spatial requirements of the trucking aspects of unloading while remaining a non-public presence.

The roadway to the docking area must be able to accommodate large trailers. The standard trailer is 40' long. There must be a minimum of 80' to allow the trailer to be backed straight up to the loading dock. The area must be level. The dock should be desígned to a height of 55" . The top of the trailers average about 14' with a standard bay width of 12'. The loading door should be placed in the proper relationship to the dock and handle a standard 5' flat with its moving equipment.

ILJ§IEE§ 1. Public - art viewers 2. Public - students and artists 3. Support personnel - administrators, maintenance,

security, and instructors

m m PAY Public Art Viewer - This is the most typical use of the structure. He will come at random to view and tour through the facility (including studios during some periods). He will be attracted to special events, shows, and open studios. The typical viewer will stay an average of one to one and a half hours. He will require areas to meet, stand, sit, and observe the various exhibits.

Students - The local residence will be able to attend classes on a wide variety of topics and participate in lab activities. The students will be able to enroll in single lectures and

91

semester oriented classes. There will be classes ranging from an hour to three hour labs and studios. They will be directed to all the age groups from children to elderly. The students will at tend classes and intermingle with the ar t is ts . They will use the space for socialization and exchange of ideas.

Artists - The use of local artists will encourage both the resident ar t i s ts and the public to develop a closer interaction. They will supply works for sale (to be divided) and allow the public to receive a behind the scenes education. The art ists day will require some commitment but will be left primarily up to the artist. The majority of the artists work an average of eight hour days but may be accomplished day or night. The creative will is uncontrollable by time constraints.

Administrators - The administrators are the controlling influence on the art center. They will work the standard work day from 8 a.m. to 5 p.m. The interaction with the facility of the administrators is necessary for success. They will be expected to be in on the activities of the facility and will be seen in all areas of the structure.

Security - The personnel will be primarily used during the day while the gallery is open. Security will be required whenever a threat to the security of the facility is in jeopardy. They will regulate the entries and exits. Specific rounds will be developed and the entire facility will be controlled. They will use time clocks and be regulated by the adminis t ra tors .

Maintenance - The maintenance personnel will be present during the gallery hours and do the primary maintenance from 6 a.m. to 8 a.m. and from 6 p.m. to 10 p.m. The task that must be accomplished requires constant attention.

92

They will use time clocks and be regulated by the a d m i n i s t r a t o r s .

Teachers - They will be composed of true teachers, p a r t i c i p a n t a r t i s t s , except ional s tuden ts and local enthusiasts . The day will be regulated by the class schedules and will offer both day and night classes.

TiiME oiF mm Public Public

Support

viewers - 9am-6pm, 6 days a week students - 9am-10pm, 5 days a week

artists - variable but mostly 9am-10pm, 7 days a week

- administration - 9am-6pm, 5 days a week maintenance - 7am-10pm, 6 days a week

security - 24 hrs., 7 days a week instructors - 9am-10pm, 5 days a week

IPEESONNIEL A complex of this size operates through the coordination of a good staff. The breakdown of the needed personnel will help determine the spaces and their relationships. The estimates of the personnel required are based on the needs and desires of the space to be created. The following list includes the position and department. These estimates were derived from the summation of authors readings on the subject.

A d m i n i s t r a t i o n Head Administrator Sec r e t a ry Activity Coordinator Accountant - Financial Advisor Display Specialist Educational Director Education Administrator

93

Secur i ty

occuiiiy ôupervisor Security Personnel

l a i n t e n a n c e Head Maintenance Person J an i t o r s Display Assistant Storage and Receiving

ales Manage r Sales Personnel

1 4

1 3 2 2

1 4

25 person payroll

94

IBIIIBLIIOGMAPIHIY

Americans and the Arfs. L. Harris, American Council for the Arts, New York, 1981.

Artists-in-Residence: A Sponsor's Planning Guide. S. Brien, Artists Foundation, Boston, Ma., 1983.

Arts Administration. How to Set-up and Run a Succcssful Nonprofit Arts Organization. Ted Horwitz, Chicago Review Press, Chicago, III., 1978.

Building for the Arts. C. Brown, W. Fleissig, W. Morrish, Western States Arts Foundation, Santa Fa, New Mexico, 1984.

Cases in Arts Administration. T. Raymond, S. Greyser, D. Schwalbe, Arts Administrat ion Research Inst., Cambridge, Mass., 1975.

Cultural Facilities in Mixed-Use Development. Harold R. Snedcof, Urban Land Institute, Washington, D. C , 1 9 8 5 .

Local Government and the Arts. L. Kreisburg, American Council for the Arts, New York, New York, 1979.

Public Policv Toward The Arts In Texas. Lyndon B. Johnson School of Public Affairs, University of Texas, 1 9 7 8 .

New Places for the Arts. National Endowment for the Arts, Educational Facilities Laboratories, 1976.

95

"On the Design of Art Centers", AIA Journa l . J. Merkel, March 1978, pgs. 82-83.

The Arts in the Economic Life of the Citv. H. Perloff, American Council for the Arts, New York, 1979.

The Citv as a Stage. Kevin W. Green, Partners for Livable Places, Washington, D. C , 1983

United Arts Fundrais ing Policvbook. Unknown Author, 1 9 8 1 .

asgsæs mm, 96

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FIGURE 41

SPACE MATRIX

97

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GENERAL SPACE RELATIONSHIP

P EDUC4TI0NAL

TURAL

ADMINIÍ

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Figure 42

THE ENTRY AREA

98

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M A A A A A A A A A A A A A A A

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EXHIBITÆON

COMMUNITY SERVICE

SÎSS .'S' g)SSv>© § m

Figure 43

99

THE GALLERY SECTOR

Figure 44

THE ADMINISTRATION SECTOR

100

PUBLIC

Figure 45

THE EDUCATION SECTOR

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THE SUPPORT SECTOR

101

VEfí^gî AREA

PHYSfCAL BOUNDRY

ORE

lOPPORT D ORM!

Figure 47

SQIUAEIE EOOTAGE IREQILJMEMENTS

102

EDUCATIONAL SECTOR - CLASS SPACE SQ. FT.

Lecture Room Lecture Room Class Room 1 Class Room 2 Class Room 3 Class Room 4 Class Room 5

1 2

800. 400. 250. 250. 250. 350. 350.

EDUCATIONAL SECTOR - LAB SPACE

2,650.

Ceramic Lab Painting Lab Print Lab Glass Lab Textile Lab

500 . 300 . 300 . 600 . 300 .

GALLERY / EXHIBITION SPACE

2,000.

Participant Artists Touring Attractions General Exhibition

1000. 1200. 725.

2,925.

ADMINISTRATIVE SPACE

103

Directors Office Dir. Secretaries Office Staff Offices

200. 100. 400.

SECURITY

700.

SurveiIIance Room Office Lounge / Locker Room

100. 100. 150.

STUDIO SPACE

COMMUNITY SERVICE SPACE

350 .

Individual Studio (8 spaces) 2,400. Student Lab Studio (10 spaces) 1,000.

3,400

Conference Hall 300,

ARTS AND CRAFTS STORE

Sales Floor Office S torage

200. 100.

75.

375 '

104

MAINTENANCE SPACE

Maintenance Room 150. S torage 75. Janitors Closet 1 75. Janitors Closet 2 75.

375?

LOBBY - ENTRY

Lobby Space 750 .

SCULPTURAL GARDEN

Sculptural Garden 1,000. (exterior space)

REFRESHMENT - SNACK SPACE

Snack Counter 200.

Vending Machine Area 100.

3ÔÔT

BATHROOMS

Mens (1 main, 1 secondary) 30 0. Womens ( 1 main, 1 secondary) 30 0.

6ÔÔT

MECHANICAL SPACE

Mechanical Room 1,250. Duct Core '150*

STORAGE AND RECEIVING

CIRCULATION

1,400.

S torage 1,000. Receiving 500.

1,500.

General ( 50% Building Efficiency) 8,813.

Total 26,437.

105

106

PACIE SPIECIIIFnCATIION (^ í^ í^ iR^ í v i / í=:bf <=vy 'Rs' í N ^ iR^ í^ í^ iR^ ii^ íR^ (^ Í:::::) I ^ Í:^:^ I Í : ^ Í^ Í:::^ (::::;) n^ iRy "Ry

SIPECHIFIIC SIPATEAL EEQUMEMENTS

SPACE TYPE (& PESCEHPTEON;

ADJACENCY: OCCUPANTS: FREQUENCY OF USE:

DIMENSIONAL REQUIREMENTS:

SQ. FT.: CU. FT.:

MATERIALS:

FEELING OF SPACE:

PRIVACY:

FLOORING:

LIGHTING:

ELECTRICAL:

ACOUSTICAL:

lEPlUCATI OMAL SIECTOE

LECTlUmE EOOM 1, LARGE SPACE FOR MULTI-CLASS MEETINGS CLASS SPACE 1-5 100 STUDENTS POSSIBLE TO BE USED HOURLY BUT WILL PROBABLY BE NEEDED TWICE DAILY HIGH CEILINGS & AMPLE RADIUS FOR LECrURE 800 800 X 20 = 16,000 DURABLE CLOTH SEATS, BRICK WALLS, WOOD SLAT STAGE, WOOD PANELS ALTERNATING THE BRICK STUDIOUS, DIRECTED & FOCUSED, COMFORTABLE MINIMAL, SMALL HIDDEN AREA FOR SPEAKER TO ENTER SHORT WEAVE CARPET, ALTERNATING SHADES OF LIGHT AND DARK FOR ROW DISTINCTION VERY VERSATILE, FADE FROM INTENSE SPEAKER LIGHTING TO INTENSE AUDIENCE LIGHTING -10-100 FC, FLUORESCENT/INCANDESCENT STANDARD 8' ON CENTER RECEPTICALS, STAGE EQUIPPED WITH 110 (4) & 220 (2) BEST ACOUSTICAL DESIGN FOR QUALITY SOUND IN EVERY SEAT, SLOPED FLOOR AND SLOPED CEILING

107

MECHANICAL: TEMP: AIR CHANGES:

PARTITIONS & WALLS: EQUIPMENT:

FINISHES:

STANDARD 68O-740 10 CFM/OCC NONE 12 X 15 RETRACTABLE SCREEN, PODIUM WITH LIGHT TILE STAGE, ACOUSTICAL MATERIAL ALONG REAR & CEILING

108

AEEA^ EBUCATnOÎ^AL gECTOE

SPACE TYPE (& ©ESCEIPTnON;

ADJACENCY: OCCUPANTS: FREQUENCY OF USE:

DIMENSIONAL REQUIREMENTS:

SQ. FT.: CU. FT.:

MATERIALS:

FEELING OF SPACE:

PRIVACY: FLOORING:

LIGHTING:

ELECTRICAL:

ACOUSTICAL:

MECHANICAL: TEMP: AIR CHANGES:

PARTITIONS & WALLS: EQUIPMENT:

FINISHES:

LECTUEE 2, SMALLER MORE INTIMATE SPACE CLASSES 1-5, LABS 45 STUDENTS MAY BE USED HOURLY BUT MORE LIKELY THREE TIMES DAILY HIGH CEILINGS & AMPLE RADIUS FOR LECTURE SPACE 400 400 X 15 = 6000 BRICK & WOOD PANELS, DURABLE CLOTH SEATS AND ACOUSTICAL MATERIALS STUDIOUS, BUT AN AIR OF OPENNESS, NOT QUITE AS ABATING AS THE LARGER MORE FORMAL SETTING NONE SHORT WEAVE CARPETING WITH ALTERNATING ROWS OF LIGHT AND DARK FOR ROW DISTINCTION VERY VERSATILE, FADE FROM INTENSE SPEAKER LIGHTING TO INTENSE AUDIENCE LIGHTING - 10-100 FC, FLUORESCENT/INCANDESCENT STANDARD 8' ON CENTER, STAGE EQUIPPED WITH 110 (2) 220 (1) OUTLETS REAR ACOUSTICAL PANELS, SLOPED ACOUSTICAL CEILING STANDARD 680-740 10 CFM/OCC NONE 12 X 8 SLIDE SCREEN, PODIUM WITH LIGHT TILE STAGE, ACOUSTICAL MATERIALS ALONG REAR & CEILING

109

AIREA^ EPUCATHON SECTOE

SPACE TYPE & DESCEIIPTIION; ADJACENCY:

OCCUPANTS: FREQUENCY OF USE: DIMENSIONAL REQUIREMENTS:

SQ. FT.: CU. FT.:

MATERIALS: FEELING OF SPACE: PRIVACY: FLOORING: LIGHTING: ELECTRICAL: ACOUSTICAL: MECHANICAL:

TEMP: AIR CHANGES:

PARTITIONS & WALLS: EQUIPMENT: FINISHES:

CLASS EOOMS H & 2, LARGE TYPE FIRST TO LARGE LECTURE SPACE & SECONDLY OTHER CLASSROOMS 40 STUDENT MAXIMUM AVERAGE OF THREE TIMES DAILY STANDARD 350 350 X 9 = 3150 TILE FLOORS, DRY WALL, & DROP CEILING SIMPLE BUT NOT STALE NONE TILE FLUORESCENT FIXTURES - 100 FC STANDARD DROP CEILING NONE 680-74" 10 CFM/OCC NONE BEIGE CHALK BOARD DRY WALL, TILE, AND DROP CEILING

110

lEHDlUCATnOMAL SIECTOIR

SPACE TYPE (& JDESCEHPTIIONs ADJACENCY: OCCUPANTS: FREQUENCY OF USE: DIMENSIONAL REQUIREMENTS:

SQ. FT.: CU. FT.:

MATERIALS: FEELING OF SPACE: PRIVACY: FLOORING: LIGHTING: ELECTRICAL: ACOUSTICAL: MECHANICAL:

TEMP: AIR CHANGES:

PARTITIONS & WALLS: EQUIPMENT: FINISHES:

CLASS EOOMS 3 = i , SMALL ROOMS OTHER CLASS ROOMS AND LECTURE HALLS 30 STUDENTS MAXIMUM THREE TIMES DAILY STANDARD 250 250 X 9 = 2,250 TILE, DRY WALL, DROP CEILING INTIMATE DISCUSSION NONE TILE FLUORESCENT FIXTURE -100 FC STANDARD DROP CEILING STANDARD 680-740 10 CFM/OCC NONE BEIGE CHALK BOARD TILE, DRY WALL, & DROP CEILING

111

AEEAg EHDeCAT OÍ^AL ^IKCT(n)E

SPACE TYPE (& ©ESCEIIPTnON;

ADJACENCY: OCCUPANTS:

FREQUENCY OF USE: DIMENSIONAL REQUIREMENTS:

SQ. FT.: CU. FT.:

MATERIALS: FEELING OF SPACE: PRIVACY: FLOORING: LIGHTING: ELECTRICAL:

ACOUSTICAL: MECHANICAL:

TEMP: AIR CHANGES:

PARTITIONS & WALLS:

EQUIPMENT:

FINISHES:

CEEAMEC LAB, THROWING & HAND BUILDING CLASSROOMS, EXTERIOR MAXIMUM OF 15 HAND BUILDERS & 10 THROWERS (ACCESSIBLE TO CHILDREN) TWO SESSIONS, & CONTINUAL DAY USE HIGH CEILINGS 500 500 X 11 = 5500 DURABLE & VERY CLEANABLE FREEDOM TO WORK UNHAMPERED NONE FINISHED CONCRETE FLUORESCENT FIXTURE - 60 FC STANDARD 110, ALTERING EVERY OTHER WITH 220, FLOOR PLUG-INS FOR THROWING WHEELS NONE EXHAUST SYSTEM IN GLAZING AREA 68O-740 10 CFM/OCC, EXHAUST SYSTEM IN GLAZING AREA MOVABLE, WASHABLE PARTITIONS, POSSIBLE TO DIVIDE ROOM, SEPARATED ROOM FOR GLAZING WITH SPRAYING STALLS, EXTERIOR KILN AREA 15 THROWING WHEELS (ADJUSTABLE FOR CHILDREN), 6 LARGE STURDY (ONE FOR CHILDREN)TABLES, 4 WHITE WARE KILNS, 2 DOUBLE SINKS, 3-10'LX8'HX3'D DRYING RACK, FINISHED CONCRETE, OPEN CEILING, PLASTIC WALL PANELS, 40 - 2X2X4 METALLOCKERS

112

AEMA^ miUCATIÍO!^ SIECTOE

SPACE TYPE (& DESCEIPTIION; ADJACENCY:

OCCUPANTS:

FREQUENCY OF USE:

DIMENSIONAL REQUIREMENTS: SQ. FT.: CU. FT.:

MATERIALS: FEELING OF SPACE:

PRIVACY: FLOORING: LIGHTING:

ELECTRICAL: ACOUSTICAL: MECHANICAL:

TEMP: AIR CHANGES:

PARTITIONS & WALLS: EQUIPMENT:

FINISHES:

PAnNTnNG LAIB OTHER LABS & CLASS ROOMS MAXIMUM OF 10 STUDENTS (ACCESSIBLE TO CHILDREN) THREE TIMES DAILY, & CONTINUAL DAY TIME USE HIGH CEILINGS, LARGE EXPANSE OF OPEN WALL SPACE 300 300 X 11 = 3300 SOFT, TACKABLE WALLS EXPRESSIVE, CAN FEEL FREE TO BE CREATIVE WITHOUT MUCH CONCERN FOR DAMAGEABLE SURROUNDINGS DOUBLE DOOR, LOCKING FINISHED CONCRETE FLUORESCENT FIXTURES, SPOT LIGHTING ON WALLS - 60 FC, NORTH-LIGHT NATURAL LIGHTING STANDARD NONE STANDARD 680-740 EXHAUST SYSTEM FOR HIGH RATE OF EXCHANGE TO HANDLE PAINT FUMES AND SPEED OF DRYING - 25 CFM/OCC MOVABLE PARTITIONS, TACKABLE DOUBLE SINK, 40 4X42X42 METAL LOCKERS, 10-6' EASELS, 4-4' EASELS, 10 STOOLS, 5 CHILDREN SIZE, 4.ADJUSTABLE MODEL STANDS, 2-3' SHADOW BOXES 10'LX6'HX4'D STORAGE RACKS FOR PAINTINGS FINISHED CONCRETE FLOOR, OPEN CEILING, TACKABLE WALLS

113

AEIEA; IReHJCATIIOMAL SIECTOE

SPACE TYPE (& IDESCEIIPTnON; ADJACENCY: OCCUPANTS:

FREQUENCY OF USE:

DIMENSIONAL REQUIREMENTS: SQ. FT.: CU. FT.:

MATERIALS: FEELING OF SPACE:

PRIVACY: FLOORING: LIGHTING: ELECTRICAL: ACOUSTICAL: MECHANICAL:

TEMP: AIR CHANGES:

PARTITIONS & WALLS: EQUIPMENT:

FINISHES:

PEKNT LAB OTHER LABS & CLASS ROOMS MAXIMUM OF 15 STUDENTS (CHILDREN ACESSABLE) TWICE DAILY, & CONTINUAL DAY TIME WORK STANDARD 300 300 X 9 = 2,700 STANDARD MECHANICAL (PRINT MECH.), FREEDOM TO BE CREATIVE NONE FINISHED CONCRETE FLUORESCENT FIXTURE - 60 FC STANDARD WITH 3 - 220 OUTLETS NONE EXHAUST SYSTEM 680-740 25 CFM/OCC TO PROMOTE SPEED OF DRYING NONE PRINT MACHINERY, DOUBLE SINK, DRYING RACKS OPEN CEILING, FINISHED CONCRETE FLOOR, DRY WALL

114

AIKIEA^ lEeUJCATHOMAL SIECTOE

SPACE TYPE (& DESCEIPTKON; ADJACENCY: OCCUPANTS: FREQUENCY OF USE:

DIMENSIONAL REQUIREMENTS: SQ. FT.: CU. FT.:

MATERIALS: FEELING OF SPACE: PRIVACY: FLOORING: LIGHTING: ELECTRICAL: ACOUSTICAL:

MECHANICAL: TEMP: AIR CHANGES:

PARTITIONS & WALLS: EQUIPMENT:

FINISHES:

GLA§§ LAB OTHER LABS, EXTERIOR EXPOSURE MAXIMUM OF 15 STUDENTS TWICE DAILY, INDIVIDUAL CONTINUAL DAILY USE HIGH CEILINGS 600 600 X 13 = 7800 FIRE PROOF, CONCRETE ADAPTIVE, ENERGETIC NONE FINISHED CONCRETE FLUORESCENT FIXTURE - 60 FC BOTH 220 & 110 SOUND ABSORPTION TO HANDLE NOISE OF OPERATION EXHAUST SYSTEM 68O.740 35 CFM/OCC, TO HANDLE HIGH HEAT OUTPUT OF GLASS FURNACE CONCREHE GLASS FURNACE, 2-3'X6' STEEL TABLES, 10'LX6'HX3'D ADJUSTABLE METAL SHELVES HEAT RESISTANT, CONCRETE,

115

AEIEAs mHJCATnOM SIECTOM

SPACE TYPE (& PESCEHPTIION; ADJACENCY: OCCUPANTS: FREQUENCY OF USE: DIMENSIONAL REQUIREMENTS:

SQ. FT.: CU. FT.:

MATERIALS: FEELING OF SPACE: PRIVACY: FLOORING: LIGHTING: ELECTRICAL: ACOUSTICAL: MECHANICAL:

TEMP: AIR CHANGES:

PARTITIONS & WALLS: EQUIPMENT:

FINISHES:

TEXTDLE LAB OTHER LABS AND LECTURE HALLS MAXIMUM OF 15 STUDENTS THREE TIMES DAILY STANDARD 300 300 X 9 = 2700 CARPET, DRYWALL, & DROP CEILING CREATIVE NONE SHORT LOOP CARPET FLUORESCENT FIXTURE - 60 FC STANDARD NONE NONE 68O-740 10 CFM/OCC NONE LOOMS, ADJUSTABLE STORAGE RACKS, LOCKABLE YARN CABINETS, 15-2'HX2'WX4'D STEEL LOCKERS CARPET, DRY WALL,

116

âUÂL CALLIEMV IE IfílIIIBIITIIOM SIECTOIR

SPACE TYPE (& BESCEIIPTnON; ADJACENCY: OCCUPANTS: FREQUENCY OF USE: DIMENSIONAL REQUIREMENTS:

SQ. FT.: CU. FT.:

MATERIALS: FEELING OF SPACE: PRIVACY: FLOORING: LIGHTING:

ELECTRICAL: ACOUSTICAL: MECHANICAL:

TEMP: AIR CHANGES:

PARTITIONS & WALLS: EQUIPMENT:

FINISHES:

PAETICnPANT AETHST OTHER EXHIBITION SPACES VARIABLE CONTINUAL DAY TIME USE HIGH CLEARANCE FOR DISPLAYS 1000 1000 X 24 = 14,400

QUIET & EVENTFUL FROM AREAS OF ACTIVITY SHORT LOOP SHAG VERSATILE SPOT AND DIRECTIONAL, FLUORESCENT/INCANDESCENT - 10-100 FC ADJUSTABLE STANDARD SOUND ABSORPTION WITHIN WALLS STANDARD 680 . PRECISE REGULATION OF HUMIDITY 15 CFM/OCC FLEXIBLE FOR VARIED DISPLAY 15% DISPLAY CASES TO LINEAR WALL SPACE, BENCHES FOR LONGER VIEWING SUBDUED

117

AEEA; (KALLI ^Myomifíl IIB IT IOM SIECTOE

SPACE TYPE (& ©ESCEIIPTIION; ADJACENCY: OCCUPANTS: FREQUENCY OF USE: DIMENSIONAL REQUIREMENTS:

SQ. FT.: CU. FT.:

MATERIALS: FEELING OF SPACE: PRIVACY: FLOORING: LIGHTING:

ELECTRICAL: ACOUSTICAL: MECHANICAL:

TEMP: AIR CHANGES:

PARTITIONS & WALLS: EQUIPMENT:

FINISHES:

TOUEMG ATTEACTHONS OTHER EXHIBITION SPACES VARIABLE CONTINUAL HIGH CLEARANCE FOR DISPLAY 1,200 1,200 X 24 = 28,800 STANDARD QUITE & SUBDUED FROM ACTIVITY AREAS SHORT WEAVE LOOP CARPET VERSATILEFLUORESCENT/INCANDESCENT 10-100 FC ADJUSTABLE STANDARD SOUND ABSORPTION WITHIN WALLS STANDARD 680 15 CFM/OCC FLEXIBLE, AS TO DISPLAY TYPE 15% DISPLAY CASES TO WALL SPACE, BENCHES FOR LONGER VIEWING AVERAGE-SUBDUED

118

AEIEA; CALLmY^neniBiiTiTOî^ SIECTOE

SPACE TYPE (& PESCEIPTnON; ADJACENCY: OCCUPANTS: FREQUENCYOFUSE: DIMENSIONAL REQUIREMENTS:

SQ. FT.: CU. FT.:

MATERIALS: FEELING OF SPACE: PRIVACY: FLOORING: LIGHTING:

ELECTRICAL: ACOUSTICAL: MECHANICAL:

TEMP: AIR CHANGES:

PARTITIONS & WALLS: EQUIPMENT:

FINISHES:

GEMEEAL EXmBnTnONS OTHER EXHIBITION SPACES VARIABLE CONTINUAL HIGH CEILING HEIGHT FOR DISPLAY 725 725 X 24 = 17,400 STANDARD QUITE & EXCITING FROM ACTIVITY SPACES SHORT WEAVE LOOP CARPET FLEXIBLE , VERY VERSATILE, FLUORESCENT/ INCANDESCENT - 10-100 ADJUSTABLE STANDARD PADDED TO ABSORB SOUND STANDARD 680 15 CFM/OCC FLEXIBLE, TO DISPLAY WORKS 15% DISPLAY CASES TO LINEAR WALL SPACE, BENCHES FOR LONGER VIEWING STANDARD

119

A.5^i:Ag A*^" •.^é.: NJ- :E_ ^

ADJACENCY: OCCLT.ANTS: FREQLTNCY OF USE: DIMENSIONAL REQUIREMENTS

SQ. FT,: CU. FT.:

MATERIALS: FEELING OF SPACE: PRINACY: FLOORESG: LIGHTING: ELECTRICAL: ACOUSnCAL: MECHANICAL:

TEMP: AIR CHANGES:

PARTITIONS & WALLS: EQUIPMENT:

FINISHES:

SECRETARIAL OFFICE & SUPPORT OFFICES 3 TO 4 \MTH 5 MAXIMU.M CONTINUAL DAILY STANDARD 200 200 X 9 = 1,800 WOOD PLUSH AND SOFT SURFACE MATERIALS REGLXATED ACCESS BY SECRETARY DEEP SHAG CARPET FLUORESCENT FIXTURES - 80 FC STANDARD DROP CEILING STANDARD 680-74° 10 CFM/OCC NONE OFFICE FURMTLHE TO INCLUDE A COUCH, PHONT: DRYWALL AND WALNUT PANELS, C A R P E T , D R O P C E I L I N G

120

AMIEA; ADDMIIMgTEATI ON glECTOE

SPACE TYPE (& ©ESCEIIPTEON; ADJACENCY: OCCUPANTS: FREQUENCY OF USE: D I M E N S I O N A L R E Q U I R E M E N T S :

SQ. FT.: CU. FT.:

M A T E R I A L S : FEELING OF SPACE: P R I V A C Y :

FLOORING: LIGHTING: ELECTRICAL: ACOUSTICAL: MECHANICAL:

T E M P : AIR CHANGES:

PARTITIONS & WALLS: EQUIPMENT:

FINISHES:

DHEECTOES SECEETAEHES OFFIICE DIRECTORS OFFICE & SUPPORT OFFICES 2 TO 3 WITH 5 MAXIMUM CONTINUAL DAILY STANDARD 100 100 X 9 = 900 STANDARD FUNCTIONAL OUT OF DIRECT ACCESS BUT EASY TO LOCATE WHEN NEEDED SHORTLOOPSHAG FLUORESCENT FIXTURES - 80 FC STANDARD, CENTER FLOOR PLUG DROP CEILING STANDARD 680-740 10 CFM/OCC NONE COFFEE MACHINE, OFFICE FURNITURE, SEATING FOR 4, PHONE STANDARD

121

AIREA; ABMmnSTEATnOM SIECTOIR

SPACE TYPE (& DESCEIPTHON; ADJACENCY:

OCCUPANTS: FREQUENCY OF USE: DIMENSIONAL REQUIREMENTS:

SQ. FT.: CU. FT.:

M A T Ê R I A L S : FEELING OF SPACE: PRIVACY: FLOORING: LIGHTING: ELECTRICAL: ACOUSTICAL: MECHANICAL:

TEMP: AIR CHANGES:

PARTITIONS & WALLS: EQUIPMENT: FINISHES:

STAEE OFF CES 1- 41 CLUSTERED AROUND ADMINISTRATORS OFFICE 1 TO 2 PEOPLE CONTINUAL DAILY STANDARD 100 EACH, = 400 400 X 9 = 3,600 STANDARD FUNCTIONAL OPEN OFFICE SET-UP SHORT LOOP SHAG FLUORESCENT FIXTURE - 80 FC STANDARD DROP CEILING STANDARD 680-740 10 CFM/OCC NONE OFFICE FURNITURE, PHONE STANDARD

122

AEIEA; SIECHJMnTY glECTOE

SPACE TYPE (& ©ESCEEPTION; ADJACENCY:

OCCUPANTS: FREQUENCYOFUSE: DIMENSIONAL REQUIREMENTS:

SQ. FT.: CU. FT.:

MATERIALS: FEELING OF SPACE: PRIVACY: FLOORING: LIGHTING: ELECTRICAL:

ACOUSTICAL: MECHANICAL:

TEMP: AIR CHANGES:

PARTITIONS & WALLS: EQUIPMENT:

FINISHES:

SUEVEnLLAMCE EOOM CENTRALLY LOCATED IN BUILDING, SECURITY OFFICE, & LOCKER ROOM 1 TO 4 PEOPLE CONTINUAL DAY & NIGHT STANDARD 100 100 X 9 = 900 STANDARD HIGH.TECH COMPLETELY FROM PUBLIC VIEW TILE FLUORESCENT FIXTURE - 80 FC DOUBLE STANDARD CAPACITY, 1 . 220 OUTLETS DROP CEILING STANDARD 680.740 10 CFM/OCC NONE STEEL TABLE SUITABLE FOR MULTI.SCREEN SURVEILLANCE SYSTEM, PHONE STANDARD

123

AEEA; SIECI[JEIIT¥ SIECTOE

SPACE TYPE <& DESCEEPTIION; ADJACENCY:

OCCUPANTS: FREQUENCY OF USE: DIMENSIONAL REQUIREMENTS:

SQ. FT.: CU. FT.:

MATERIALS: FEELING OF SPACE: PRIVACY: FLOORING: LIGHTING: ELECTRICAL: ACOUSTICAL: MECHANICAL:

TEMP: AIR CHANGES:

PARTITIONS & WALLS: EQUIPMENT: FINISHES:

SECUEHTY OEEHCE CENTRALLY LOCATED IN BUILDING, SURVEILLANCE ROOM, & LOCKER ROOM 1 TO 4 PEOPLE CONTINUALLY DAILY STANDARD 100 100 X 9 = 900 STANDARD FUNCTIONAL ACCESSIBLE TO PUBLIC IF NEEDED SHORT LOOP SHAG FLUORESCENT FIXTURE - 60 FC STANDARD DROP CEILING STANDARD 680-740 10 CFM/OCC NONE OFFICE FURNITURE STANDARD

124

AEIEAg SIECIUEHTY ^IECTOE

SPACE TYPE (& ©ESCEIIPTnOM; ADJACENCY:

OCCUPANTS: FREQUENCY OF USE: DIMENSIONAL REQUIREMENTS:

SQ. FT.: CU. FT.:

MATERIALS: FEELING OF SPACE: PRIVACY:

FLOORING: LIGHTING: ELECTRICAL: ACOUSTICAL: MECHANICAL:

TEMP: AIR CHANGES:

PARTITIONS & WALLS: EQUIPMENT:

FINISHES:

LOUNGE - LOCIKEE EOOM TO SURVEILLANCE ROOM & MAINTENANCE SECTION 5 T 0 7 CONTINUAL DAY AND NIGHT STANDARD 150 150 X 9 = 1,350 STANDARD COLORFUL COMPLETE PRIVACY WITH 1/3 FEMALE, 2/3 MALE TILE FLUORESCENT FIXTURE - 30 FC STANDARD DROP CEILING STANDARD 680-740 15 CFM/OCC LOCKERS FORM DIVISIONS 2' X 2' X 6' LOCKERS, BENCHES, MIRROR, PAY PHONE, TIME CLOCK STANDARD

125

AEIEA^ STUMO ^IECTOM

SPACE TYPE (& BESCEIPTEON; STUBEOS ADJACENCY: OCCUPANTS: FREQUENCYOFUSE: DIMENSIONAL REQUIREMENTS:

SQ. FT.: CU. FT.:

MATERIALS: FEELING OF SPACE: PRIVACY: FLOORING: LIGHTING:

ELECTRICAL: ACOUSTICAL: MECHANICAL:

TEMP: AIR CHANGES:

PARTITIONS & WALLS: EQUIPMENT: FINISHES:

ENOIIVIIIIDUAL, PAETICIIPANT AETKST, Û = 8 TO OTHER STUDIOS 1 T 0 2 CONTINUAL DAILY & SOME EVENINGS TWO CEILING HEIGHTS FOR LARGER WORK 8 @ 300 EACH, = 2400 4 (5) 12, 4 @ 20 = 48 X 300 + 80 X 300 = 38,400 CONCRETE, PLASTIC PANELS SENSE OF FREEDOM, ADAPTABILITY INDIVIDUAL SPACE FINISHED CONCRETE FLUORESCENT/INCANDESCENT - 100 FC -ADJUSTABLE, NATURAL NORTH LIGHT STANDARD WITH 2 - 220 NONE EXHAUST SYSTEM 68O.740 30 CFM/OCC ADJUSTABLE CONCRETE, PLASTIC PANELS SINGLE SINK STANDARD

126

AIRIEA^ gTUPKO SIECTOM

SPACE TYPE (& BESCEIIPTnOBî; ADJACENCY: OCCUPANTS: FREQUENCY OF USE:

DIMENSIONAL REQUIREMENTS:

SQ. FT.: CU. FT.:

MATERIALS: FEELING OF SPACE: PRIVACY:

FLOORING: LIGHTING: FIXTURES .

ELECTRICAL: ACOUSTICAL: MECHANICAL:

TEMP: AIR CHANGES:

PARTITIONS & WALLS: EQUIPMENT: FINISHES:

STUBEOT LAIB STUDDOS II- 1® TO OTHER STUDIOS 1 TO 4 PEOPLE CONTINUAL DAILY AND SOME EVENING USE TWO CEILING HEIGHTS FOR LARGER WORKS 10 @ 100 EACH, = 1000 5 @ 12, 5 @ 20, 60 X 100 + 100 X 100 = 16,000 STANDARD FREEDOM TO BE CREATIVE PRIVATE SPACE BUT OPEN FROM ABOVE FOR OBSERVATION FINISHED CONCRETE FLUORESCENT/INCANDESCENT 100 FC, NATURAL NORTH ADJUSTABLE STANDARD NONE EXHAUST SYSTEM 680-740 30 CFM/OCC - ADJUSTABLE NONE SINGLE SINK STANDARD

LIGHT

127

AMIEA; coMMUJMTY m^"r.c-:i

SPACE TYPE <& DSSCEinPTION: ADJACENCY: OCCUPANTS: FREQUENCY OF USE: DIMENSIONAL REQUIREMENTS:

SQ. FT.: CU. FT.:

MATERIALS: FEELING OF SPACE: PRIVACY: FLOORING: LIGHTING: ELECTRICAL: ACOUSTICAL: MECHANICAL:

TEMP: AIR CHANGES:

PARTITIONS & WALLS: EQUIPMENT:

FINISHES:

COMFEEENCE IÍEÁYLL ADMINISTRATION & LOBBY 10 WITH MAXIMUM OF 15 VARIABLE, 5 TO 10 MEETINGS PER WEEK PROPORTIONAL CEILING HEIGHT FOR GOOD ACOUSTICS 300 300 X 12 = 3,600 STANDARD BUSINESS LIKE EASY TO LOCATE FOR FIRST TIME USER SHORTLOOPSHAG FLUORESCENT FIXTURES . 70 FC STANDARD DROP CEILING STANDARD 680-740 10 CFM/OCC NONE PROJECTION SCREEN, RECTANGULAR TABLE & 10 ARM CHAIRS STANDARD

128

AEIEAg AETg°CEAIETS STOEffi SIECTOE

SPACE TYPE (& HÎESCEIPTION; ADJACENCY: OCCUPANTS: FREQUENCY OF USE: DIMENSIONAL REQUIREMENTS:

SQ. FT.: CU. FT.:

MATERIALS: FEELING OF SPACE: PRIVACY:

FLOORING: LIGHTING: ELECTRICAL: ACOUSTICAL: MECHANICAL:

TEMP: AIR CHANGES:

PARTITIONS & WALLS: EQUIPMENT:

FINISHES:

SALES FLOOE OTHER STORE FUNCTIONS & LOBBY AREA 5 T 0 8 VARIABLE DAILY HIGH CEILING FOR CERTAIN SALES OBJECTS 200 200 X 12 = 2,400 STANDARD INVITING VERY ACCESSIBLE TO PUBLIC BUT ABLE TO CONTROLINVENTORY SHORTLOOPSHAG FLUORESCENT FIXTURE - 60 FC STANDARD DROP CEILING STANDARD 68O.740 10 CFM/OCC NONE 6' SALES COUNTER, 10' OF DISPLAY CASES, AND CASH REGISTER STANDARD

129

AIRIEA; A.l^^i '3A ; § . .w.r- . . í . > ^ — ? ^ _ . . É _ m SPACZ TY?2 (& D 2 § C : ^ Z ? T : C N ^ ADJACENCY: OCCUPANTS: FREQUENCY OF USE: DIMENSIONAL REQUIREMENTS:

SQ. FT.: CU. FT.:

MATERIALS: FEELING OF SPACE: PRIVACY: FLOORING: LIGHTING: ELECTRICAL: ACOUSTICAL: MECHANICAL:

TEMP: AIR CHANGES:

PARTITIONS & \\ ALLS: EQUIPMENT:

FINISHES:

CZFZC3 TO SALES FLOOR & OFHCE 2 PEOPLE CONTINUAL DAILY STANDARD 100 100 X 9 = 900 STANDARD FUNCTIONAL ACCESS THROUGH SALES FLOOR ONLY SHORT LOOP SHAG FLUORESCENT FIXTURE - 100 FC STANDARD DROP CEILING ST.\ND.\RD 68O-740 10 CFM/OCC NONE 1 CUBIC FT FLOOR SAFE, OFFICE FURNITLRE STANDARD

130

AIRIEA; AET^^CEAIETS ^TOEIE SIECTOE

SPACE TYPE (& DESCEIIPTIIONs ADJACENCY: OCCUPANTS: FREQUENCYOFUSE: DIMENSIONAL REQUIREMENTS:

SQ. FT.: CU. FT,:

MATERIALS: FEELING OF SPACE: PRIVACY: FLOORING: LIGHTING: ELECTRICAL: ACOUSTICAL: MECHANICAL:

TEMP: AIR CHANGES:

PARTITIONS & WALLS: EQUIPMENT: FINISHES:

STOEAGE EOOM DIRECT ACCESS TO SALES FLOOR 1 TO 2 PEOPLE SEVERAL TIMES DAILY STANDARD 75 75 X 9 = 675 STANDARD FUNCTIONAL FROM VIEW OF SALES FLOOR TILE FLUORESCENT FIXTURES - 30 FC NONE DROP CEILING STANDARD 68O.740 10 CFM/OCC NONE ADJUSTABLE STEEL SHELVING STANDARD

131

AIREA^ MAnMTIEMAMCIE SIECTOE

SPACE TYPE (& PESCEHPTEON; ADJACENCY: OCCUPANTS: FREQUENCY OF USE: DIMENSIONAL REQUIREMENTS:

SQ. FT.: CU. FT.:

MATERIALS: FEELING OF SPACE: PRIVACY:

FLOORING: LIGHTING: ELECTRICAL: ACOUSTICAL: MECHANICAL:

TEMP: AIR CHANGES:

PARTITIONS & WALLS: EQUIPMENT:

FINISHES:

MAHN EOOM TO ALL SECTIONS OF THE STRUCTURE 5 TO 8 PEOPLE CONTINUAL DAILY AND EVENING HIGH CEILING FOR STORAGE CAPACITY 150 150 X 12 = 1,800 STANDARD FUNCTIONAL, CLEAN HIDDEN FROM PUBLIC VIEW BUT EASILY ACCESSIBLE TO ALL AREAS OF THE STRUCTURE FINISHED CONCRETE FLUORESCENT FIXTURE - 30 FC 4 TO 1 RATIO OF 110 TO 220 NONE STANDARD 680-740 10 CFM/OCC NONE DOUBLE SINK, MOP SINK, 8' WORK BENCH, 12 LINEAR FT OF ADJUSTABLE SHELVING STANDARD

132

SPACE TYPE (& BESCEnPTnON; ADJACENCY: OCCUPANTS: FREQUENCY OF USE: DIMENSIONAL REQUIREMENTS:

SQ. FT.: CU. FT.:

MATERIALS: FEELING OF SPACE: PRIVACY: FLOORING: LIGHTING: ELECTRICAL: ACOUSTICAL: MECHANICAL:

TEMP: AIR CHANGES:

PARTITIONS & WALLS: EQUIPMENT: FINISHES:

M A W TEMAMCE SECTOE STOEAGE EOOM TO MAINTENANCE ROOM 2 TO 3 PEOPLE TWICE DAILY STANDARD 75 75 X 12 = 900 STANDARD FUNCTIONAL, ORGANIZED COMPLETELY HIDDEN FROM PUBLIC VIEW FINISHED CONCRETE FLUORESCENT FIXTURE - 30 FC STANDARD DROP CEILING STANDARD 68O.740 10 CFM/OCC SHELVES FORM DIVISIONS 20 LINEAR FT OF ADJUSTABLE SHELVING STANDARD

133

AEIEA; MAnMTTE ^AMCIE SIECTOE

SPACE TYPE (& PESCEEPTIION; ADJACENCY: OCCUPANTS: FREQUENCY OF USE: DIMENSIONAL REQUIREMENTS:

SQ. FT.: CU. FT.:

MATERIALS: FEELING OF SPACE: PRIVACY:

FLOORING: LIGHTING: ELECTRICAL: ACOUSTICAL: MECHANICAL:

TEMP: AIR CHANGES:

PARTITIONS & WALLS: EQUIPMENT: FINISHES:

JAMTOES CLOSET = U <& 2 ONE TO ONE SIDE, ONE TO THE OTHER 1 PERSON AVERAGE FOUR TIMES DAILY STANDARD 2 @ 75 EACH, = 150 150 X 9 = 1,350 STANDARD FUNCTIONAL

HIDDEN FROM PUBLIC'S EYE EVEN WHEN JANITOR IS ENTERING THE SPACE TILE FLUORESCENT FIXTURE - 30 FC NONE DROP CEILING STANDARD 680-740 10 CFM/OCC NONE 3' ADJUSTABLE SHELVING, MOP SINK STANDARD

134

AEIEA; LOIBW ^ m T E ¥ ^IECTOM

SPACE TYPE (& DESCEIPTION; ADJACENCY:

OCCUPANTS: FREQUENCY OF USE: DIMENSIONAL REQUIREMENTS:

SQ. FT.: CU. FT,:

MATERIALS: FEELING OF SPACE: PRIVACY: FLOORING: LIGHTING:

ELECTRICAL:

ACOUSTICAL: MECHANICAL:

TEMP: AIR CHANGES:

PARTITIONS & WALLS: EQUIPMENT:

FINISHES:

LOIBBY SPACE CENTRAL AXIS TO ALL MAJOR ELEMENTS OF THE BUILDING MAXIMUM OF 150 PEOPLE CONTINUAL DAILY & EVENING HIGH CEILING FOR DISPLAY FLEXIBILITY 750 750 X 20 = 15,00 STONE CELEBRATION, FEELING OF PENETRATION NONE STONE WITH HIGH SHEEN FINISH

NATURAL LIGHT, FLUORESCENT FIXTURES 40 FC STANDARD WITH FLOOR OUTLETS FOR DISPLAY NONE STANDARD 680-740 20 CFM/OCC NONE 6 . 6' BENCHES, WATER FOUNTAIN, FOUNTAIN AREA SLEEK & SHINY, STONE, GLASS

135

AEIEA^ gCULIPTKJMAL CAEDIEÎ^ SIECTOIR

SPACE TYPE (& DESCEDPTIION; ADJACENCY: OCCUPANTS: FREQUENCY OF USE: DIMENSIONAL REQUIREMENTS:

SQ. FT,: CU. FT.:

MATERIALS: FEELING OF SPACE: PRIVACY:

FLOORING: LIGHTING: ELECTRICAL:

ACOUSTICAL: MECHANICAL:

TEMP: AIR CHANGES:

PARTITIONS & WALLS: EQUIPMENT: FINISHES:

SCULPTUEAL GAEBEN TO EXHIBITION SPACE & LOBBY MAXIMUM OF 150 PEOPLE CONTINUAL DAY & EVENING FREE EXPANSES 1000, EXTERIOR SPACE EXTERIOR SPACE NATURAL STONE, TILE, WOOD, CONCRETE NATURAL, EARTHY SECLUDED SPACES WITHIN THE WHOLE BUT AN OPEN SPACE EASILY ACCESSIBLE TO OTHER BUILDINGS TILE NATURAL, NIGHT LIGHTING COVER RECEPTICALS FOR DISPLAY & LIGHTING SOUND PROTECTION FROM ROADWAYS DRAINAGE SYSTEM AS NEEDED NONE. OUTSIDE MINIMIZE WINDS BUT USE SOUTHERLY BREEZES NONE NONE NATURAL

136

AEIEA; EIEIFMIESIfílMIEMT^gNACIí^ SIECTOH?.

SPACE TYPE (& PESCEIIPTKOBîs ADJACENCY:

OCCUPANTS: FREQUENCY OF USE:

DIMENSIONAL REQUIREMENTS: SQ. FT.: CU. FT.:

MATERIALS: FEELING OF SPACE: PRIVACY:

FLOORING: LIGHTING: ELECTRICAL: ACOUSTICAL: MECHANICAL:

TEMP: AIR CHANGES:

PARTITIONS & WALLS:

EQUIPMENT:

FINISHES:

SNACK COUOTEE TO CENTRAL AXIS, TO PUBLIC GATHERING AREAS OFF THE LOBBY 4 WORKERS, HANDLE 3 LINES VARIABLE WITH NOON & 600PM AS HIGH POINTS STANDARD 200 200 X 12 = 2,400 STANDARD REFRESHING, EASE OF SERVICE BEHIND THE COUNTER IS CONCEALED LINOLEUM FLUORESCENT FIXTURES . 40 FC STANDARD NONE STANDARD 680-740 20 CFM/OCC DIVISION BETWEEN COUNTER & OTHER ENTITIES 14' COUNTER, CASH REGISTER, DOUBLE SINK, SOFT DRINK MACHINERY, COOLER, STOVE W/GRILL BRIGHT FORMICA COUNTERS

137

AEIEA^ EIEIEEIESIfílMIEMT^^MACII^ S I E C T O E

SPACE TYPE (& IDESCEDPTIIOM; ADJACENCY:

OCCUPANTS: FREQUENCY OF USE: DIMENSIONAL REQUIREMENTS:

SQ. FT.: CU. FT.:

MATERIALS: FEELING OF SPACE: PRIVACY: FLOORING: LIGHTING: ELECTRICAL:

ACOUSTICAL: MECHANICAL:

TEMP: AIR CHANGES:

PARTITIONS & WALLS: EQUIPMENT:

FINISHES:

VENBHNG MACIHIIIME AEEA PARTICULARLY TO THE EDUCATIONAL SECTOR BUT ALSO THE ENTIRE FACILITY MAXIMUM OF 15 CONTINUAL DAY TIME USE STANDARD 100 100 X 9 = 900 STANDARD FREEDOMTORELAX 3 . 4 PERSON TABLES SHORT LOOP CARPET FLUORESCENT FIXTURES . 30 FC STANDARD, WITH OUTLETS DOUBLED ON WALL AREA FOR MACHINES NONE NONE 680-740 10 CFM/OCC ENCLOSED MACHINES 8 . 3 TO 4 PERSON TABLES & ARM CHAIRS, VENDING MACHINES, BILL CHANGER FORMICA TABLE TOPS (TO MATCH SNACK COUNTER)

138

IBATIfílEOOM SIECTOE

SPACE TYPE (& BESCEHPTEON; ADJACENCY:

OCCUPANTS: FREQUENCY OF USE: DIMENSIONAL REQUIREMENTS:

SQ, FT,: CU, FT.:

MATERIALS: FEELING OF SPACE: PRIVACY: FLOORING: LIGHTING: ELECTRICAL: ACOUSTICAL: MECHANICAL:

TEMP: AIR CHANGES:

PARTITIONS & WALLS: EQUIPMENT: FINISHES:

MEN'S EOOM, PEIMAEY (& SECONBAEY TO ALL AREAS (ONE PUBLIC, ONE FOR OCCUPANTS MAXIMUM OF 8 & 4 RESPECTIVELY CONTINUAL DAY TIME USE STANDARD PRIMARY = 200, SECONDARY = 100 200 X 9 = 1800, 100 X 9 = 900 TILE, CERAMICS STRONG SENSE OF PRIVACY, CLEANLINESS VERY STRONG TILE FLUORESCENT FIXTURES . 30 FC STANDARD DROP CEILING STANDARD 68O.740 20 CFM/OCC PERSONAL DIVISIONS STANDARD FIXTURES TILE, CERAMIC

139

IBATIfílEOOM glECTOE

SPACE TYPE (& PESCEIPTEON; ADJACENCY:

OCCUPANTS: FREQUENCY OF USE: DIMENSIONAL REQUIREMENTS:

SQ, FT,: CU, FT.:

MATERIALS: FEELING OF SPACE: PRIVACY: FLOORING: LIGHTING: ELECTRICAL: ACOUSTICAL: MECHANICAL:

TEMP: AIR CHANGES:

PARTITIONS & WALLS: EQUIPMENT: FINISHES:

WOMEN'S PEDMAEY <& SECONBAEY TO ALL AREAS (ONE PUBLIC, ONE FOR OCCUPANTS) MAXIMUM 8 & 4 RESPECTIVELY CONTINUAL DAY TIME STANDARD PRIMARY = 200, SECONDARY = 100 200 X 9 = 1800, 100 X 9 = 900 TILE, CERAMICS, CLEANABLE SURFACES STRONG SENSE OF PRIVACY, CLEANLINESS PERSONAL PRIVACY TILE FLUORESCENT FIXTURES - 30 FC STANDARD DROP CEILING STANDARD 680-740 20 CFM/OCC NONE STANDARD FIXTURES TILE, CERAMIC FIXTURES

140

AEIEAg MIECIfílAMHCAL ^IECTOE

SPACE TYPE (& DESCEHPTnON; ADJACENCY: OCCUPANTS: FREQUENCY OF USE: DIMENSIONAL REQUIREMENTS:

SQ. FT,: CU, FT.:

MATERIALS: FEELING OF SPACE: PRIVACY: FLOORING: LIGHTING: ELECTRICAL: ACOUSTICAL:

MECHANICAL: TEMP: AIR CHANGES:

PARTITIONS & WALLS: EQUIPMENT: FINISHES:

MECIHIAMCAL EOOM TO ALL AREAS, CENTER OF STRUCTURE NONE CONTINUAL HIGH CEILINGS 1,250 1,250 X 13 = 16,250 STANDARD FUNCTIONAL RESTRICTED FROM ANY PUBLIC VIEW FINISHED CONCRETE FLUORESCENT FIXTURE - 30 FC STANDARD FOR EQUIPMENT SOUND ABSORPTION WITHIN TO CONTAIN SERVICE EQUIPMENT SOUND AS FOR SERVICE 680-740 10 CFM/OCC NONE AS FOR SERVICE STANDARD

141

SPACE TYPE (& BESCEnPTEON; ADJACENCY: OCCUPANTS: FREQUENCY OF USE: DIMENSIONAL REQUIREMENTS:

SQ. FT.: CU. FT.:

MATERIALS: FEELING OF SPACE: PRIVACY:

FLOORING: LIGHTING: ELECTRICAL: ACOUSTICAL: MECHANICAL:

TEMP: AIR CHANGES:

PARTITIONS & WALLS: EQUIPMENT:

FINISHES:

MECMAMCAL SECTOE BUCT COEE CENTER OF FACILITY NONE CONTINUAL ELEVATE THROUGH BUILDING 150 HEIGHT OF FACILITY X DIAMETER OF DUCT WAY STANDARD FUNCTIONAL, MECHANICAL RESTRICTED VIEW FROM PUBLIC BUT EASY ACCESS NONE NONE NONE SOUND CONTAINMENT ON INNER WALLS STANDARD 68O-740 STANDARD NONE ALL MECHANICAL SERVICE EQUIPMENT NEEDING PASSAGES EXPOSED MATERIALS

MWÍBB MHÍIÉÉtlliHHl • t t lÉf

^

143

CO§T ANALYSIS í s y ívi^ 4=;: <R::f í v y <vi:í iR^ Í : ^ Í^;:^ ÍC^N, Í ^ Í ^ V, Í ^ Í^V^ ^ : ^ c:^ í^ ^ ^ ^ ^ ^ ; ^ cz^ ^ ^ ^

HNTEODUCTION The economic ramifications of any venture are increasingly more complex. The funding and predetermination of costs have become important factors in specifying the direction and scope of any endeavor. Both the programmer and the designer must evaluate these implications as they pertain to the project.

The cost analysis of the project is based on the following cri teria: available, high quality materials; high levels of construction quality; and the time schedule.

The use of predetermined average building costs can aid in the evaluation of a building. The generic cost for related buildings are used since the art center theme does not fit any one category.

Type $

Civic Center and Library 89.82 - 98.28* Conference Center 73.78 - 81.66* Museum 73.80 - 81.64* University & CoIIege Classroom 82.05 - 90.78*

Average $ 83.98

* fíoripe Con^friirtion C^ t Tnformation Svstem, pgs. 27.

144

CONSTEUCTION CO§T

BUILDING SYSTEM

Super Structure Founda t ions Exterior Walls Pa r t i t i ons Roofing Interior Wall Finish Floor Finishes Ceilings Specia l t ies Electr ical P lumbing Fire Protection HVAC Conveying Systems General Conditions Computer Control System

$ per sq. ft

14.00 4.50 7.50 6.20 3.60 6.35 2.85 2.40

.70 8.30 6.45

.95 10.25

.50 2.50 4.50

$ 81 .55

The estimates above are made based on my general case studies and the design criteria which has been formulated.

Building Gross sq. footage; 26 ,438 . Building Cost per sq. ft.: $ 81.55

145

Gross sq. X Cost per sq. ft. = $ 2,156,018.90

Site Development Costs Site Preparation (1.5% building cost)

Ut i l i t ies (1.0% building cost)

$ 32,340.28

$ 21,560.18

Walkways, Walls, Terraces ( 1.5% building cost) =

Landscap ing ( 2.0% building cost) =

External Lighting (0.5% building cost) =

$ 32,340.28

$ 43,120.38

$ 10,780.09

Pa rk ing ( $1000. X 100 parking spaces) = $ 100,000.00

Drainage System ( 0.5% building cost) = $ 10,780.09

Total Cost of Site Development: $ 250,921.30

Total Building Cost: $ 2,406,940.20

146

Site Acquisition: $ 0 (The site presently owned by the city, it is clear and ready for development)

Professional Fees and Consultation: $ 216,624.61

9%X

Cont ingencies : $ 120,347.01 5% X

Administration Cost: $ 24,069.40 1%X

Inflationary Factor: $ 336,971.62 1% X 14(mid-way to completion)

+

Total Adjusted Cost after Escalation: $ 3,104,952.80

TIMIE SCIHIEEDULE » ' V % f ^ * ^ ^ ^ < ^ i ^ ^^r^^ ^ ^ ^ r ^ r ^ ^^^^^^^^^f^ '^1^'%"^ '%' ' % > ' V ^ ' ^ ' ^ ' ^ ' % ' ' V ' ^ ^ ^ ^ ^ ' ^ ^ • ^ ' ^ • ^ ^ ^ v ^ ^ . ^ l ^ i ^ ^ ^ /^/^J^^ 1^^ ^ ' W ' V ^ ' ^ ^ ^^^'Hr '%H^ "S

The need for a schedule is mandatory to any successful project. The goal of the cost analysis is to develop information required to estimate the total cost to the point of occupancy. The accuracy of the estimate must be then contingent on the date of completion. The following time schedule is only a recommended time frame. It should remain flexible until the design has been completed. The suggested time frame is as follows:

147

PHASE TIME REQUIRED CUMULATIVE TIME

Programming Sept.-Dec. 87

Design Development Jan.-April 88

Construction Documents May-Sept. 88

Negotiation and Bid Award Contract Oct. 88

4 months

4 months

5 months

1 month

4 months

8 months

13 months

14 months

Construction Starts Nov. 88

1 month 15 months

Mid-point May 89

Construction Completed Nov. 89

6 months

6 months

21 months

27 months

Take occupancy Dec. 89

1 month 28 months

Completion of Project-Dec. 89 2 years 4 months

148

The time schedule above is in accordance with the assumption that the construction will be completed without delays from miscellaneous occurrences, (labor str ikes, mate r ia l avai labi l i ty , weather , economic shifts, labor availability, e t c ) .

LHIFE C Y C L E C O § T ANALYSIS

The life cycle cost analysis of a structure is essential to the development of a program geared for success. It is known that the initial cost of a building is in no comparison to the cost of maintenance, energy, and man-power over the expected life of the structure. So it follows that any savings or improvement in productivity along any lines would ultimately save many times the original cost of such a change.

The use of quality materials (beyond the standards) in high traffic areas will decrease maintenance costs and improve durability. A superior quality HVAC system with lean fuel consumption is desired. The ability to alter fuel sources is impor tant in this changing environmental ly controlled a t m o s p h e r e .

The emphasis must be placed on the life cycle cost over the initial expenditure to develop a project that is as successful today as it will be tomorrow.

149 FrøANCmC ^ ^ ^ ' ' ^ ' ^ ^ ^ ^ ' ^ ^ ' ' ^ ' ^ ' ^ ' ^ ^ ^ ' ^ ' ' ^ ' ^ • ^ ^ • • ^ • ^ ' ^ ' ^ • ^ ' ^ ^ ^ • ^ • ' ^ • ^ ' ^ ^ ^ ^ ^ p ' ^ H ^ ^ ^ ^ ' ^ ' ^ f ' H l H W ^ ' ^ - ^ - ^ ' ^ ' V ^ ' N p ^ ' ^ , ' ^ ' ^ ^ , ' ^ ^

The proposed Art Center will be a city function. Its purpose being to enlighten, educate, and entertain the public. The aim will be directed toward a non-profit status. Along these lines, there are many avenues of financing available from local bonds to government loans and grants , The subject is detailed later within the Background section entitled Financing Sources. The projected annual budget will from $100,000. to $200,000. The revenue will be raised through donations, dues, admissions, sales, and fund raising. The income from these activities will be applied to any outstanding loans or debts associated with the Art Center.

150

BIIIBLIIOMAIPIBIY

Americans and the Arts, L. Harris, Americal Council for the Arts, New York, 1981.

Building Construction Cost Data 1981. R. Godfrey, Robert Snow Means Company, Kingston, Mass., 1980.

"Building Costs, Range Estimating: A Way to Predict the Accuracy of Cost Estimates", Archi tectural Record. Unknown, Sept. 1971, pgs. 62-65.

Cascs in Arts Administration. T. Raymond, S. Greyser, D. Schwalbe Arts Administration Research Inst., Cambridge, Mass., 1975.

Dodge Construction Cost Information System. McGraw-HiII Publ., 1986.

Financial Management Strategies for Arts Organizations. F. Turk, R. Gallo, ACA Books, New York, 1984.

National Construction Estimator. G. Moselle, Craftsman Book Company, Carlsbad, California, 1982.

Oualitv and Total Cost in Buildings and Scrices Design. D. J Croome, A. Sherratt , Construction Press, New York, 1977 .

152

TONHDIING ANALYSIS

IBACKGEOIUNID) The needed funds for design, cons t ruc t ion , and maintenance for an art center can be subdivided into three basic subgroups ; seed money, capital suppor t , and operation funds. The seed money stage is basically a warm-up for the intense fund raising yet to come. This stage is the beginning of the operation and includes the money necessary to stay afloat through the planning and organizational phase. During this step, the basic ground work is laid for the construction, including fund raising, design, and intended public interaction. The next subgroup is capital support. It is the funding for the so called "brick and mor t a r " construction and includes the permanent equipment and furnishings. The last stage of funding is the operational funding which is by far the hardest to secure. It must be considered early since the momentum established in the early stages is the determining factor of the success of the project, as a whole.

IFTOII IIMG STEATEGIIES

U. S. GOVERNMENT The federal government has agencies capable of lending support to the project. There are regularly scheduled competitions for the support and it commonly takes the form of match funds grants (matched by donations on the local level), categorical grants (public funds specified for a certain purpose), and challenge grants (National

153

Endowment of the Arts funds). The Richardson Art Center project should direct their attention to some basic facts. First, all funding is on a competition basis so organization is the key to success. Second, the ability to support the project in terms of community need is helpful. Finally, the Art Center must attempt to demonstrate a uniqueness in one or more aspects to gain attention and rise above the flood of similar projects.

STATE OF TEXAS The state level is much the same as the federal system but on a smaller scale. It differs only in its greater level of concern in local problems and interests. It may possibly be easier to sway on the implication of local issues. The concern groups includes the Texas Economic Development Agencies and the Texas Arts Council.

CITY OF RICHARDSON The city has long been interested in such a structure as is seen by the original plan of the site, which includes the civic and exhibition entities. The lack of funds at that time lead to only two of the five planned structures being realized. Today, the city has expanded and developed the need for the excluded entities. The city has, within its governmental framework, a division of funds called the Capital Projects Funds. These funds are further subdivided into Public Building Funds, Park Funds, and Street Funds. The building funds supplied from the proceeds of the general obligation bond and/or transfers, would serve to finance large projects such as the Art Center.

PUBLIC SOURCES Public funding can take on many forms. There are general obligation bonds, that must be approved by the local voting community. They are popular with projects capable of increasing tax revenues and creating jobs for the

154

community. Revenue bonds can require voter acceptance, but not always. This type of funding is repayed out of revenues from specific sources. Finally, there are industrial development revenue bonds. They are a unique type of bond sponsored by the Treasury Department to increase the economic well being of a community. This type of bond could be used to fund the construction of the parking area.

PRIVATE SOURCES The source of pr ivate funding is almost unlimited. Virtually all business organizations support the community in one way or another, and are open to any well thought idea. The extent of larger industrial and commercial entities in the area further broadens the possible sources. The key to success is organization and public support. With public support comes wide spread recognition of the project and contact with local parties interested in the cause. Most all projects with public support will be able to find interest and financially willing people.

Local groups and organizations are a prime tool in seeing the structure built. They can contact and mobilize large groups in your favor. They should be used from the beginning to build interest and support.

COMCLHJSIION

The funding will not come to the project but is definitely there for the taking. It only requires the proper organization on all the levels of the project. This, of course, begins with well qualified people. The government, state, city, public and business community are there waiting for the right project, the Art Center.

u

155

BHIBLIIOCIRAIPIHIY

Americans and the Arts. L. Harris, Americal Council for the Arts, New York, 1981.

Cases in Arts Administration. T. Raymond, S. Greyser, D. Schwalbe, Arts Administrat ion Research Inst., Cambridge, Mass., 1975.

Financial Management Strategies for Arts Organizations. F. Turk, R. Gallo, ACA Books, New York, 1984.

Local Government and the Arts. L. Kreisburg, American Council for the Arts, New York, New York, 1979.

New Places for the Arts. National Endowment for the Arts, Educational Facilities Laboratories, 1976.

The Arts in the Economic Life of the Citv. H. Perloff, American Council for the Arts, New York, 1979.

United Arts Fundrais ing Policvbook. Unknown Auther, 1 9 8 1 .

157

§Y§TEM PEEFOEMANCIE CEITIEEIA

CENEEAL INTEOIOUCTION

The systems servicing the Art Center are extremely important to this type of structure. A building with this purpose must perform in many ways not encountered in other projects. The combination of gallery, studio, and class space brings up specific problems which may be solved through proper system performance. The gallery space must address the problem of dust in the air, proper humidity, and proper temperature. The studio spaces must contend with possible exhaust fumes and air movement. The lec tu re spaces have the problems of sound transference. They all must contend with wide arrays of lighting demands.

Beyond the specific requirements, the general goal of the systems is to merge user satisfaction with cost to provide a good blend. The design criteria of the project will entail the proper use of the best system at the best price. The architect must create a high breed set of systems, capable of overcoming extraordinary circumstances.

SYSTEMS <& EEQIUIIRIEMENTS

STRUCTURAL SYSTEM The structural system will play a crucial part in the overall design of the building. For just this reason the program, in

!••

158 itself, will not dictate the specific type of system but will instead describe the goals and needs. This is necessary to prevent the program from encroaching on the design phase and predetermining the result before the design has been d e v e l o p e d .

The structure will be composed of long span construction methods to provide free-flow of space for display. The building will in terre la te not only on one plane but diagonally and horizontally. This will require a flexible structure (to enable the interrelation) and rigid frame (to provide the necessary strength). The system will be based on a grid pattern of appropriate size for the design.

The structural system will be of an open scheme to provide the greatest amount of internal flexibility. The grid system will support the modular configuration of the space.

FIRE ALERT SYSTEM Both an audible and visual alarm system will be used. The exits should be clearly marked using signing that is larger and clearer than what is required by code. The exits should be visible by the sheer design of the circulation. This is possible through paving pat terns , color, wall graphics, and light penetration. The use of smoke detection devices will be included in all space over 50 sq. ft. and one for every 500 sq. ft. of space in larger areas.

HANDICAPPED The building will address the handicapped. AII facilities will be handicapped accessible with the latest in hardware for the purpose. Ramping will replace stairs wherever possible. The handicapped will receive consideration in all sections of the building from space in the lecture halls to studios specially designed for their use. The use of an elevator is recommended if necessary to open up the entire bu i ld ing .

159 EXTERIOR SYSTEMS The building will be equipped with a lawn sprinkler system. The use of 20 foot spray heads is recommended. The system will be piped with the highest quality of materials to prevent repair and subsequent damage to l andscap ing .

The use of the same parking lot lighting system is necessary to preserve site harmony. The building itself will be lighted, making night viewing of the site a pleasure. The systems will be light activated through photo-electric cells to relieve the burden from the staff.

MECHANICAL SYSTEM The mechanical system must be designed to provide the optimum human comfort and, in some areas, the best protective characteristics. This system will allow the user, in many cases, complete control of his climate. The systems will be designed to serve without the addition of the unneeded, such as excess sound or visual distress. The system wiU be designed with the maintenance and repair in mind to allow ease of service. The incorporation of the natural ability of the site to carry out the needs of the user will be utilized. This serves to back up the system during failures or down time. The system will be contained within its own space or be screened off from any public view and, if contained within, shall be isolated through sound absorption techniques.

The system itself must deal with humidification as it pertains to the gallery space. The humidity may be allowed to vary slightly but should remain under 30 percent in the winter and 45 percent in the summer. It should not drop below 20 percent at any time. This provides the best preservat ion c i rcumstances . The humidification can be accomplished through many ways with the best, including atomizing units, steam application, or recirculation treatment of some kind.

160 The system should include an air cleansing mechanism to control a i rborn pollutants. They may include filters screens or electronic devices.

ELECTRICAL SYSTEM The main control system (fuses) will be located within the maintenance and security areas. The use of sufficient outlets will be used as specified for spaces but will not be under one per 8' linear wall space. The lighting systems will be as specified by the space.

SECURITY SYSTEM The security system will consist of a three phase operation. The staff security force, lead by the security supervisor, is the first and primary safe guard. The second line of defense is the use of a state of the arts monitoring system, using remote cameras and identification badges. The last defense against misfortune incorporates a perimeter and security area access devise in the form of numeric key pads and magnetic I. D. cards.

Security personnel will take on two forms. One type is to be plain clothed to provide unabstructed viewing in the gallery. The other type will be uniformed guards to provide strength and security.

The basic concept for the framework for the security plan will revolve around the use of sectionization to provide extensive security to parts of the building while others remain almost unregulated. This is necessary because certain areas will contain valuable items and must be highly controlled while others require free access at all times of the day. The primary task of the system will be to deal with the wide variety of activities. The building will house areas such as the gallery space which needs constant and intensive regulation. The educational and studio, on the other hand, require less demanding control. But even

161 within these sections, there is a wide range of control needed. Certain areas must be free to use during the day while others have only one authorized user.

AIl of these different uses point to a system that is very versatile and highly sophisticated. The use of a computer aided system is advised.

ACOUSTICAL CONCERNS A building of this size and variety of use is confronted with a wide range of acoustical needs. There are exhibition spaces that must control sound levels and reverberation. The lecture halls must provide well rounded sound throughout the room. The studios must control excessive sound levels from within. The building will require the breakdown of all spatial sound requirements and the individual address of each.

BUILDING CODES & ZONING REQUIREMENTS The site is zoned I-FP by the City of Richardson, refer to zoning section in the micro site analysis. The major restriction applies to the issue of fireproof materials for construction. The use of wood members is prohibited. The basic requirements of any public building apply here.

OVERALL DESIGN CONCEPTS The use of a centralized computer system to serve as a nervous system of the building and regula te the temperature , humidity, lighting, energy management, fire, security, and HVAC is recommended. The access will be directly to the security and maintenance spaces. The use of a so called "smart building" system will have a high start-up cost but will have a healthy pay back in savings in all areas of building systems. The subject of smart buildings is further discussed in the case studies section to follow.

^máá

addiUon , h ? •; ' " " ' "• '"PP'"'' '"e decision and in addit on the systems cost skyrocket if not designed in the building from the beginning.

i

163 IBHBLIIOCGMAFIHIY

Cgntre Pomnidon. Rizzoli, Architectural Design, London, 1 9 7 7 .

"Loyd-paxton Galleries: Optimum Lighting for Peerless Antiques", Architectural Technologv. C. Linn, Nov. 1986, pgs. 31-38.

" S m a r t Bui ld ings : Fac ts , Myths and Impl ica t ions" , A c h i t e c t u r a l T e c h n o l o g v . B. Sennewald, March/April 1986, pgs. 21-28.

165

CAm §TUME; ^ ^ ^ ^ Í ^ # : : Í ^ ^ ^ ^ Í ; V ^ Í ; V ^ Í ; ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^

GENIEEAL reEPOSE The purpose of this case study section is not to merely cite some related building types and repeat their design intentions. I will include only specific design areas and make note of examples that may influence my design. The areas of concern will encompass a variety of concept and design strategies. This study is not intended to include all information of any specific structure but will address the issues, as I see them, in complete form.

ENVIEONMIENTAL §Y§TEM§ The age of the computer is here. The architect can accept it and begin the age of the future, or he can resist it and produce structures based on yesterday's technology. The day of the "smart building" has arrived. By this statement, I mean a centralized computer controlled system capable of interfacing temperature control, humidity, lighting, energy management, fire, security, and telephones in an automated system. The so called nervous system is needed within this structure to regulate the specific requirements confronted in a gallery s i tuat ion. The ease of security and atmospheric regulation makes it necessary. Today, the use of such a system is experimental but the technical knowledge is in abundance within Richardson. There are similar systems functioning in the A. I. Dupont Institute in Wilmington, Del. Such a system will intellectually integrate the building control systems and the various service

M H W I ••ÉMgaHKUUi^SÍÍ

166

systems through the use of microprocessors. system will greatly ease the security and The system has a high onset cost in the future. The substantially if it must c o m p l e t e d .

This type of energy concerns.

price tag but will greatly cut system's price tag will increase

be added after construction is

MATEMIAL IMEOETANCE The use of mater ials states what overall feeling is conveyed, second only to the entire form of the structure. This places a high demand on the creative use of materials to provide the desired character of a proposed structure. The challenge of the Art Center is to provide the needed highlights to convey the feeling of class and importance necessary to any gallery/exhibition space. facing the designer is to create a high without t ipping the financial scale. Convention Center in Rochester, N. Y. is a successful balance of mater ia ls . The s t ruc ture is highlighted by the dark terrazzo floor at the entrance to the Galleria. The use of this flooring material has a high maintenance cost because of the amount of polishing required. The disadvantages are far outweighed by the appearance of the highly polished flooring. The entire feeling of the building is dictated by the first instinctive reaction to the beautiful floor. The building receives a sense of class that is unreplaceable in terms of the respect achieved by the simple use of the proper flooring material.

The challenge class appearance

The Riverside prime example of

Location: Facilities:

Client:

Architect:

Rochester, New York Riverside Convention Center New York State Urban Development Corporation James Stewart Polshek & Partners

MtiattMflHiaiUâfiHSS&EBÍfa

167

Structural System: Reinforced concrete and steel fram< Sq. Ft.: 210 ,000 Cost/Financing: $40 million Completion Date: unknown Comments: $190.47 per sq. ft.

Source: Progressive Architecture, pgs. 80-85, Feb. 87.

THIIE SEACE = INMIEEENT nrLIEXIIBILITY The Wick Alumni Center is an example of an approach to the interior treatment of space that is desirable for the Art Center. The Wick Center's interior spaces are designed in such a way as to provide for a variety of functions. The scale of use can deviate from individual to several hundred within the same context. The overwhelming ability to maintain a sense of place enables the structure to adapt easily to the users needs. The superb control of the variety in form, space, furnishings, and lighting, supply the building with a comfortable surrounding for the individual but enables large groups to feel equally "at home" in the building. Versatility is mandatory in a community based art center. The space must follow the example set by the Wick Center and provide flexibility within the rigid order of spaces to maintain the "sense of place" necessary to have a project that will continue to suit the changing needs of the Art Center.

Location: Universit of Nebraska, Lincoln, Nebraska

Facilities: Wick Alumni Center Client: Nebraska Alumni Association Architect: Gwathmey Siegel & Associates,

New York Structural System: Steel frame on reinforced

concrete foundation

, . ,o . . := .^ , .^aUJILU. - l l . - l -Ul lBW—•

168

Sq.Ft.: 29,4 0 0 Cost/Financing: Approx. $100 per sq. ft. Completion Date: 80 ' s Source: Progressive Architecture,

pgs. 66-70, Feb. 87.

§ISIE=COST=TONMN(G

BIRMINGHAM-JEFFERSON CIVIC CENTER:

Location: Birmingham, Alabama Facil i t ies: 3-Building Complex Client: State of Alabama Archi tec t : Geddes, Brecher, Qualls &

Cunningham, Philadelphia Sq. Ft.: SJ0.6S0 aq. ft. Cost /Financing: $43 million. State.

Countv and municipal fundin^ for huildin^s.

Completion Date: 1976 Comments : $^^3.04 per sa. ft.

VON BRAUN r iVÍC CENTER:

Location: HuntsviIIe, Alabama Faci l i t ies: 5-buiIding complex on 8.5

acre site in downtown HuntsviIIe.

Ciient: State of Alabama Archi tec t : Northington, Smith,

Kranert, Tomlin & Associates, HuntsviIIe;

" ».^-»«^->^iMAIU.LM--

169

Jones, Mann & Associates, Huntsville; Dickson, Davis Architects, Huntsville.

Sq. Ft.: mMQ SQ, ft, Cost /Financing: $15 million, Municipal

fundin^ Completion Date: March 1975. Comments : $55.15 per sq. ft.

SCOTTSDALE CENTER FOR THE ARTS:

Location: Scottsdale, Arizona. Facil i t ies: Center for the Arts Client: City of Scottsdale Archi tec t : Bennie M. Gonzales, Inc.

Architects, Scottsdale. Sq. Ft.: fîS.OOO sa. ft. Cost /Financing: $3 million. Municipal

hond issue. nlus contrihutions

Completion Date: October 1975. Comments : .^5.29 per sa. ft.

SPOKANE RTyFRPARK CENTER:

Location: Spokane, Washington. Faci l i t ies: Opera House, Convention

Center, Exhibition Hall, & Mall.

Ciient: State of Washington. Archi tec t : Walker, McGough, Foltz

& Lyerla, Spokane.

Sq. Ft.: 72QMQ nq, ft,

- . • • - . . . - - ^ - ^ • . . . r . . . L y i U H . U ..i..li..>,~-.

Cost /Financing: Completion Date: Comments :

170

$U,5 million. State funded. May 1974. $52.27 per sq. ft.

CENTER FOR THE FINE ARTS Location: Facil i ty:

Client: Archi tec t :

Sq. Ft.: Cost /Financing:

Completion Date: Comments :

Vermilion, South Dakota To house the Department of art, music, and theater State of South Dakota. Spitznagel Partners, I n c , Sioux Falls, S. D. 104.000 .vff. ft. $3.050.000. State funds for construction funds and private donations for furnishings. Oct. 1974. $29.32 per sa. ft.

The use of these references for financial analysis must be evaluated in terms of their completion date and area of the country. They are not intended to be either current or directly relatable to this project but do show what has been accomplished in very similar building types and what sources of financing were used.

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171 (GENEEAL CASE STTOIES This section will focus on the use of visual communication to express the qualities and desires of similar projects. The complete descript ion or the evaluation is not contained, but is intended to suggest innovative and interest ing designs.

BRIGHTON BRANCH LIBRARY The striking features of the building is in its use of clerestory lighting and its outer material treatment. The day lighting incorporated through the gigantic clerestories is exciting, both from the stand point of size and form. They provide the necessary light in a most pleasing fashion. The exterior is also of interest. It is composed of a system of exposed concrete pans with the incorporation of cavity blocks. The result is a clean surface intermingled with a vertical pa t tern . The use of this system is advan tageous because it is easy to construct and inexpensive in cost. See views of building in figure 48.

•-:-Í:.^:X'-* . - . ^ •% c-*.

• J i - í j ; , • i - - * : • " r - . - • i : N --

•^-' L>. V<

'• ' ' • v í

. • » : , ' . ' . • > • • ! •

• ' • ' • " ' J !

'a.'^^:.:rn Figure 48

- • - . . - ^ . . : - . . v ^ - . ^ L L L l - i l . . I . . , ; l " .e . . l i « l

172 CENTRAL LIBRARY, NEGEV UNIVERSITY The build uses an overall concept of expression. The form is developed in a sculptural way. It is an outward expression of the knowledge contain within the building. It is design to address the visual imagery of "vessels for the storage of knowledge". The top section contains sky lights to provide the north light to the reading rooms. The exterior is constructed under the poured in place, concrete shell principle. The building came in at under $35 per sq. ft. See views of building in figure 49.

I

. s r s î i •••(MAr.Juiiå^

Figure 49

FLORIDA MUSEUM .,73

The use of canopies, landscaping, and berms create a pleasant interior and exterior spaces. The manipulation of tne space to the users advantage provides a very pleasing area consisting of various planes, nodes, and areas of congregation. The earth form techniquies used to develop the area relate an air of excitement. The building also uses an exposed concrete waffle slab on most all the spaces. This gives the structural characteristics needed and also a pleasant atmosphere within the space. The devises used are best described through visual means, as seen below. See views of building in figure 50. ;1 Æ ^ i a i^^^^^^^^^^^^âas^^

174

^

CALIFORNIA PLAZA AT BUNKER HILL 175 The project is an important example of the use of an art complex in connection to a private developement. This provides a mixed-use area capable of being a significant ar t center, providing walking, viewing, and buying, and being a business center. The innovation of combining the business atmosphere with the cultural presence produces a plaza with ou ts tanding possibi l i t ies . The stylistic implications of the Contemporary Art Museum and Museum Court are post modern in flavor and have an appealing design. See views of building in figure 51.

Í^ií,fff

Figure 51

176

\ Å li W^ •* • •' '-Ci / ' ' ' ^ V ^ T ^ j^J^ X l í 'N

BIIIBLIIOGMAFIHIY 177

Buildings for the Arts. Architectural Record, MaGraw-HiII, New York, 1978.

Cul tural Facilities in Mixed-Use Develooment. Harold R. Snedcof, Urban Land Institute, Washington, D. C , 1 9 8 5 .

"Evaluation: Corbu's Only U. S. Building", Arch i t ec tu re . R. Campbell, Oct. 1987, pgs. 37-42.

"Loyd-paxton Galleries: Optimum Lighting for Peerless Antiques", Architectural Technologv. C. Linn, Nov. 1986, pgs. 31-38.

"Mixed Metaphors" , Progressive Architecture. S. Doubilet, Feb. 1987, pgs. 80-85.

New Places for the Arts. National Endowment for the Arts, Educational Facilities Laboratories, 1976.

"No Easy Symbolism", Pro^ressive Archi tec ture . J. Dixon, Feb. 1987, pgs. 65-70.

" S m a r t Bui ld ings : Fac ts , Myths and Impl i ca t ions" , A c h i t e c t u r a l T e c h n o l o g v . B. Sennewald, March/April 1986, pgs. 21-28.

The Arts in Found Places. Unknown, Educational Facilities Laboratories, New York, 1976.

179

IBHBLIOCEAPMY : / í ^ í ^ ^ <=;^ í ^ ^ < j í y í ^ * ; Í / < ; Í Í < ^ * ^ * ^

Americans and the Arts. L. Harris, Americal Council for the Arts, New York, 1981.

Amer ican Demograph ics . U. S. Census Department, Nov. 1 9 8 5 .

Artists-in-Residencc: A Sponsor's Planning Guide. S. Brien, Artists Foundation, Boston, Ma., 1983.

ArJLS Administration. How to Set-up and Run a Successful Nonprofit Arts Organization. Ted Horwitz, Chicago Review Press, Chicago, III., 1978.

Building Construction Cost Data 1981. R. Godfrey, Robert Snow Means Company, Kingston, Mass., 1980.

"Building Costs, Range Estimating: A Way to Predict the Accuracy of Cost Estimates", Architectural Record. Unknown, Sept. 1971, pgs. 62-65.

Building for the Arts. C. Brown, W. Fleissig, W. Morrish, Western States Arts Foundation, Santa Fa, New Mexico, 1984.

Buildinps for the Arts. Architectural Record, MaGraw-HiII, New York, 1978.

,jjUJULH!lWMl!miU.IJI.LDMii ll.I| » ' « a a M ^ g g B | | ^

180

^^S€fi in—Arts Administration, T. Raymond, S. Greyser, D. Schwalbe, Arts Adminis t ra t ion Research Inst . , Cambridge, Mass., 1975.

Ccn t re PQn?pid9ti, Rizzoli, Architectural Design, London, 1 9 7 7 .

CUmatÍC Atlas of the IlnitPri StatP^, u . S. Department of Commerce, 1968.

C9mpr^hgn?>iyg Annual Financial Repnrt. Daniel W. Parker, Department of Finance, City of Richardson, Fiscal year ending Sept. 30, 1986.

Comprehensive Planning Guide. City Planning Commission, Richardson Texas, 1987.

Cul tural Facilities in Mixed-Use Development. Harold R. Snedcof, Urban Land Institute, Washington, D. C , 1 9 8 5 .

Demographic Charac ter i s t ics Û£ Uis Metrople?^i Dallas Chamber of Commerce, Research Department, 1978.

Dodge Construction Cost Information Svstem. McGraw-HiII Publ., 1986.

Draft Summarv - Comprehensive Guide. City of Richardson, Oct. 1986.

Economic Data Listing. Unknown, Richardson Chamber of Commerce, 1981.

"Evaluation: Corbu's Only U. S. Building", Arch i t ec t» re , R. Campbell, Oct. 1987, pgs. 37-42.

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D o c u m e n t a t i o n -I left the programing stage of the thesis process with what I believed to be a firm grasp on my thesis and my own personal mind set. The second phase of the project began with quick 2" thumb nail sketches to release any preconceptions and mainly to begin the process. From this point, with the ideas beginning to flow and a fussy picture of something forming in my mind, I made preliminary sketches to try and grasp what I was searching. My thesis was developing as my project developed. The sketching continued without much concern for size or other points at this time. I was still focusing on the feeling I wanted and the character of the space. I finally reached a point that I seemed to have a grasp on what I was searching. The character and sense on place was becoming evident.

Through, what I would call the preliminary stages, the project was progressing on an ever quickening pace. I began trying various approaches using the sense of form I had developed in the earlier stage. The design began to take definite directions. I was making broad based decisions on topics on orientat ion, views, community relationships, and existing axises. I then went on to experience problems in the design and in the project, as a whole, that needed to be overcome. These included such items as t reatment of the water form, addressing the existing s t ructures on the site, and evaluating possible circulation routes. This short list does not even attempt to define all the hurdles I surpassed.

Simultaneously, my thesis and related ideas were also developing. I had discovered that my "programed thesis statement" was not defined to the point I wanted. I had progressed toward a position that expanded my view in direction of the e x p e r i e n c e . Or in other words, I thought that the architecture should be experienced as an art object must be experienced from creation through to the final display on a wall. I wished to design the experience.

On another note, a secondary thesis was developing. I felt that the archi tecture is the vehicle for the sense of community and I wanted to create a community. By doing this I believed that I could create a sense of place and make the architecture complete.

I addressed my thesis ideas by developing a design that supported my views and made design decisions to move me in the direction that I wanted. I chose items such as a clock tower, separate structures, and elevated walkways to achieve my goals.

During this period, I made the only substantial change to the program. I chose to enlarge the scope of the project, mainly in the exhibition section, to come in line with various objectives. These were to include the size of a project that was suited to be a thesis, the actual size of the site in relation to the existing buildings, and a project large enough to accomplish the goals that I had established for mysel f .

As these theoretical issues became clearer, I made large gains on the design front. I had begun the first model, torn it down and rebuilt it to reflect my drawings and design at that point. From there on out I jumped back and forth from model to drawing. The second model and base were built to reflect a change in scale and design. During this period I had made many of the major decisions. These included the way I wanted the topography to work, the basic forms used (taken from the arch of the city hall and the 45 degree slant of the library), and the materials.

The third model was rebuilt and adapted as the design took on a definite shape. The interior progressed as the exterior did and the plans began to become functional. Throughout this process there was a first prelim. which included only the basic form and a second prelim. that I submitted plans of all the buildings, elevations, perspectives, wall sections, and details. The refinement proce^- was to follow.

After the design was developed, I began the last phase. The final drawings and model were begun. The model began to take form and I worked on trace to refine the drawings. I completed the model and the tracing paper drawings. The next step was to redraw all the drawings in ink on 24"x36" vellium in their final form. I then took the 9 completed sheets to be run on mylar and black line. Makers were applied on the print, then colored pencil, and finally white pencil on the back of the mylars. The sheets were sandwiched together and ready for presentation.

The slides show the drawings and they are self explanatory in terms of point not covered in this written dialogue. I think this was the height of my educational career and believe it to be the greatest learning experience of my life to date. I want to give a special thank you to both Prof. Ritter and my advisers, Prof. Thompson and Prof. Driskel. Your help was indispensable.

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